1 00:00:04,120 --> 00:00:06,600 Speaker 1: Hey, it's Steve Balton and welcome to this week's end 2 00:00:06,680 --> 00:00:09,680 Speaker 1: service of Where Saves Bob and I are joined by 3 00:00:09,760 --> 00:00:13,720 Speaker 1: actor musician Jeff Goldbliam to talk about his new jazz album, 4 00:00:14,560 --> 00:00:18,079 Speaker 1: his film history, and so much more. A really fun 5 00:00:18,160 --> 00:00:21,680 Speaker 1: conversation that includes Jeff, who sings on the new album 6 00:00:21,760 --> 00:00:27,800 Speaker 1: with Cynthia Rivo Ariana Grande among others, and who has 7 00:00:27,800 --> 00:00:30,680 Speaker 1: a history in the past singing with Haley Reinhardt among others. 8 00:00:31,200 --> 00:00:32,320 Speaker 2: This time takes. 9 00:00:32,120 --> 00:00:34,320 Speaker 1: The liking to Save the Bava and the two of 10 00:00:34,360 --> 00:00:37,440 Speaker 1: them do several songs from the Great American Song Got Together. 11 00:00:38,200 --> 00:00:39,319 Speaker 2: It's a lot of fun to. 12 00:00:39,320 --> 00:00:42,840 Speaker 1: Hear and shows you a different side of Sage, who 13 00:00:42,920 --> 00:00:45,120 Speaker 1: is an up and coming recording artist in her own right. 14 00:00:45,479 --> 00:00:47,479 Speaker 1: So hope you enjoyed this one as much as we did. 15 00:00:47,600 --> 00:00:49,919 Speaker 1: We had a lot of fun doing it. Not as 16 00:00:49,960 --> 00:00:52,320 Speaker 1: much about as Sage did, but a great time for all. 17 00:01:02,960 --> 00:01:06,240 Speaker 1: It's funny that great collaborations on this album. I mean, 18 00:01:06,600 --> 00:01:09,000 Speaker 1: talk about what you look for in vocalists that you 19 00:01:09,080 --> 00:01:09,479 Speaker 1: work with. 20 00:01:10,840 --> 00:01:13,480 Speaker 3: Well, you know, it's not as if we have or 21 00:01:13,520 --> 00:01:16,480 Speaker 3: that I have so much any strategy. I guess I 22 00:01:16,520 --> 00:01:18,480 Speaker 3: have a wish list. There are people I you know, 23 00:01:18,959 --> 00:01:22,840 Speaker 3: am you know, have a creative crush on you know. Uh, 24 00:01:23,200 --> 00:01:25,360 Speaker 3: and it's just it just kind of pops up. It happens. 25 00:01:25,360 --> 00:01:28,760 Speaker 3: I was doing that movie Wicked, and that's where Ariana 26 00:01:28,800 --> 00:01:33,480 Speaker 3: Grande and Cynthia revotes. So geez, I just think that 27 00:01:33,520 --> 00:01:35,600 Speaker 3: they're out of this world. I mean, of course they're 28 00:01:35,640 --> 00:01:38,959 Speaker 3: they're you know, eighth degree black belt, masters of music 29 00:01:39,120 --> 00:01:43,280 Speaker 3: and acting. As we know. Uh, they're just incomparable and 30 00:01:43,319 --> 00:01:45,360 Speaker 3: we just had a good time. I should have been 31 00:01:45,880 --> 00:01:48,360 Speaker 3: shy around them, but I was singing every song that 32 00:01:48,400 --> 00:01:50,720 Speaker 3: I knew from the American song Book and and we 33 00:01:50,800 --> 00:01:53,760 Speaker 3: all were singing. And then one day I was I 34 00:01:54,040 --> 00:01:55,840 Speaker 3: got to singing that song. I don't know why I 35 00:01:55,880 --> 00:01:59,760 Speaker 3: love you like I do. I don't know, I just do. Uh. 36 00:02:00,440 --> 00:02:03,240 Speaker 3: And Arianna said, well, why are you singing that song? Hey, 37 00:02:03,720 --> 00:02:06,760 Speaker 3: my grandfather sang that to me every day. That's a 38 00:02:06,840 --> 00:02:08,440 Speaker 3: very special song to me. I said, well, you know, 39 00:02:08,480 --> 00:02:10,400 Speaker 3: we have this band if you'd ever want to record, 40 00:02:10,840 --> 00:02:13,680 Speaker 3: and she I'll be done and said yes I would, 41 00:02:14,120 --> 00:02:17,720 Speaker 3: and Alex Frank and Joe Bagg arranged something for her. 42 00:02:18,440 --> 00:02:20,480 Speaker 3: I love what she does. And then Cynthia I said, 43 00:02:20,520 --> 00:02:24,639 Speaker 3: you know, boy, that would be a dream come true. 44 00:02:24,720 --> 00:02:27,400 Speaker 3: Any would you like to do it? She said sure, 45 00:02:28,160 --> 00:02:30,320 Speaker 3: and we said, well, let's think about it. And we said, well, 46 00:02:30,360 --> 00:02:32,960 Speaker 3: wait a minute. Cynthia is from England. Hey, you know 47 00:02:33,040 --> 00:02:36,519 Speaker 3: that song We'll Meet again? Very important over there in 48 00:02:36,560 --> 00:02:38,840 Speaker 3: England during World War Two. And Vera Lynn had that 49 00:02:38,880 --> 00:02:41,200 Speaker 3: big hit that Stanley Kubrick used at the end of 50 00:02:41,720 --> 00:02:45,600 Speaker 3: Doctor Strangelove movie that I adore. We suggested it and 51 00:02:45,639 --> 00:02:48,600 Speaker 3: she said, yes, that's perfect, and so we did what 52 00:02:48,639 --> 00:02:52,320 Speaker 3: we did. I love that and Scarlett Johansson, for instance, 53 00:02:52,360 --> 00:02:54,960 Speaker 3: I'd done those couple of Wes Anderson movies with and 54 00:02:55,000 --> 00:02:55,320 Speaker 3: at the. 55 00:02:55,280 --> 00:02:57,720 Speaker 2: Premiere I've known her for years. 56 00:02:58,520 --> 00:03:01,600 Speaker 3: Isn't she great? How did you meet her? Anyway? She suggested, 57 00:03:02,360 --> 00:03:04,840 Speaker 3: you know, the best is yet to come and that 58 00:03:04,960 --> 00:03:07,800 Speaker 3: Boston Nova version of it, and I'm crazy about what 59 00:03:07,880 --> 00:03:10,799 Speaker 3: she did with it. How did you meet Scarlette first time? 60 00:03:10,840 --> 00:03:12,760 Speaker 1: I used to do film writing as well, and we 61 00:03:12,800 --> 00:03:14,760 Speaker 1: had lunch in New York and it was the most 62 00:03:14,720 --> 00:03:17,200 Speaker 1: surreal experience. And it's funny because I've gotten to know 63 00:03:17,240 --> 00:03:20,359 Speaker 1: her beyond this. The first time we met was right 64 00:03:20,400 --> 00:03:22,400 Speaker 1: after nine to eleven. I was in Europe with my 65 00:03:22,520 --> 00:03:25,520 Speaker 1: ex wife and I stopped back in New York to 66 00:03:25,760 --> 00:03:28,520 Speaker 1: interview her over lunch. She literally walked me down to 67 00:03:29,440 --> 00:03:32,000 Speaker 1: ground zero. And then a few years later I ran 68 00:03:32,040 --> 00:03:34,320 Speaker 1: into her at a Bowl Valley. We were both at 69 00:03:34,360 --> 00:03:36,840 Speaker 1: a bowling party and I was like, do you remember this? 70 00:03:36,920 --> 00:03:38,760 Speaker 1: And she's like, you know the name of the restaurant? 71 00:03:38,760 --> 00:03:41,440 Speaker 1: And I was like, dude, you literally walked me to 72 00:03:41,480 --> 00:03:43,840 Speaker 1: ground zero. I can't tell you shit about the restaurant, 73 00:03:43,920 --> 00:03:46,400 Speaker 1: but you know, I can tell you about the lunch. 74 00:03:46,440 --> 00:03:49,800 Speaker 1: And yeah, her album of Tom Waite's covers was amazing 75 00:03:49,840 --> 00:03:51,640 Speaker 1: because that's my favorite songwriter of all time. 76 00:03:52,480 --> 00:03:56,560 Speaker 3: She's amazing and everything she does, yeah, she's I'm thrilled 77 00:03:56,600 --> 00:03:57,960 Speaker 3: to know her. I've known her for a long time 78 00:03:58,000 --> 00:04:00,600 Speaker 3: and we did those couple of west Anders some movies. 79 00:04:00,640 --> 00:04:03,000 Speaker 3: I'm crazy about what she does on this album. I 80 00:04:03,000 --> 00:04:05,560 Speaker 3: hope we can do it live. I don't want to 81 00:04:05,640 --> 00:04:07,520 Speaker 3: ruin any surprise, but we're going to be at the 82 00:04:08,000 --> 00:04:11,280 Speaker 3: as you may know, at the Carlisle Hotel. Our band 83 00:04:11,320 --> 00:04:12,800 Speaker 3: has played there before, but we're going to be in 84 00:04:12,800 --> 00:04:16,760 Speaker 3: that Bobby Short room and played that lovely piano. I'm 85 00:04:16,800 --> 00:04:19,599 Speaker 3: hoping that she can join us maybe and sing that 86 00:04:19,720 --> 00:04:22,800 Speaker 3: song with us, yore great and. 87 00:04:23,120 --> 00:04:24,720 Speaker 1: Let's say it shake over in a second. She's an 88 00:04:24,720 --> 00:04:26,640 Speaker 1: expert on the great American song. But I just have 89 00:04:26,720 --> 00:04:29,960 Speaker 1: to say, my favorite vocal moment on the whole album, though, 90 00:04:30,320 --> 00:04:32,800 Speaker 1: is your version of every Time We Say Goodbye, because 91 00:04:32,839 --> 00:04:35,479 Speaker 1: the way it's enunciated is so interesting to me. 92 00:04:36,000 --> 00:04:38,280 Speaker 2: You know, it's so clear and deliberate. 93 00:04:38,680 --> 00:04:41,200 Speaker 1: The way you said the opening line of every Time 94 00:04:41,240 --> 00:04:44,280 Speaker 1: We Say Goodbye, I dialttle. I started to think about it, 95 00:04:44,320 --> 00:04:46,160 Speaker 1: and I was like, you know, if you can ever 96 00:04:46,200 --> 00:04:47,919 Speaker 1: feel that way, you're really lucky. 97 00:04:50,040 --> 00:04:52,520 Speaker 3: If you're lucky. If what if you ever feel. 98 00:04:52,480 --> 00:04:54,440 Speaker 2: If you ever feel that way about someone. 99 00:04:54,960 --> 00:04:59,239 Speaker 3: Oh yeah, if you love them so much, if every 100 00:04:59,279 --> 00:05:03,080 Speaker 3: time we say it bye, I die a little. Yeah, 101 00:05:03,200 --> 00:05:05,720 Speaker 3: you are lucky. Well you've had I I you know, 102 00:05:05,800 --> 00:05:09,719 Speaker 3: I've been very lucky myself. I could draw literally for 103 00:05:09,800 --> 00:05:13,919 Speaker 3: my own life there. And I'm currently with Emily Goldbloom. 104 00:05:13,960 --> 00:05:18,680 Speaker 3: And she's just the just the uh you know, queen 105 00:05:18,720 --> 00:05:22,279 Speaker 3: of her species and the miracle of the cosmos. And 106 00:05:22,760 --> 00:05:25,240 Speaker 3: I'm lucky to have ever gotten to see her. And yes, 107 00:05:25,480 --> 00:05:28,640 Speaker 3: we say every time we say goodbye to her and 108 00:05:28,640 --> 00:05:32,840 Speaker 3: and the kids to a river and Charlie this morning. 109 00:05:33,240 --> 00:05:35,239 Speaker 3: That's you know. When I saw them off for school, 110 00:05:35,680 --> 00:05:38,960 Speaker 3: I say goodbye, have a have a good day, and 111 00:05:39,000 --> 00:05:42,400 Speaker 3: they say, have a good day to day. And it's 112 00:05:42,600 --> 00:05:45,279 Speaker 3: just it kills you in the worst in the best way. 113 00:05:45,680 --> 00:05:50,000 Speaker 3: And Emily says, we say goodbye, sweetie, I love you. 114 00:05:50,360 --> 00:05:53,080 Speaker 3: She says, I love you, and then we say goodbye. 115 00:05:53,839 --> 00:05:57,520 Speaker 3: It's delightful, isn't it. Life is musical if you're lucky enough. 116 00:05:57,600 --> 00:05:59,120 Speaker 3: Huh yeah. 117 00:05:59,120 --> 00:06:01,200 Speaker 1: And I love the way saying it because it just 118 00:06:01,240 --> 00:06:03,200 Speaker 1: puts such an emphasis on that thought. 119 00:06:03,960 --> 00:06:07,679 Speaker 3: Yeah, yeah, thank you. And how about what clever lyrics 120 00:06:07,880 --> 00:06:13,839 Speaker 3: when he says, what is it? You know it's changed? 121 00:06:14,160 --> 00:06:17,400 Speaker 3: And how strange the change from major to the minor, 122 00:06:18,320 --> 00:06:20,640 Speaker 3: at which point he changes the card from major to minor. 123 00:06:21,200 --> 00:06:23,799 Speaker 3: Very clever. I love that song. 124 00:06:25,520 --> 00:06:27,040 Speaker 4: That's got to be one of the best songs of 125 00:06:27,120 --> 00:06:29,080 Speaker 4: the Great American Songbook for sure. 126 00:06:29,839 --> 00:06:32,440 Speaker 3: Yeah, I love I think so. I know I do too. 127 00:06:32,839 --> 00:06:34,960 Speaker 3: How are you tell me everything? Are you well? 128 00:06:35,520 --> 00:06:38,680 Speaker 4: I'm very well? Thank you? I love the Green my favorite. 129 00:06:38,800 --> 00:06:41,680 Speaker 4: We're math from there, but I'm excited to know that 130 00:06:41,720 --> 00:06:44,360 Speaker 4: you're coming to the Carlisle. I go there quite a lot. 131 00:06:44,400 --> 00:06:46,440 Speaker 4: My friend Tony Desar plays and I always sit in 132 00:06:46,480 --> 00:06:49,680 Speaker 4: with him, so that'll be very exciting. And I know 133 00:06:49,839 --> 00:06:52,920 Speaker 4: scart Scarlett is always there because she has placed right 134 00:06:53,000 --> 00:06:58,360 Speaker 4: up there. So very cool and love love the album. 135 00:06:58,480 --> 00:07:02,320 Speaker 4: I am such greatermer songbook fiend for my whole life. 136 00:07:02,360 --> 00:07:06,159 Speaker 4: And I was curious, like, there's so many beautiful songs. 137 00:07:06,440 --> 00:07:08,720 Speaker 4: I loved hearing the Ariana the Cynthia story of how 138 00:07:08,720 --> 00:07:11,600 Speaker 4: those songs kind of happened serendipitously. But was that the 139 00:07:11,680 --> 00:07:14,600 Speaker 4: truth for the whole project? You just kind of came 140 00:07:14,720 --> 00:07:16,880 Speaker 4: upon these songs or did you have a really good 141 00:07:16,880 --> 00:07:18,920 Speaker 4: think about, you know, which songs you were actually going 142 00:07:19,000 --> 00:07:19,560 Speaker 4: to choose to do? 143 00:07:20,200 --> 00:07:23,720 Speaker 3: Well, you know, my band mates are experts, you know, 144 00:07:23,840 --> 00:07:28,040 Speaker 3: and so they know every recording made and what might 145 00:07:28,120 --> 00:07:31,440 Speaker 3: be you know, what we might be able to add 146 00:07:31,480 --> 00:07:36,360 Speaker 3: something to the continuum of you know, the of what's 147 00:07:36,440 --> 00:07:39,200 Speaker 3: been there. And there are things we particularly love or 148 00:07:39,200 --> 00:07:41,760 Speaker 3: that I love and that we've played live a bunch 149 00:07:41,760 --> 00:07:46,520 Speaker 3: of times, like well, you know, Grease Patrol we've played 150 00:07:46,920 --> 00:07:49,400 Speaker 3: a bunch of times, and Blue Mine or Sunny Clark. 151 00:07:49,440 --> 00:07:51,600 Speaker 3: You know it's from Pittsburgh, like I'm from Pittsburgh and 152 00:07:52,080 --> 00:07:55,760 Speaker 3: he's an unsung hard bop hero, you know, much respected 153 00:07:55,760 --> 00:07:59,559 Speaker 3: in the jazz world and sometimes not given enough credit. 154 00:07:59,560 --> 00:08:01,720 Speaker 3: And I love that song Blue Minor that he does, 155 00:08:02,200 --> 00:08:07,840 Speaker 3: which has a an unexpected Latin bridge to it that 156 00:08:07,960 --> 00:08:12,520 Speaker 3: I particularly like. And O by a you know, felonious Monk. 157 00:08:12,960 --> 00:08:14,960 Speaker 3: I've always when I was a kid, I remember when 158 00:08:15,000 --> 00:08:17,840 Speaker 3: his picture was on Time magazine? Was it? Yeah? I 159 00:08:17,960 --> 00:08:20,320 Speaker 3: was on the cover of Time magazine and I became 160 00:08:20,360 --> 00:08:23,680 Speaker 3: aware of him and I went, wow, what's that? Because 161 00:08:23,720 --> 00:08:26,880 Speaker 3: as you know, any two notes that he plays, you know, 162 00:08:26,960 --> 00:08:29,640 Speaker 3: you you know who it is. And I like his style. 163 00:08:29,880 --> 00:08:32,200 Speaker 3: You know, he had an individual style, didn't he with 164 00:08:32,240 --> 00:08:36,400 Speaker 3: his rings and his hats and uh you know, so, yeah, 165 00:08:36,400 --> 00:08:40,720 Speaker 3: we come upon It's kind of organic, how we you know, finally, 166 00:08:40,880 --> 00:08:45,920 Speaker 3: you know, choose this bouquet of songs? What do you 167 00:08:46,000 --> 00:08:48,200 Speaker 3: like from? But you like everything from the American Songbook? 168 00:08:48,400 --> 00:08:50,400 Speaker 3: What do you like? Now? Name a song and we'll 169 00:08:50,400 --> 00:08:51,080 Speaker 3: sing it together. 170 00:08:52,520 --> 00:08:58,080 Speaker 4: Misty is always my first one. I say which one? 171 00:08:58,320 --> 00:09:00,800 Speaker 3: Well, Errol Garner? I love Erler. A lot of people 172 00:09:00,840 --> 00:09:03,880 Speaker 3: have sung that. That was my dad's favorite song. He 173 00:09:04,040 --> 00:09:08,000 Speaker 3: brought home that vinyl Errol Garner plays Misty and pointed 174 00:09:08,000 --> 00:09:11,320 Speaker 3: out to me what he particularly appreciated about that song. Okay, 175 00:09:11,360 --> 00:09:13,559 Speaker 3: ready you pick a key, walk. 176 00:09:13,400 --> 00:09:26,800 Speaker 5: My way files or it might be the son of 177 00:09:27,000 --> 00:09:37,760 Speaker 5: your Hello, that music, guy, I get misty the mold. 178 00:09:37,520 --> 00:09:43,160 Speaker 3: Your need, if you will, I love that. Hey, you 179 00:09:43,200 --> 00:09:47,680 Speaker 3: sing up a storm. You're a nightingale. Thank you. 180 00:09:47,760 --> 00:09:50,079 Speaker 4: That song is so stunning. And we did I think 181 00:09:50,080 --> 00:09:52,119 Speaker 4: in the original key e flat there. 182 00:09:52,559 --> 00:09:54,199 Speaker 3: Yeah, that said you have perfect pitch. 183 00:09:54,280 --> 00:09:57,640 Speaker 4: Really not perfect pitch, but I was just you know, 184 00:09:57,679 --> 00:09:59,800 Speaker 4: I love that song so much that it's just kind 185 00:09:59,840 --> 00:10:01,600 Speaker 4: of turned into the into my brain. 186 00:10:01,840 --> 00:10:03,680 Speaker 3: That's so fantastic. And do play an instrument? 187 00:10:04,320 --> 00:10:08,800 Speaker 4: Yeah, I play piano and guitar, a little dulcimer. 188 00:10:09,160 --> 00:10:12,000 Speaker 3: Really. You could say that you're leading me on, but 189 00:10:12,160 --> 00:10:15,320 Speaker 3: it's just what I want you to do. So you 190 00:10:15,360 --> 00:10:18,640 Speaker 3: see how hopelessly I'm lost. That's why I'm. 191 00:10:20,679 --> 00:10:20,880 Speaker 5: Yeah. 192 00:10:24,960 --> 00:10:27,959 Speaker 4: Something I loved is you kept the music very pure, 193 00:10:28,040 --> 00:10:30,200 Speaker 4: you know, I I was. It was amazing to hear 194 00:10:30,360 --> 00:10:34,080 Speaker 4: Ariana and Cynthia singing this this music of a different 195 00:10:34,160 --> 00:10:37,400 Speaker 4: side to them, and I was curious, like going into 196 00:10:37,440 --> 00:10:41,680 Speaker 4: that approaching the Great American Songbook because it's such an 197 00:10:41,920 --> 00:10:46,719 Speaker 4: evolving music. It's you know, every generation it fits into. 198 00:10:47,120 --> 00:10:49,360 Speaker 4: But there's such a purity there that you really captured. 199 00:10:49,440 --> 00:10:49,719 Speaker 3: Was that? 200 00:10:50,080 --> 00:10:54,000 Speaker 4: Definitely? You know, something that you desire to do is 201 00:10:54,080 --> 00:10:55,040 Speaker 4: keep these songs. 202 00:10:55,640 --> 00:10:58,200 Speaker 3: I love it. I'm deeply in love with it. Name 203 00:10:58,240 --> 00:11:00,199 Speaker 3: another song, Name another song that you're like from the 204 00:11:00,240 --> 00:11:01,840 Speaker 3: American song but well, I. 205 00:11:01,840 --> 00:11:05,200 Speaker 4: Would die to hear you sing smile, which smile? 206 00:11:05,720 --> 00:11:08,280 Speaker 3: So your heart is anything? Smile? 207 00:11:12,920 --> 00:11:16,760 Speaker 5: Oh h. 208 00:11:21,120 --> 00:11:23,640 Speaker 3: That's nice. You know Charlie Chaplin wrote that, you know 209 00:11:23,960 --> 00:11:26,920 Speaker 3: for I think they premiered that in City Lights, didn't they. 210 00:11:29,200 --> 00:11:31,240 Speaker 4: I just love that he wrote that song. I mean 211 00:11:31,360 --> 00:11:34,680 Speaker 4: during the great Depression. That's that music will get you 212 00:11:34,720 --> 00:11:35,719 Speaker 4: through anything. 213 00:11:35,840 --> 00:11:38,439 Speaker 3: That's right. Hey, you like that depression song brother, can 214 00:11:38,480 --> 00:11:40,480 Speaker 3: You Spare a Dime? You know that. 215 00:11:40,480 --> 00:11:55,880 Speaker 6: Song run may Ra One's brother, Can You Spare a Dime? 216 00:11:56,840 --> 00:11:59,800 Speaker 3: Mm hmmm, yeah, you can really act that song. Oh, 217 00:12:00,840 --> 00:12:03,160 Speaker 3: very depression song. I like it. 218 00:12:04,320 --> 00:12:07,240 Speaker 4: Hey, well, good, Well, that's that's the beauty of the 219 00:12:08,280 --> 00:12:10,760 Speaker 4: great American songburg and Jazz. It's just it gets you 220 00:12:10,840 --> 00:12:14,480 Speaker 4: through any any despair and especially in your own life. 221 00:12:14,520 --> 00:12:17,440 Speaker 4: I feel like those songs they have different meaning depending 222 00:12:17,520 --> 00:12:19,400 Speaker 4: upon you know what you're going through. Like every time 223 00:12:19,440 --> 00:12:22,400 Speaker 4: you say goodbye, I'm sure has evolved for you and 224 00:12:22,840 --> 00:12:26,560 Speaker 4: has a different meaning. But you know, and now I've 225 00:12:26,760 --> 00:12:29,960 Speaker 4: gone through this very strange time, like it's cool to 226 00:12:29,960 --> 00:12:33,000 Speaker 4: see jazz as a resurgence and people are are really 227 00:12:33,040 --> 00:12:38,360 Speaker 4: locking into that music and that that authentic organic sound. 228 00:12:39,040 --> 00:12:42,839 Speaker 3: I think so too. What other songs make you? If 229 00:12:42,840 --> 00:12:47,960 Speaker 3: you're blue? What or you're confused, or you're daunted or depressed? 230 00:12:47,960 --> 00:12:50,400 Speaker 3: What can what can get you through it? 231 00:12:51,960 --> 00:12:52,080 Speaker 1: Uh? 232 00:12:52,520 --> 00:12:55,400 Speaker 4: Summer of the Rainbow. I watched Wicked with my four 233 00:12:55,440 --> 00:12:57,800 Speaker 4: year old niece recently and she loved it. And then 234 00:12:57,840 --> 00:13:00,800 Speaker 4: we went back and watched a version of Wizard of 235 00:13:00,800 --> 00:13:02,360 Speaker 4: Oz that I did when I was nine, But I 236 00:13:02,440 --> 00:13:05,079 Speaker 4: played Dorothy and I sing that song with her all 237 00:13:05,080 --> 00:13:05,440 Speaker 4: the time. 238 00:13:05,559 --> 00:13:10,120 Speaker 3: So you too, Yeah, you sing that great well? You 239 00:13:10,200 --> 00:13:14,680 Speaker 3: and Judy Garland. Boy, I'm crazy about that movie and 240 00:13:14,720 --> 00:13:17,520 Speaker 3: Frank Morgan was the Wizard and that Judy Garland singing that. 241 00:13:17,559 --> 00:13:20,680 Speaker 3: How about that little dog Toto when she sings a 242 00:13:20,720 --> 00:13:22,640 Speaker 3: couple of notes at the end of that day She's 243 00:13:22,679 --> 00:13:25,840 Speaker 3: reach He reaches out her hand and little Toto kind 244 00:13:25,840 --> 00:13:29,480 Speaker 3: of reaches his paw toward her, her hers and the 245 00:13:29,840 --> 00:13:32,959 Speaker 3: son's and the sun comes from behind the clouds. Oh 246 00:13:33,040 --> 00:13:36,839 Speaker 3: my gosh, that's a that's a killer. But Stephen Schwartz's 247 00:13:36,880 --> 00:13:40,200 Speaker 3: music in Wicked, how about that? And the way Ariana 248 00:13:40,280 --> 00:13:44,359 Speaker 3: and Cynthia knock that out of the park. Oh my golly, 249 00:13:44,960 --> 00:13:46,679 Speaker 3: that doesn't do it for you? And how and you're 250 00:13:46,960 --> 00:13:49,120 Speaker 3: you're so your child's name is Zeus. Did I hear 251 00:13:49,120 --> 00:13:49,560 Speaker 3: you say? 252 00:13:50,200 --> 00:13:52,280 Speaker 4: No? Sorry? My niece her name is Lily. 253 00:13:53,280 --> 00:13:55,280 Speaker 3: Oh so your niece, that's what I write, thought is 254 00:13:55,360 --> 00:13:58,120 Speaker 3: Zeus is And your niece's name is Lynn. 255 00:13:59,080 --> 00:13:59,880 Speaker 4: Lily like the. 256 00:14:00,559 --> 00:14:03,920 Speaker 3: Oh Lily, I miss hear everything? Okay, Lily, I love 257 00:14:04,040 --> 00:14:07,880 Speaker 3: the VALI. Yeah, Lucy's saying that once on an episode 258 00:14:07,920 --> 00:14:10,880 Speaker 3: of I Love Lucy. Oh her name is Lily and 259 00:14:10,920 --> 00:14:13,120 Speaker 3: you took her and she's four. Did she like the movie? 260 00:14:13,800 --> 00:14:14,360 Speaker 4: Loved it? 261 00:14:14,840 --> 00:14:16,480 Speaker 2: Yeah, she loved you. 262 00:14:17,440 --> 00:14:19,960 Speaker 3: Oh good, Well, the second one's coming out, she might 263 00:14:20,080 --> 00:14:20,320 Speaker 3: like that. 264 00:14:21,160 --> 00:14:21,600 Speaker 5: For sure. 265 00:14:30,760 --> 00:14:33,600 Speaker 4: There's a lot of relationship between being an actor and 266 00:14:33,640 --> 00:14:37,360 Speaker 4: being a jazz musician. I imagine the improvesting in the moment, 267 00:14:37,440 --> 00:14:41,920 Speaker 4: the feeling. For sure, there's a lot of relationship between 268 00:14:41,960 --> 00:14:44,760 Speaker 4: being an actor and being a jazz musician. I imagine 269 00:14:44,840 --> 00:14:46,920 Speaker 4: the improvesting in the moment, the feeling. 270 00:14:47,600 --> 00:14:50,400 Speaker 3: I think so I think so. I had good teachers, 271 00:14:50,400 --> 00:14:54,840 Speaker 3: and improvisation was the kind of cornerstone of Sandy Meisner's technique. 272 00:14:55,160 --> 00:14:59,080 Speaker 3: And yes, it's a matter of listening and being present 273 00:14:59,160 --> 00:15:03,360 Speaker 3: and receptive what the other saxophone or the other organ 274 00:15:03,400 --> 00:15:08,600 Speaker 3: player or bass player is doing, and letting that spark 275 00:15:08,760 --> 00:15:12,880 Speaker 3: something in you and then answering. In this case musically 276 00:15:13,320 --> 00:15:15,000 Speaker 3: or in acting, it's the same thing. Do you do 277 00:15:15,040 --> 00:15:17,560 Speaker 3: a lot of acting too, And have you studied acting too? 278 00:15:18,320 --> 00:15:21,400 Speaker 4: I was in New York for five years pre pandemic 279 00:15:21,480 --> 00:15:24,680 Speaker 4: doing yeah, Broadway, off Broadway stuff you did? 280 00:15:25,640 --> 00:15:28,120 Speaker 3: Yeah? Did you do any plays that I know or 281 00:15:28,240 --> 00:15:29,000 Speaker 3: shows that I know? 282 00:15:29,560 --> 00:15:31,680 Speaker 4: I did a Jerry Mitchell show called My Very Own 283 00:15:31,680 --> 00:15:34,920 Speaker 4: British Invasion, It was off Broadway. I did some stuff 284 00:15:34,920 --> 00:15:41,120 Speaker 4: at Ours Nova, like pre production show and wrote a 285 00:15:41,160 --> 00:15:44,000 Speaker 4: show that was at fifty four below and the Time 286 00:15:44,080 --> 00:15:48,520 Speaker 4: Center just featured there. And then the pandemic and then 287 00:15:48,560 --> 00:15:51,440 Speaker 4: I like decided to focus on music. But it's cool, 288 00:15:51,640 --> 00:15:54,480 Speaker 4: you know, storytelling it's the basis of everything, whether you're 289 00:15:54,480 --> 00:15:58,640 Speaker 4: doing acting. This amazing jazz album that you have, it 290 00:15:58,840 --> 00:16:00,200 Speaker 4: just comes back to storytelling. 291 00:16:00,880 --> 00:16:04,040 Speaker 3: I know, have you recorded a lot too? Well? 292 00:16:04,080 --> 00:16:06,720 Speaker 4: I just made my first album that I got to 293 00:16:06,760 --> 00:16:09,360 Speaker 4: co produce with Larry Klein, who was such a dream 294 00:16:09,360 --> 00:16:11,480 Speaker 4: to work with. And yes, yeah. 295 00:16:11,320 --> 00:16:13,880 Speaker 3: Of course, congratulations. What do you sing? Do I know 296 00:16:13,920 --> 00:16:15,000 Speaker 3: any songs that you do on that? 297 00:16:16,880 --> 00:16:19,720 Speaker 4: The only cover that's on there as Wild as the Wind, 298 00:16:19,840 --> 00:16:22,760 Speaker 4: which is one of my other favorite songs, is what 299 00:16:22,880 --> 00:16:25,400 Speaker 4: you called Wild is the Wind. 300 00:16:25,560 --> 00:16:27,840 Speaker 3: How does it go? I don't know if I know that. 301 00:16:29,000 --> 00:16:33,920 Speaker 4: It goes h love me, love me, love me, say 302 00:16:34,040 --> 00:16:40,600 Speaker 4: you do, let me fly away with you? For my 303 00:16:40,880 --> 00:16:48,080 Speaker 4: love is like the wind and Wild is the Wind song? 304 00:16:48,680 --> 00:16:51,080 Speaker 3: I can't When does it come out? The album? 305 00:16:51,400 --> 00:16:54,600 Speaker 4: Hopefully this summer. I'm working on that release. We'll see. 306 00:16:54,760 --> 00:16:57,160 Speaker 3: I can't wait to see it. Ours comes out April 307 00:16:57,160 --> 00:16:58,200 Speaker 3: twenty fifth, you know. 308 00:16:58,200 --> 00:16:59,760 Speaker 4: Yes, very excited for that. 309 00:17:00,680 --> 00:17:02,920 Speaker 2: It is amazing. And now I'm curious. 310 00:17:03,000 --> 00:17:05,280 Speaker 1: I'm gonna jump back in, and I'm not to sing 311 00:17:05,320 --> 00:17:06,800 Speaker 1: because no one fucking wants to hear that. 312 00:17:07,240 --> 00:17:09,000 Speaker 3: I want to hear you sing. I'd like to hear 313 00:17:09,040 --> 00:17:10,720 Speaker 3: you sing. Just look at you. 314 00:17:10,720 --> 00:17:12,679 Speaker 1: You do not want to hear me sing. But what 315 00:17:12,760 --> 00:17:16,639 Speaker 1: I will say is I am curious for you. You know, 316 00:17:16,680 --> 00:17:18,720 Speaker 1: there are very few movies where you get to bring 317 00:17:18,760 --> 00:17:21,800 Speaker 1: in the musical element. How much did that then inspire 318 00:17:21,840 --> 00:17:25,880 Speaker 1: your creativity because you're seeing the creativity from the movie side, 319 00:17:26,240 --> 00:17:29,200 Speaker 1: which is also based around music. So did that come 320 00:17:29,200 --> 00:17:30,840 Speaker 1: into the recording of the album at all. 321 00:17:32,520 --> 00:17:36,280 Speaker 3: The recording of this album of Still Blooming did did? 322 00:17:36,320 --> 00:17:38,680 Speaker 3: What kind of movie life or storytelling? 323 00:17:39,240 --> 00:17:47,919 Speaker 1: I mean being around that creativity on a film, say yeah. 324 00:17:45,960 --> 00:17:50,399 Speaker 3: Yes, yes, and particularly being around Ariana and Cynthia you 325 00:17:50,440 --> 00:17:52,879 Speaker 3: mean and Scarlett I mean no. 326 00:17:53,040 --> 00:17:55,480 Speaker 1: Just being arounded in that vibe because again, when you're 327 00:17:55,520 --> 00:17:58,560 Speaker 1: doing a movie, very rarely do you get to incorporate music, 328 00:17:58,880 --> 00:18:01,800 Speaker 1: so you're seeing it from a different look. When I 329 00:18:01,840 --> 00:18:04,280 Speaker 1: talk about this as artists all the time, right when 330 00:18:04,280 --> 00:18:06,560 Speaker 1: you do a cover song, for example, you may know 331 00:18:06,680 --> 00:18:09,000 Speaker 1: a song your whole life. I talked to Brian Ferry 332 00:18:09,040 --> 00:18:11,280 Speaker 1: when he did his Bob Dylan album. You know those 333 00:18:11,359 --> 00:18:15,000 Speaker 1: songs forever, but when you sing them, you pick up 334 00:18:15,040 --> 00:18:18,080 Speaker 1: a whole different nuance, You hear them in a different way. 335 00:18:18,359 --> 00:18:22,120 Speaker 1: I imagine for you bring you music into a film, 336 00:18:22,520 --> 00:18:26,360 Speaker 1: it definitely, you know, stirred up different images and different ideas. 337 00:18:27,240 --> 00:18:32,560 Speaker 3: Yes, you're so right. Well, I love music kind of 338 00:18:32,600 --> 00:18:35,760 Speaker 3: informs as always, and I'm always experimenting with how it 339 00:18:35,840 --> 00:18:40,440 Speaker 3: can impact acting and scenes. I'm always thinking I was. 340 00:18:40,560 --> 00:18:43,160 Speaker 3: I always ask directors, hey, do we know anything about 341 00:18:43,200 --> 00:18:46,560 Speaker 3: the score for this movie before as we're doing it, 342 00:18:46,600 --> 00:18:49,400 Speaker 3: because if I see it afterwards and I see the score, 343 00:18:49,600 --> 00:18:53,320 Speaker 3: sometimes I'll go, oh, that's the feeling they wanted from 344 00:18:53,400 --> 00:18:56,919 Speaker 3: that scene. I wish I'd known that music before. Or 345 00:18:58,240 --> 00:19:03,040 Speaker 3: I just on my own go hmm, what music do 346 00:19:03,200 --> 00:19:05,840 Speaker 3: I feel like is going on in me in my 347 00:19:06,000 --> 00:19:08,720 Speaker 3: thinking and feeling what would be right for this scene? 348 00:19:08,720 --> 00:19:11,480 Speaker 3: And I usually come up with ten or fifteen songs 349 00:19:11,960 --> 00:19:17,640 Speaker 3: or something. So I'm always interested in music in movies, 350 00:19:17,720 --> 00:19:24,040 Speaker 3: and I'm a big fan of movie scores, and I 351 00:19:24,080 --> 00:19:26,520 Speaker 3: can have strong opinions about them. I could be watching 352 00:19:26,520 --> 00:19:29,399 Speaker 3: a movie and go, ah, this music is kind of 353 00:19:29,480 --> 00:19:32,600 Speaker 3: ruining this movie for me, or I can go, oh, 354 00:19:32,640 --> 00:19:37,800 Speaker 3: my gosh, this music is so making this movie and 355 00:19:37,840 --> 00:19:41,119 Speaker 3: this scene. I mean, I've seen on the Waterfront a 356 00:19:41,160 --> 00:19:46,479 Speaker 3: lot of times, but Leonard Bernstein's score for that drives 357 00:19:46,520 --> 00:19:49,560 Speaker 3: it into a whole other place in me. You know, 358 00:19:49,640 --> 00:19:53,000 Speaker 3: the taxicab scene, you know, with Brando and Rod Steiger 359 00:19:53,480 --> 00:19:57,920 Speaker 3: is very good, They're wonderful nearly Casan's direction, but that 360 00:19:58,040 --> 00:20:02,800 Speaker 3: music hits you in places that you wouldn't go otherwise, 361 00:20:02,840 --> 00:20:06,159 Speaker 3: and likewise many other Bernard Hermann scores for Verdigo and 362 00:20:06,600 --> 00:20:11,800 Speaker 3: Taxi Driver and Psycho and and I love that Chinatown 363 00:20:11,960 --> 00:20:16,159 Speaker 3: score and all pt Anderson's movies. Those Johnny Greenwood's scores 364 00:20:16,280 --> 00:20:18,440 Speaker 3: kill me. And John Williams. Of course, I've been lucky 365 00:20:18,520 --> 00:20:22,560 Speaker 3: enough to be in a movie or two that he did, 366 00:20:22,640 --> 00:20:26,479 Speaker 3: and what a master he is. I was just listening 367 00:20:26,480 --> 00:20:28,920 Speaker 3: to the score of Close Encounters of the Third Kind 368 00:20:29,359 --> 00:20:33,800 Speaker 3: the other day. Oh my golly, just fantastic. And I 369 00:20:33,800 --> 00:20:36,600 Speaker 3: saw this. Did you see that documentary on Ennyo Morricone 370 00:20:37,200 --> 00:20:40,440 Speaker 3: called any I believe? Yeah? I love him and it's 371 00:20:40,760 --> 00:20:43,240 Speaker 3: you should see this documentary. It's it's long, and it 372 00:20:43,280 --> 00:20:45,560 Speaker 3: goes into everything that he's ever done. He talks a lot. 373 00:20:45,840 --> 00:20:47,920 Speaker 3: It's fantastic. Yeah. 374 00:20:48,000 --> 00:20:49,960 Speaker 2: I think his most underrated score was The Mission. 375 00:20:50,000 --> 00:20:54,680 Speaker 3: I love that movie The Mission, Yes, delightful. I do too, 376 00:20:55,160 --> 00:20:57,560 Speaker 3: Robert de Niro and Jeremy Irons. 377 00:20:59,080 --> 00:21:00,800 Speaker 2: Question for you ever work with Cameron Crow? 378 00:21:02,160 --> 00:21:04,679 Speaker 3: I have not. No, I'd love to do. You know 379 00:21:04,760 --> 00:21:05,800 Speaker 3: him if you talked to him. 380 00:21:06,280 --> 00:21:08,520 Speaker 1: Oh, he's one of my close friends. I actually wrote 381 00:21:08,520 --> 00:21:10,640 Speaker 1: the forward to my book. But It's so funny because 382 00:21:10,640 --> 00:21:12,760 Speaker 1: as you're talking about the music and films, I'm like, 383 00:21:13,200 --> 00:21:14,280 Speaker 1: there is like a stage. 384 00:21:14,320 --> 00:21:15,040 Speaker 2: Does'm well too? 385 00:21:15,119 --> 00:21:17,080 Speaker 1: I mean the two of you guys would just like 386 00:21:17,320 --> 00:21:18,560 Speaker 1: make each other ecstatic. 387 00:21:18,560 --> 00:21:20,000 Speaker 2: Your heads would explode with joy. 388 00:21:20,880 --> 00:21:21,000 Speaker 3: Ah. 389 00:21:21,119 --> 00:21:23,639 Speaker 2: Yes, he makes you the same way. 390 00:21:24,400 --> 00:21:26,680 Speaker 3: He makes me ecstatic. Anyway. I love his work. I'd 391 00:21:26,720 --> 00:21:27,879 Speaker 3: love to meet him, give him a big hug and 392 00:21:27,960 --> 00:21:30,320 Speaker 3: a kiss for me, And I'd love to hang out 393 00:21:30,320 --> 00:21:33,000 Speaker 3: with you guys sometime anytime. 394 00:21:33,080 --> 00:21:34,240 Speaker 2: Yeah, he's great. 395 00:21:34,240 --> 00:21:36,639 Speaker 1: But I mean it's funny because like, yeah, just as 396 00:21:36,680 --> 00:21:38,960 Speaker 1: a music fan, you guys would get along so well. 397 00:21:39,680 --> 00:21:42,400 Speaker 3: I'll bet, I'll bet I'd love to talk to him. 398 00:21:43,040 --> 00:21:44,000 Speaker 3: How did you get introduced? 399 00:21:44,080 --> 00:21:46,520 Speaker 2: So I have to ask you for you? 400 00:21:47,040 --> 00:21:49,600 Speaker 1: Is there one character you played where you have the 401 00:21:49,640 --> 00:21:52,240 Speaker 1: most fun some music? Is there one character where you 402 00:21:52,280 --> 00:21:54,679 Speaker 1: were like, you know, no one would expect this, but 403 00:21:54,760 --> 00:21:58,280 Speaker 1: the music that you picked for it was like, I 404 00:21:58,359 --> 00:22:00,639 Speaker 1: don't know, you can go as deep or as interesting 405 00:22:00,680 --> 00:22:02,239 Speaker 1: as you want. As I said, Tom Waits is my 406 00:22:02,240 --> 00:22:06,080 Speaker 1: favorite songwriter, but I mean, whenever it is. Was there 407 00:22:06,119 --> 00:22:09,080 Speaker 1: one character that just you know, musically you got to 408 00:22:09,119 --> 00:22:10,040 Speaker 1: have so much fun with? 409 00:22:10,880 --> 00:22:13,640 Speaker 3: Well, I'm crazy about Tom Waits. I saw him live 410 00:22:13,720 --> 00:22:17,720 Speaker 3: at the will Turn Theater. Do that show where he 411 00:22:17,800 --> 00:22:21,760 Speaker 3: had the light bulb and he and what show was 412 00:22:21,760 --> 00:22:23,159 Speaker 3: it was? It have a name to it? Where he 413 00:22:23,240 --> 00:22:25,679 Speaker 3: was doing the Devil down in the hole, Get the 414 00:22:25,720 --> 00:22:27,120 Speaker 3: Devil down there? 415 00:22:27,480 --> 00:22:28,840 Speaker 2: That was there. I see him. 416 00:22:28,840 --> 00:22:30,800 Speaker 1: I've traveled so many times to see him because he 417 00:22:30,840 --> 00:22:31,640 Speaker 1: never plays live. 418 00:22:32,680 --> 00:22:35,879 Speaker 3: Oh boy, he is fantastic and I loved him. He 419 00:22:35,920 --> 00:22:38,880 Speaker 3: worked with Robert Aldman too in short Cuts. Remember him 420 00:22:38,920 --> 00:22:43,000 Speaker 3: and Lily Tomlin in that fantastic of course, Down by 421 00:22:43,080 --> 00:22:43,840 Speaker 3: the Times from. 422 00:22:43,720 --> 00:22:45,720 Speaker 2: The Raymond Carver book No Path through the Waterfall? 423 00:22:46,760 --> 00:22:47,920 Speaker 3: Oh what about the Waterfall? 424 00:22:49,119 --> 00:22:51,480 Speaker 1: This tattoo comes from that. I love Raymond Carver, so 425 00:22:51,520 --> 00:22:53,600 Speaker 1: of course Shortcuts is one of my favorite movies. 426 00:22:54,400 --> 00:22:57,439 Speaker 3: Yeah, I do too. I love that. And how'd you 427 00:22:57,480 --> 00:23:01,639 Speaker 3: like Tom Waits In the Francis Co version of Dracula? 428 00:23:02,720 --> 00:23:10,240 Speaker 3: He was Renfield. The Renfield character, Oh master Master flies flies. Yeah, 429 00:23:10,320 --> 00:23:13,840 Speaker 3: I thought that is great. But a character that I 430 00:23:13,880 --> 00:23:16,120 Speaker 3: played that I had music. Well, I snuck music into 431 00:23:16,200 --> 00:23:19,879 Speaker 3: the fly that movie I did with David Cronenberg. I 432 00:23:19,920 --> 00:23:23,399 Speaker 3: had you know, we we we allowed the music to 433 00:23:23,560 --> 00:23:26,040 Speaker 3: the character to play a piano in his Uh you 434 00:23:26,040 --> 00:23:29,560 Speaker 3: know Science Loft there and in Earth Girls Are Easy, 435 00:23:29,600 --> 00:23:34,920 Speaker 3: I got to play the piano again, and but doing Wicked, 436 00:23:34,960 --> 00:23:37,480 Speaker 3: I'll tell you that was a thrill. I'd loved that 437 00:23:37,640 --> 00:23:41,520 Speaker 3: musical when I saw it on Broadway with Christian Jenna 438 00:23:41,560 --> 00:23:44,560 Speaker 3: with and a Dina Monzelle, and I was just thrilled 439 00:23:44,560 --> 00:23:46,359 Speaker 3: that I was able to be part of that. 440 00:23:46,800 --> 00:23:49,720 Speaker 1: You know, well before I let's stage take back over 441 00:23:49,760 --> 00:23:51,720 Speaker 1: to finish it off, I will ask you, because I 442 00:23:51,760 --> 00:23:53,880 Speaker 1: don't feel like we talked a ton about still Blooming, 443 00:23:54,240 --> 00:23:56,840 Speaker 1: because you've asked so many questions, which is always makes 444 00:23:56,880 --> 00:24:01,520 Speaker 1: for a great and fascinating interview. But for you, you yeah, Ben, 445 00:24:01,600 --> 00:24:04,159 Speaker 1: you playing in Carlisle? Are you going to be touring 446 00:24:04,200 --> 00:24:05,679 Speaker 1: at all? Or is it just going to be central 447 00:24:05,680 --> 00:24:06,240 Speaker 1: to New York. 448 00:24:06,760 --> 00:24:10,479 Speaker 3: So we're going to be at the London Palladium, and 449 00:24:10,520 --> 00:24:12,800 Speaker 3: then we go to Luxembourg at Rock Hall, Then we're 450 00:24:12,800 --> 00:24:16,600 Speaker 3: in Atlanta at Symphony Hall May twenty fifth, then we 451 00:24:16,680 --> 00:24:19,200 Speaker 3: come to the Carlisle for a week and then Toronto 452 00:24:19,320 --> 00:24:23,120 Speaker 3: at Massey Hall June twenty eighth, then June thirtieth, Montreal 453 00:24:23,160 --> 00:24:26,080 Speaker 3: at the Montreal Jazz Festival. What do you think about that? 454 00:24:26,200 --> 00:24:29,560 Speaker 3: And then July second, we're in Chicago at the Chicago Theater. 455 00:24:29,840 --> 00:24:32,800 Speaker 3: So we got a couple of dates that we're doing. 456 00:24:33,520 --> 00:24:36,960 Speaker 3: I hope you're there at all of all of them. 457 00:24:37,240 --> 00:24:39,000 Speaker 1: I think I might have to make a sure to Toronto, 458 00:24:39,119 --> 00:24:41,440 Speaker 1: but I will have to say, as an La guy, 459 00:24:41,480 --> 00:24:43,600 Speaker 1: I'm a little hurt that there's no La on there. 460 00:24:44,160 --> 00:24:46,800 Speaker 3: We're going. We're coming to La at some point. We 461 00:24:46,840 --> 00:24:50,040 Speaker 3: had a residency there and there's a place. I don't 462 00:24:50,080 --> 00:24:52,600 Speaker 3: know if I can mention it yet, probably not. No, 463 00:24:52,960 --> 00:24:54,960 Speaker 3: it's going to be a surprise. There's a place there 464 00:24:55,200 --> 00:24:58,040 Speaker 3: that we're talking to and whenever we're going to be 465 00:24:58,080 --> 00:25:00,920 Speaker 3: in La, we're going to be there. So I'll see 466 00:25:00,920 --> 00:25:02,720 Speaker 3: you there all right. 467 00:25:02,760 --> 00:25:05,160 Speaker 1: Now, I'm so curious someplace because i'm also the La 468 00:25:05,240 --> 00:25:06,080 Speaker 1: Times Jazz writer. 469 00:25:06,200 --> 00:25:11,280 Speaker 3: But all good, Okay, way to go. I'm so glad 470 00:25:11,359 --> 00:25:13,480 Speaker 3: you did this. Thank you. I can't wait to see 471 00:25:13,480 --> 00:25:14,000 Speaker 3: you in person. 472 00:25:14,960 --> 00:25:15,120 Speaker 1: Yeah. 473 00:25:15,240 --> 00:25:16,160 Speaker 2: No, I can't wait either. 474 00:25:16,200 --> 00:25:18,639 Speaker 1: And I guess we will have to tell Cameron that 475 00:25:18,920 --> 00:25:20,520 Speaker 1: he needs to like find a part for you. 476 00:25:20,840 --> 00:25:22,200 Speaker 2: I'll let's say itge finish it off. 477 00:25:23,040 --> 00:25:25,320 Speaker 3: Okay, Okay, So. 478 00:25:25,280 --> 00:25:29,000 Speaker 4: Two little questions. One, what are you most excited about 479 00:25:29,080 --> 00:25:30,600 Speaker 4: to bring this, this music for the to. 480 00:25:30,800 --> 00:25:33,679 Speaker 3: Of the audiences. I love, you know, I'm curious and 481 00:25:33,680 --> 00:25:36,200 Speaker 3: I love to see who comes, and I get interested 482 00:25:36,200 --> 00:25:38,880 Speaker 3: in them and we get to playing around and talking, 483 00:25:39,040 --> 00:25:41,159 Speaker 3: and sometimes the audience is, you know, I've seen a 484 00:25:41,200 --> 00:25:43,159 Speaker 3: movie or two of mine and may not be so 485 00:25:43,240 --> 00:25:48,680 Speaker 3: familiar with these classic American songbook classic standards that we do, 486 00:25:48,760 --> 00:25:52,440 Speaker 3: and so it's a responsibility but a delight to introduce 487 00:25:52,520 --> 00:25:57,560 Speaker 3: them to some of these songs. You know, Maya Psykes, 488 00:25:57,760 --> 00:26:00,679 Speaker 3: who's sung with us a lot in our last residency 489 00:26:00,680 --> 00:26:04,880 Speaker 3: and Los Angeles is singing Stella by Starlight on this 490 00:26:05,600 --> 00:26:08,480 Speaker 3: thing in a different way, and there's a little scat 491 00:26:08,560 --> 00:26:12,120 Speaker 3: that she does which is an homage to George Benson 492 00:26:12,400 --> 00:26:15,160 Speaker 3: and a solo that he took. And I play along 493 00:26:15,200 --> 00:26:18,399 Speaker 3: with her in unison and I love the arrangement that 494 00:26:18,480 --> 00:26:21,240 Speaker 3: Alex Frank and Joe bag did for that. But you 495 00:26:21,280 --> 00:26:22,840 Speaker 3: know that song, you sing that song? 496 00:26:23,800 --> 00:26:25,600 Speaker 4: I don't sing it, but I love that song. It's 497 00:26:25,600 --> 00:26:26,120 Speaker 4: a beautiful. 498 00:26:26,200 --> 00:26:31,280 Speaker 3: Yeah, this song sings. Yeah, I'm crazy about that song. 499 00:26:31,600 --> 00:26:34,119 Speaker 3: I like how how I like the whole idea of 500 00:26:34,160 --> 00:26:40,520 Speaker 3: that song that it's you know, speak everything. Some metaphors, 501 00:26:40,520 --> 00:26:44,160 Speaker 3: A few metaphors in a row of what this fella 502 00:26:44,320 --> 00:26:50,199 Speaker 3: is talking about, how this stella's face, how she looks 503 00:26:50,640 --> 00:26:54,159 Speaker 3: reminds him of the song of Robin Sings and the 504 00:26:54,280 --> 00:26:56,919 Speaker 3: murmur of a brook and a great symphonic theme. And 505 00:26:56,960 --> 00:27:00,600 Speaker 3: then finally it goes in an unexpected direction. He just 506 00:27:00,640 --> 00:27:03,160 Speaker 3: finishes off by saying, you know, my. 507 00:27:03,240 --> 00:27:10,280 Speaker 6: Heart and I agree, she's everything on earth to me. 508 00:27:11,440 --> 00:27:16,479 Speaker 3: Isn't that? Isn't that great? You know, it's great to 509 00:27:16,480 --> 00:27:20,280 Speaker 3: be able to, yeah, to to share that with audiences 510 00:27:20,359 --> 00:27:25,520 Speaker 3: and go, mm, imagine this. Listen to this. You know, 511 00:27:26,720 --> 00:27:28,119 Speaker 3: it's just a big thrill. 512 00:27:29,640 --> 00:27:32,400 Speaker 4: You remember the first song of the Great American Songbook 513 00:27:32,440 --> 00:27:35,479 Speaker 4: that you think back on from your childhood that just 514 00:27:35,520 --> 00:27:39,240 Speaker 4: completely struck you, and you've kind of credit that to be, 515 00:27:40,119 --> 00:27:42,760 Speaker 4: you know, one of the songs that made you fall 516 00:27:42,760 --> 00:27:43,640 Speaker 4: in love with this era. 517 00:27:44,200 --> 00:27:47,639 Speaker 3: Well, you know, Misty was the was the my dad 518 00:27:47,680 --> 00:27:50,959 Speaker 3: brought home this vinyl of Errol Garner plays Misty and 519 00:27:51,040 --> 00:27:54,440 Speaker 3: I heard that on our high five set and listen 520 00:27:54,480 --> 00:27:57,520 Speaker 3: to it over and over again, and that that that 521 00:27:57,640 --> 00:27:59,600 Speaker 3: might have set me off and the way he played 522 00:27:59,600 --> 00:28:04,879 Speaker 3: it particularly, and then my piano teacher gave me, you know, 523 00:28:05,040 --> 00:28:08,000 Speaker 3: Ali cant forget a thing with syncopation, and then I 524 00:28:08,040 --> 00:28:11,000 Speaker 3: think Stairway to the Stars he gave me to learn 525 00:28:11,400 --> 00:28:16,000 Speaker 3: and a deep purple. But you know, Stairway to the Stars. 526 00:28:16,160 --> 00:28:18,560 Speaker 3: You know that how that song is used in that 527 00:28:18,680 --> 00:28:23,040 Speaker 3: movie some like it hot in the back of that 528 00:28:23,119 --> 00:28:26,880 Speaker 3: scene underneath that scene where Tony Curtis is making out 529 00:28:26,880 --> 00:28:31,040 Speaker 3: with Marilyn Monroe on the on the boat. I think 530 00:28:31,040 --> 00:28:34,359 Speaker 3: that's great. And I liked learning these new jazz chords 531 00:28:34,520 --> 00:28:37,760 Speaker 3: to that for the first time. That set me off. 532 00:28:37,840 --> 00:28:42,560 Speaker 3: You know, don't stair right to the Stars. Stair right 533 00:28:42,640 --> 00:28:44,320 Speaker 3: to the Stars. Yeah, I was crazy about that. 534 00:28:46,280 --> 00:28:49,120 Speaker 1: We got to wrap up because okay, but I will 535 00:28:49,160 --> 00:28:52,760 Speaker 1: ask you, and this is hopefully one or one sentence answer. 536 00:28:53,200 --> 00:28:56,360 Speaker 1: As a writer, I have to ask, what's the one 537 00:28:56,480 --> 00:28:57,760 Speaker 1: song you wish you had written? 538 00:28:57,760 --> 00:28:58,160 Speaker 2: And why? 539 00:28:59,120 --> 00:29:03,080 Speaker 3: Uh? A song that I'd wished i'd written. Oh, let 540 00:29:03,080 --> 00:29:08,520 Speaker 3: me see. Well, I mean, you know, I'm not uh, 541 00:29:08,720 --> 00:29:11,520 Speaker 3: you know, I'm not such a song writer. But if 542 00:29:11,600 --> 00:29:17,280 Speaker 3: I was ever gifted enough to write a song, well, 543 00:29:18,120 --> 00:29:23,840 Speaker 3: I like, oh, you know, I like Billy Straehorn and 544 00:29:23,920 --> 00:29:26,440 Speaker 3: Duke Ellington. I liked Lush Life a lot. You know, 545 00:29:29,920 --> 00:29:33,640 Speaker 3: That's that's awful. Nice. I did a movie called Lush Life, 546 00:29:33,760 --> 00:29:36,640 Speaker 3: where Forrest Whitaker played my buddy. I pretended to play 547 00:29:36,640 --> 00:29:39,560 Speaker 3: the saxophone, he pretended to play the trumpet, and we 548 00:29:39,560 --> 00:29:41,840 Speaker 3: were palas in that. We played a lot of jazz music, 549 00:29:42,760 --> 00:29:45,600 Speaker 3: but there are a million songs that I'm crazy about. 550 00:29:45,880 --> 00:29:50,800 Speaker 3: She's I mean, we played bouncing with Bud on this 551 00:29:50,920 --> 00:29:54,760 Speaker 3: and that's that has to be the quintessential b Bob melody. 552 00:29:55,880 --> 00:30:00,240 Speaker 3: You know that Bud Powell, did you know Argue the 553 00:30:00,800 --> 00:30:03,000 Speaker 3: greatest jazz pianist pianist ever? 554 00:30:04,560 --> 00:30:06,560 Speaker 2: Yeah, well, well, thank you so much for your time. 555 00:30:06,600 --> 00:30:08,080 Speaker 2: This is a great pleasure for both. 556 00:30:07,920 --> 00:30:10,520 Speaker 3: Of us, my pleasure entirely. Thank you so much. It's 557 00:30:10,560 --> 00:30:12,880 Speaker 3: a great thrill meeting you. It's an honor. I'll see 558 00:30:12,880 --> 00:30:13,360 Speaker 3: you soon now