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Speaker 1: Hi, this is Steve Balton.

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Speaker 2: Hello, I'm Sage Bava and this is in Service of

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Speaker 2: a new podcast dedicated to speaking with artists and change

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Speaker 2: makers on how being in service influences their.

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Speaker 1: Work and their creative process.

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Speaker 3: We're excited to share this conversation with the incredible Samara Joy,

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Speaker 3: a multi Grammy Award winning jazz singer who just co

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Speaker 3: produced an album called Portraits, coming out on Verb Records.

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Speaker 3: She is a lyricist, a composer, a bandleader, and just

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Speaker 3: a timeless soul with the most wonderful, warm voice. Here

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Speaker 3: is our conversation.

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Speaker 1: We've been asking everyone of late, and I'm surprised by

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Speaker 1: how much no one talks about this. Every time I

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Speaker 1: ask someone, they're like, wow, And I don't know why

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Speaker 1: the hell no one talks about this. But we've been

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Speaker 1: asking everyone, how do you get back? What does it

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Speaker 1: mean to you? And how does it influenced your music?

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Speaker 1: And because so many people grew up with it, it's

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Speaker 1: a huge part of their music, but no one ever

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Speaker 1: talks about it.

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Speaker 4: Mm hmmm, yes, oh my gosh.

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Speaker 5: Well, I guess I try to do it in different ways,

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Speaker 5: and more recently I've been working on and being mindful

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Speaker 5: of giving back to my family, and I think the

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Speaker 5: way that.

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Speaker 4: I do it not only is by.

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Speaker 5: I guess, opportunity, whether it be like taking them on

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Speaker 5: tour with me and kind of highlighting them as part

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Speaker 5: of my inspiration and giving them the platform to do

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Speaker 5: what they love as well, since they inspired me to

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Speaker 5: do what I love, but also with my time, you know,

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Speaker 5: making time when I'm home, because it's kind of it's

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Speaker 5: been rare the past couple of years to be home

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Speaker 5: and actually spending quality time with them. So the past

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Speaker 5: couple of weeks, I made it a priority to visit

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Speaker 5: with my grandfather.

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Speaker 4: He's ninety four years old.

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Speaker 5: And just sit with him and watch Perry Mason and

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Speaker 5: talk with him and you know, do things that I

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Speaker 5: used to do when I was growing up all the time.

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Speaker 5: But now that you know, things have been going so well,

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Speaker 5: that's a part of things that that that's a part

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Speaker 5: of life that I guess is easy to neglect because

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Speaker 5: you say, you're so busy for this and that. But

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Speaker 5: I can take an hour train from New York to

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Speaker 5: Philly and sit with him and spend time with him.

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Speaker 5: I can, you know, take a ten minute drive to

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Speaker 5: my parents' house and just watch movies that I used

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Speaker 5: to watch with them growing up. And that's enough, at

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Speaker 5: least for the moment. I want to give back in

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Speaker 5: different ways, but I think that that's a way that

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Speaker 5: hopefully they can understand, you know, how much they mean

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Speaker 5: to me. And it affects my music because it reminds

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Speaker 5: me of why I'm doing it, you know. I think

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Speaker 5: the a lot of reasons why people maybe have blocks

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Speaker 5: or have periods of, you know, not knowing which direction

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Speaker 5: to go back next. It can come from a variety

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Speaker 5: of things, but I think for me, it might stem from, Okay,

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Speaker 5: now I realize I really need to spend time with

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Speaker 5: my family because I'm not sure what to do, and

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Speaker 5: I need to go back to, you know what, doing

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Speaker 5: what it was that helped me get to this place

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Speaker 5: in the first place.

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Speaker 1: So isn't it funny though? Yet you have like giving

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Speaker 1: back in air quotes, and I'm sure that you get

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Speaker 1: just as much, if not more, spending time with your

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Speaker 1: grandfather that he does, you know. And it's so funny.

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Speaker 1: Like when I used to do Grammy Camp, I would

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Speaker 1: have musicians come and talk to students and people would

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Speaker 1: be like, oh my god, this is the greatest thing ever.

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Speaker 1: And it's like it means as much of them as

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Speaker 1: more so, and especially when you're so busy, I'm sure

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Speaker 1: you really appreciate time. Just shut the world out for

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Speaker 1: an hour and watch Perry Mason.

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Speaker 5: Mm hmm, exactly exactly. And you're right, it does a

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Speaker 5: lot for me. I'm hoping that I'm bringing some sort

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Speaker 5: of life into his, you know, everyday routine, bringing some

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Speaker 5: sort of spontaneity. But yeah, the truth is it inspires

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Speaker 5: me too, you know, and it brings me back down

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Speaker 5: to earth, and you know, it's like it's almost like

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Speaker 5: a reset.

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Speaker 1: Also, imagine hearing those stories though, inspires me as.

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Speaker 5: A writer, absolutely absolutely, hearing stories of the fact that

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Speaker 5: you know, he grew up in Jacksonville. I didn't know

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Speaker 5: he was in a barbershop quartet up until he moved

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Speaker 5: to Philadelphia at nineteen.

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Speaker 4: I didn't realize.

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Speaker 5: I don't know what I was thinking when I thought

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Speaker 5: that people were musicians, but I guess I didn't realize

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Speaker 5: that in order to sustain the dream of being a

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Speaker 5: musician and of being a singer, you have to work

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Speaker 5: other jobs. So my grandfather, he worked as a cook

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Speaker 5: in a restaurant, in Philly, he worked as a bus driver.

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Speaker 5: He would bring back donuts to the neighborhood kids because

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Speaker 5: the because I think his stop or something like that

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Speaker 5: was right next to this donut shop. While also sustaining

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Speaker 5: the dream of you know, of of bringing this message

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Speaker 5: you know, of of the word, and of of gospel,

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Speaker 5: of his music, you know, to the world, he also

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Speaker 5: has had to sustain it in different ways.

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Speaker 4: So yeah, having having stuff.

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Speaker 5: Like that, you know, in my in my family legacy

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Speaker 5: is very inspiring to me as a writer, as a

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Speaker 5: as a performer at everything.

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Speaker 1: I have to ask one more quick question, and I'm

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Speaker 1: letting say shake over for a long time, but very quickly.

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Speaker 1: My dad's from Philly and I used to live there,

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Speaker 1: so I have to ask where in Philly. I used

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Speaker 1: to live in Spring Garden twenty thirty.

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Speaker 5: Oh, he lives in West Philly, and I think before

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Speaker 5: that he lived in North Philly on thirtieth Street. That's

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Speaker 5: what they always say is they had a house on

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Speaker 5: thirtieth Street. But now he lives on Haverford Avenue in

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Speaker 5: West Philly.

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Speaker 1: Man, there's such a rich musical history there though. Do

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Speaker 1: you feel it when you're there?

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Speaker 5: Yes, every time I go. Every time I get off

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Speaker 5: of the Amtrak train, I'm like, I love this.

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Speaker 1: Well favorite Philly song and then sausage.

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Speaker 4: Philly song.

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Speaker 1: Yeah, I mean yeah, there's so much great music to

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Speaker 1: come out of there, the Philly soul sound all notes.

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Speaker 5: Like do you my favorite song? Oh gosh, my favorite song?

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Speaker 5: I don't know if I have a favorite song. Oh no, No.

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Speaker 1: I was just curiousd because there's such, like I said,

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Speaker 1: a rich history there.

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Speaker 5: I will say that I surprise my parents with tickets

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Speaker 5: to the Frankie Beverly. Frankie Beverly and May's had he

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Speaker 5: had his last tour with them, and so I surprised

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Speaker 5: them with like a private car driving them to really

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Speaker 5: to go and see that concert. And everybody was dressed

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Speaker 5: in all white, and so I would say that's a

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Speaker 5: big part of my life.

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Speaker 4: Frankie Beverly and Maze.

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Speaker 1: That's stage after you all you there for a while.

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Speaker 3: Well, it's really beautiful how you are taking that time

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Speaker 3: to fuel you know, you're so busy, you travel so much,

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Speaker 3: you work so much, that having that time to really

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Speaker 3: fuel you and have you grow. I mean, it's just

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Speaker 3: remarkable how many hats that you wear. And I think

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Speaker 3: the evolution of wearing different hats is like an evolution

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Speaker 3: of just feeding yourself in different ways. Can you talk

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Speaker 3: about the making of this album and how you were

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Speaker 3: a songwriter, you were an a ranger, you were a bandleader,

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Speaker 3: you were a producer, you were a vocalist, like all

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Speaker 3: of these different hats that you wore. Was this quite

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Speaker 3: an evolution from the last album in that right?

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Speaker 4: Absolutely?

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Speaker 5: And I'm I'm pretty amazed at myself for having the

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Speaker 5: courage and the confidence to do that, because I wasn't

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Speaker 5: It wasn't always that way, uh, And I think the Yeah,

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Speaker 5: that's probably the biggest difference that I see in myself

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Speaker 5: and in my performance and in my involvement from the

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Speaker 5: first two albums to now. And I feel like the

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Speaker 5: first the first two albums, I was growing a little

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Speaker 5: bit in confidence because of but but I feel like

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Speaker 5: I only had confidence in the music area, you know,

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Speaker 5: which is still the same. But it was just like, Okay,

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Speaker 5: this is my repertoire, this is what I want to perform,

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Speaker 5: this is what I love to sing, and I know

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Speaker 5: that this will have some sort of connection between me

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Speaker 5: and the audience because I love these songs and I

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Speaker 5: love to sing them. But when it came back, when

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Speaker 5: it came to co producing, when it came to even

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Speaker 5: listening back to takes to see if I like them

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Speaker 5: or not, I was like.

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Speaker 4: I can't do it. Everything is bad. I don't.

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Speaker 5: I just I just kind of handed off everything to

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Speaker 5: the experts quote unquote and was like, Okay, I don't.

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Speaker 5: I don't know if I can manage all of this,

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Speaker 5: because if it was up to me, maybe.

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Speaker 4: I wouldn't release it.

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Speaker 5: But now and I'm thinking about it, I'm like, I've

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Speaker 5: been on the road since twenty twenty one, and so

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Speaker 5: I've had all of this time to kind of accumulate

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Speaker 5: these experiences.

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Speaker 6: And.

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Speaker 5: I guess hone in on what I want my sound

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Speaker 5: to be, what I want to present to people. I've

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Speaker 5: had the chance to try things out three or four

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Speaker 5: different bands and different configurations, and with this process, I

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Speaker 5: was like, Okay, there's so much more clarity. It feels

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Speaker 5: like my eyes have opened and my ears have opened

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Speaker 5: up the more music that I've listened to and the

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Speaker 5: more I've paid attention to what's around me. So it's

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Speaker 5: like I want all of everybody to be in the studio.

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Speaker 5: I want everybody to be in the room in the studio,

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Speaker 5: not in booths. Everybody that we're listening to, all of

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Speaker 5: our heroes recorded in the room, and it sounded natural,

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Speaker 5: and it sounded organic. That's what I want. We're performing

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Speaker 5: on stage, we're all close together. We've developed this chemistry.

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Speaker 5: I've developed this chemistry with everybody. I wanted to be

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Speaker 5: the same in the studio. I want to choose who

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Speaker 5: I'm co producing with. I want to choose the photographers,

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Speaker 5: the stylist, the photocover, the concept everything. I wanted to

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Speaker 5: be a part of every part of the process because

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Speaker 5: I felt like now I had the confidence to Actually

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Speaker 5: it wasn't even so much the confidence, but I just

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Speaker 5: realized that I had all of the tools all along,

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Speaker 5: but I just needed time to shape them up a

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Speaker 5: little bit. And so I think that's what I'm most

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Speaker 5: proud about about this whole process, and the way that

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Speaker 5: this kind of came about is because a year ago

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Speaker 5: it didn't sound like the way.

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Speaker 4: The recording sounds now.

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Speaker 5: We needed a little time to work things out and

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Speaker 5: to rehearse and to play through arrangements, change them up

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Speaker 5: a little bit, try again on the next gig, and

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Speaker 5: maybe rehearse it and rework it again. And that process

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Speaker 5: is something that you just can't you can't shortcut. You

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Speaker 5: have to go through, you know, that process of working

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Speaker 5: things out in order to come up with, I don't know,

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Speaker 5: a finished or at least a more finished product than

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Speaker 5: what you started with.

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Speaker 4: So I'm really proud of how this all came together.

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Speaker 5: And I guess how I opened myself up to, you know,

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Speaker 5: learning more about how to be a part of it.

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Speaker 3: That is absolutely incredible. The role of a producer is

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Speaker 3: is such a nebulous term and it means you know

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Speaker 3: different things in different situations. And I'm I'm curious. I

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Speaker 3: feel like every every person just finds their own way

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Speaker 3: in and I think it's really cool how you learned

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Speaker 3: from the people and the music of before and you

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Speaker 3: really like stuck to that. And I'm curious more of

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Speaker 3: your process of finding your way in as a producer

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Speaker 3: and what it was like to work co producing with

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Speaker 3: Brian Lynch.

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Speaker 5: Hmm, okay, oh my gosh. We recorded in March, so

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Speaker 5: I'm like, all of these things are coming back to

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Speaker 5: me now and we're monthly at September, so producing. I

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Speaker 5: feel like the term it's always kind of been defined

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Speaker 5: at least to me as somebody who, uh, I don't know,

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Speaker 5: just kind of make sure that the vibe in the

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Speaker 5: room is good, make sure that the environment is set

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Speaker 5: and everything is set in order for the music to

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Speaker 5: kind of flow out freely. And I think in this case,

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Speaker 5: it already it was already an easy way in because

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Speaker 5: we had been on the road, we had been performing,

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Speaker 5: and so it wasn't like I was meeting all of

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Speaker 5: these musicians for the first time and we had to

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Speaker 5: create a vibe.

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Speaker 4: We had already kind of made one our own on

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Speaker 4: our own.

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Speaker 5: And developed this sort of musical relationship and chemistry on

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Speaker 5: stage and playing these songs over and over and over again,

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Speaker 5: that by the time we got into the studio, we

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Speaker 5: had been pretty relaxed and confident in the material that

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Speaker 5: we were going to play. And I think that because

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Speaker 5: of that, I knew that I wanted to make sure

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Speaker 5: that I was a co producer and had a hand

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Speaker 5: in how it was going to be recorded, because I

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Speaker 5: knew how I wanted it to sound already, And in

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Speaker 5: Brian Lynch, I kind of found somebody who who I

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Speaker 5: had admired, we had admired because of his musical prowess,

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Speaker 5: the fact that he arranges for large ensembles, he knows

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Speaker 5: exactly you know, what to listen for in horns, dynamically, harmonically,

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Speaker 5: feel wise, you know. But it wasn't like he came

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Speaker 5: in and was like I am Brian Lynch, I am

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Speaker 5: you know, like he respected us as equals, and that

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Speaker 5: was something that I really it's something that to this

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Speaker 5: day I still really really appreciate. He didn't see us

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Speaker 5: as young kids who were trying stuff out. Like he

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Speaker 5: respected us as equals and as musicians and treated us

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Speaker 5: as such in rehearsals and in the studio kind of

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Speaker 5: let us take the lead and if we, you know,

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Speaker 5: we asked him for opinions or advice or he made

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Speaker 5: a note on certain things. Everything was helpful, Everything you know,

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Speaker 5: made sense. Everything was only adding on to what was

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Speaker 5: happening in the studio and only tweaking what had already

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Speaker 5: been kind of like worked on by us. But it

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Speaker 5: was perfect looking. I was kind of looking for somebody

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Speaker 5: who had fresh ears because I, you know, disadvantages. I

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Speaker 5: have been listening to all the songs and listening to

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Speaker 5: it being created, So maybe there's some things that I

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Speaker 5: miss that he could pick up because he's hearing all

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Speaker 5: this music for the first time, and so it was

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Speaker 5: really I mean, I had never met him before this,

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Speaker 5: I had never worked with him before, but it was

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Speaker 5: it was such a perfect partnership. From being in the

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Speaker 5: studio to listening to takes back, trying to figure out

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Speaker 5: which take was better, editing and all that kind of stuff.

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Speaker 5: We had a crunched deadline all of a sudden, and

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Speaker 5: he just pulled it together. Him and David Darlington pulled together.

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Speaker 5: We got it done and we submitted it, and I mean,

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Speaker 5: he was just he was a perfect co producing, co pilot, partner,

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Speaker 5: or whatever you want to call. He's an amazing musician

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Speaker 5: and it was really an honor to work with him

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Speaker 5: in this process.

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Speaker 3: You know, there's so many steps to talk about with

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Speaker 3: the creation of this, even though you recorded it in

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Speaker 3: such a short period of time, there's so many different elements,

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Speaker 3: and one of them is the lyrics that you wrote.

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Speaker 3: What was that process like to hear this music and

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Speaker 3: then find your story on top of that and come

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Speaker 3: up with the words to say.

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Speaker 5: It required a lot of time, and I fell in

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Speaker 5: love with the music first because of the story that

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Speaker 5: was already being told by the composer through the melody

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Speaker 5: and through the harmony, and I wanted to make sure

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Speaker 5: that the lyrics flowed easy as easily as the melody did.

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Speaker 4: You know.

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Speaker 5: It's like when I listened to songs that I that

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Speaker 5: I wrote lyrics to on this album, like Reincarnation of

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Speaker 5: a Love Bird by Charles Mingus and Now and Then

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Speaker 5: by Barry Harris, and even my own lyrics to my

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Speaker 5: own composition. I didn't want it so that the lyrics

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Speaker 5: were fighting the melody, or that it seemed unnatural. I

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Speaker 5: wanted to I wanted it to flow as if I

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Speaker 5: wasn't singing any words, you know, like it was just

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Speaker 5: you know, that easy, and the story was still as clear,

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Speaker 5: And so.

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Speaker 1: Yeah, it was.

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Speaker 5: It was a process of first learning the melody and

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Speaker 5: feeling feeling comfortable singing it on its own, and then

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Speaker 5: kind of trying to put together a story that went

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Speaker 5: along with the backstory of the original melody. So with Mingus,

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Speaker 5: it was the fact that he had wrote the song

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Speaker 5: for Charlie Parker in honor of him, and what I

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Speaker 5: love the little tidbit that I learned about him writing

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Speaker 5: this song is that he wrote this song in dedication

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Speaker 5: to Bird, but it wasn't necessarily like he was using

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Speaker 5: He said something like he wasn't using necessarily Bird's language,

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Speaker 5: like Bird's musical language, Like people write compositions dedicated to

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Speaker 5: someone and use everything that they've created or whatever. But

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Speaker 5: he just he wrote this song based on what he

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Speaker 5: felt about Bird, which I thought was really beautiful. And

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Speaker 5: the Verry Hairs song that was more of a personal

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Speaker 5: connection because I knew Barry Hairs and I learned from him,

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Speaker 5: and I spent time with him, like two years, so

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Speaker 5: I won't say it's like a whole lot of time,

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Speaker 5: but enough to realize that this was a great you know,

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Speaker 5: I was fortunate enough to be able to do so,

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Speaker 5: And so I wanted to write lyrics honoring him and

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Speaker 5: honoring mentors in general, because they play such an important

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Speaker 5: part in our life lives and in our learning, giving

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Speaker 5: us things to think about, you know, like allowing us

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Speaker 5: to learn from them and watch them at work. It's

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Speaker 5: just something that doesn't happen as often because a lot

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Speaker 5: of our heroes are past and gone now, so we

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Speaker 5: don't get to see them up close, and so I

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Speaker 5: want to make sure to always mention him and honor him,

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Speaker 5: and honor any mentors that I've ever had who have

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Speaker 5: inspired me, because I wouldn't be here without their work

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Speaker 5: and without their dedication to the music and their love

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Speaker 5: for it and them sharing it with me. So it's

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Speaker 5: a combination of a lot of things writing lyrics, but

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Speaker 5: it takes a lot of time because I want to

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Speaker 5: make sure that it flows easy and it's easy to

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Speaker 5: understand and easy to sing.

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Speaker 1: That's interesting. Do you also find know that your lyrics

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Speaker 1: you say, it takes you a lot of time stage

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Speaker 1: and I have spoken to thousands, thousands of songwriters of

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Speaker 1: the last year, and so much of it is like

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Speaker 1: there's a channeling that comes worse stuff just comes in.

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Speaker 1: And do you find that there was that element as well?

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Speaker 1: And it's also very interesting to write music or lyrics

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Speaker 1: to someone else's music because you don't get to do

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Speaker 1: that often, and there is a different responsibility because you.

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Speaker 4: Want to honor what they were saying exactly.

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Speaker 5: And I'm not somebody who has written lyrics all of

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Speaker 5: their life, Like I just started writing lyrics to solos

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Speaker 5: at first, not even melodies to songs, but to solos exclusively.

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Speaker 5: The senior year of my undergrad and so this kind

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Speaker 5: of love for writing lyrics to melodies came much later

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Speaker 5: after I had already been interpreting other people's lyrics and

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Speaker 5: melodies for some time and still love to. But it

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Speaker 5: requires a lot of sitting and a lot of like

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Speaker 5: scratching things out, writing things.

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Speaker 4: Again. My notebook is full of like just.

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Speaker 5: Like little ideas, and I have to pace myself, like

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Speaker 5: I don't have to write lyrics to the whole song today.

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Speaker 5: You know, I just listened to the song over and

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Speaker 5: over again. I sing the song. You know, some words

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Speaker 5: come to me. I write it down. Maybe it doesn't work,

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Speaker 5: you know, in the end, but it requires it just

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Speaker 5: requires a lot of pouring out and then and then

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Speaker 5: whatever comes out on the page, at least for me,

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Speaker 5: I just try to piece it together.

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Speaker 1: That's interesting. I think so many people think in stage

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Speaker 1: would probably agree. People think there's a great mysticism and songwriting,

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Speaker 1: and there is some element to it too. But it's

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Speaker 1: very interesting because I got to interview Daniel land Wad,

383
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Speaker 1: the great producer, and he was telling me he worked

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Speaker 1: with Dylan on Time out of Mind, and he was

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Speaker 1: telling me how Dylan would write a couple of it

386
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Speaker 1: and if it didn't fit the song. He would take

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Speaker 1: the couple of it out and it was like puzzle building.

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Speaker 1: And that was so interesting to me because I think

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Speaker 1: everybody's like, oh, it just comes to you a dream

390
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Speaker 1: and yeah, So when the lyrics on this record that

391
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Speaker 1: really surprised you.

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Speaker 5: I think the Maga song well surprised. There were there

393
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Speaker 5: were moments both of those lyrics that surprised me. And actually,

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Speaker 5: I'll talk about the three because right now I'm thinking, yeah,

395
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Speaker 5: only Reincarnation of a Love Bird now and then and

396
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Speaker 5: then my own composition peace of Mind. There were moments

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Speaker 5: of each of those that surprised me. And what I

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Speaker 5: can think of now with Reincarnation of a Love Bird,

399
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Speaker 5: I was I was trying to figure out what the

400
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Speaker 5: song was gonna be about because the only line that

401
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Speaker 5: I had for a while, like for at least three months,

402
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Speaker 5: the only line I had was only a dream to

403
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Speaker 5: me you were, which is the start of the song.

404
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Speaker 4: Holy Dream to Me you Were.

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Speaker 5: And I was like, where is this gonna go? Like,

406
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Speaker 5: I don't know where this is going after this, And

407
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Speaker 5: there's a particularly hard part of the song where the

408
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Speaker 5: melody just jumps around so much.

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Speaker 4: Let me see if I can do it.

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Speaker 5: It's like visions of a world of beauty, passions overflowing

411
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Speaker 5: and reflections up I was like, what am I going

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Speaker 5: to write words to that? How am I gonna do that?

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Speaker 6: Right?

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Speaker 4: And then it just kind of when I've came.

415
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Speaker 5: Gradually, I was like, Okay, I'm going to write this

416
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Speaker 5: song about you know, love, like the feeling of love

417
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Speaker 5: sometimes can be so surreal it feels like a dream.

418
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Speaker 5: And so the words are visions of a world of love,

419
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Speaker 5: passions overflowing, and reflections of the memories, the questions left behind.

420
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Speaker 5: And then following that, it says I wrote reality is

421
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Speaker 5: a dream and truth a lie. And I was like,

422
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Speaker 5: oh shoot, I feel like I'm you know, I'm like,

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Speaker 5: I'm trying. Every time I think about writing, I try

424
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Speaker 5: to think in a poetic manner. I guess, so maybe

425
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Speaker 5: that's what helps it in now. And then I wrote

426
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Speaker 5: the a sections while I was on the plane, but

427
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Speaker 5: I was still struggling to write the lyrics to the bridge,

428
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Speaker 5: and I remembered everybody calling Barry the bebop flame, keeper

429
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Speaker 5: of the bebop flame. And I also remember that whenever

430
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Speaker 5: he had lyrics to his own, you know, vocal ease.

431
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Speaker 5: It was always kind of like storytelling, like a Disney

432
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Speaker 5: like storytelling, kind of like that, you know, and he

433
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Speaker 5: was very I don't want to say he was theatrical,

434
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Speaker 5: but he was, you know, he was a character. And

435
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Speaker 5: so I just started the bridge. Once upon a time

436
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Speaker 5: there burned a flame so strong and bright, glowing for

437
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Speaker 5: the whole world to see. Now it seems the flame

438
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Speaker 5: has gone too soon, We'll sing your song, though it's

439
00:23:22,560 --> 00:23:25,080
Speaker 5: not the same. Will a spark like yours ever burn again?

440
00:23:25,960 --> 00:23:28,080
Speaker 5: And I figured that that was the perfect, you know,

441
00:23:28,240 --> 00:23:31,280
Speaker 5: thing to kind of bring the whole song together without

442
00:23:31,320 --> 00:23:34,320
Speaker 5: necessarily saying his name, because you could relate, you know,

443
00:23:34,760 --> 00:23:37,600
Speaker 5: a flame and the spark of a person, the life

444
00:23:37,640 --> 00:23:40,639
Speaker 5: of a person, to any mentor you have that is gone.

445
00:23:41,359 --> 00:23:43,639
Speaker 4: But that's my own personal way of saying, you know,

446
00:23:43,720 --> 00:23:44,280
Speaker 4: this is for you.

447
00:23:46,000 --> 00:23:49,879
Speaker 5: And with my original song peace of Mind, I was

448
00:23:49,960 --> 00:23:52,520
Speaker 5: kind of writing it that came about when I was

449
00:23:52,560 --> 00:23:55,399
Speaker 5: just kind of playing around on the piano and I

450
00:23:55,440 --> 00:23:59,639
Speaker 5: came up with this melody. And at the time, I

451
00:23:59,680 --> 00:24:02,240
Speaker 5: was thinking about my life and how much it had changed,

452
00:24:02,800 --> 00:24:06,960
Speaker 5: and how everything around me was constantly changing and constantly moving,

453
00:24:07,400 --> 00:24:10,280
Speaker 5: and I wasn't sure of where to be grounded and

454
00:24:10,359 --> 00:24:13,320
Speaker 5: where to you know, find my own peace of mind

455
00:24:13,359 --> 00:24:13,600
Speaker 5: in the.

456
00:24:13,560 --> 00:24:14,360
Speaker 4: Midst of all of this.

457
00:24:14,760 --> 00:24:17,639
Speaker 5: How can I stay stable when everything is pushing me

458
00:24:17,680 --> 00:24:19,680
Speaker 5: to the left and right and front and back and stuff,

459
00:24:21,760 --> 00:24:24,639
Speaker 5: and so the where do you find your peace of mind?

460
00:24:25,160 --> 00:24:27,000
Speaker 5: Was the first thing that kind of came out about

461
00:24:27,040 --> 00:24:31,080
Speaker 5: that song, and I continued from there. So I, yeah,

462
00:24:31,119 --> 00:24:33,240
Speaker 5: it's just different parts of each song that I write

463
00:24:33,280 --> 00:24:36,400
Speaker 5: lyrics to is very special to me. And I'm glad that,

464
00:24:36,520 --> 00:24:38,440
Speaker 5: you know, I can recall it and think about it

465
00:24:38,480 --> 00:24:41,440
Speaker 5: and think about the moment where it kind of you know,

466
00:24:41,760 --> 00:24:44,679
Speaker 5: it did flick on, you know, or one word or

467
00:24:44,680 --> 00:24:48,440
Speaker 5: one reminder, one memory caused me to, you know, have

468
00:24:48,520 --> 00:24:51,399
Speaker 5: this open minded moment and the lyrics kind of poured out.

469
00:24:52,720 --> 00:24:54,560
Speaker 1: Yeah, I have few more questions than I will. Let's

470
00:24:54,600 --> 00:24:57,800
Speaker 1: say it's shake it home. But first, since you say

471
00:24:57,840 --> 00:25:01,480
Speaker 1: you want to think poet, Stage and I both write poetry.

472
00:25:01,560 --> 00:25:04,280
Speaker 1: I was the English phajor, who is your favorite poet?

473
00:25:05,720 --> 00:25:07,880
Speaker 4: I don't have a favorite poet at the moment.

474
00:25:08,480 --> 00:25:10,600
Speaker 1: That's all right. He's writer.

475
00:25:12,520 --> 00:25:13,080
Speaker 6: As a band.

476
00:25:13,640 --> 00:25:18,520
Speaker 5: But I will say I enjoy reading works by Tony Morrison.

477
00:25:19,119 --> 00:25:23,920
Speaker 5: I enjoy reading excerpts of people like James Baldwin and

478
00:25:24,119 --> 00:25:28,960
Speaker 5: more recently Isabelle Wilkerson. I enjoyed their writing. It may

479
00:25:29,000 --> 00:25:32,720
Speaker 5: it may not be poetry, you know, proper, but I

480
00:25:32,800 --> 00:25:33,920
Speaker 5: enjoy the way that they write.

481
00:25:35,359 --> 00:25:37,400
Speaker 1: No, that's fair. And also by the way. I mean,

482
00:25:37,440 --> 00:25:40,320
Speaker 1: some of the greatest prose writers of all time were

483
00:25:40,440 --> 00:25:42,960
Speaker 1: very poetic, but there were prose writers that weren't poetry.

484
00:25:43,920 --> 00:25:48,600
Speaker 1: You know, Anne Patch it book called Valcanto. Actually it's

485
00:25:48,640 --> 00:25:51,760
Speaker 1: so funny. People don't like to like her because he's populous,

486
00:25:52,080 --> 00:25:55,560
Speaker 1: But the original interview with the vampire is it doesn't writing.

487
00:25:56,800 --> 00:25:59,560
Speaker 1: Jack harrowac on the road. All right, Now, my next question,

488
00:26:00,560 --> 00:26:03,640
Speaker 1: last one, this is a podcast one. What is your

489
00:26:03,680 --> 00:26:04,560
Speaker 1: purpose in life?

490
00:26:05,960 --> 00:26:07,879
Speaker 4: What is my purpose in life?

491
00:26:08,720 --> 00:26:12,040
Speaker 1: Or as a musician? Mm hmmm, wherever you feel?

492
00:26:12,440 --> 00:26:16,040
Speaker 5: Yeah, oh, this is loaded. I never know what to

493
00:26:16,040 --> 00:26:19,919
Speaker 5: say to this one, but I think I'll say my

494
00:26:20,080 --> 00:26:26,600
Speaker 5: purpose in life. My purpose in life is to never

495
00:26:26,720 --> 00:26:30,240
Speaker 5: stop growing. And I think that that applies in all

496
00:26:30,280 --> 00:26:34,800
Speaker 5: aspects of life as a daughter, as a musician, and

497
00:26:34,880 --> 00:26:38,000
Speaker 5: as a person. And I think the only way that

498
00:26:38,040 --> 00:26:39,520
Speaker 5: I'll be able to not only.

499
00:26:40,880 --> 00:26:41,560
Speaker 4: Serve my.

500
00:26:43,920 --> 00:26:48,239
Speaker 5: Desire and passion for music is by growing and the

501
00:26:48,240 --> 00:26:53,480
Speaker 5: only way that I can serve others and remind myself

502
00:26:53,520 --> 00:26:55,600
Speaker 5: that it's not about showing people what I can do.

503
00:26:55,640 --> 00:26:57,720
Speaker 5: And all these acrobats and look at this success and

504
00:26:57,720 --> 00:27:00,960
Speaker 5: look at here, look at their is to remind myself

505
00:27:01,000 --> 00:27:03,280
Speaker 5: to never stop growing and never be complacent with where

506
00:27:03,680 --> 00:27:04,040
Speaker 5: I am.

507
00:27:04,160 --> 00:27:05,720
Speaker 4: There's always better that you can do.

508
00:27:05,800 --> 00:27:08,040
Speaker 5: There's always more people that you can help, and there's

509
00:27:08,080 --> 00:27:12,600
Speaker 5: always there's always something that you could be doing, you know,

510
00:27:12,760 --> 00:27:14,879
Speaker 5: to better yourself and to better others.

511
00:27:15,040 --> 00:27:18,399
Speaker 1: So right again, there's no right or wrong answer. We

512
00:27:18,480 --> 00:27:22,040
Speaker 1: just started like asking this probably a couple of months

513
00:27:22,080 --> 00:27:24,320
Speaker 1: ago or maybe a year and a half ago, and

514
00:27:24,359 --> 00:27:27,359
Speaker 1: it's just fascinated to get people's answers. Sorry, I was

515
00:27:27,400 --> 00:27:30,520
Speaker 1: just laughing though. Just once I want to hear someone

516
00:27:31,080 --> 00:27:32,960
Speaker 1: just yell out to fucking party.

517
00:27:33,640 --> 00:27:37,480
Speaker 5: Yeah, I you know, I'm really I don't feel like

518
00:27:37,480 --> 00:27:40,720
Speaker 5: I'm normal sometimes because I'm twenty four and I don't

519
00:27:40,760 --> 00:27:44,480
Speaker 5: think i've really ever, like, you know, partied hard. I'm like,

520
00:27:44,520 --> 00:27:46,399
Speaker 5: maybe I should. I should do it one of these days,

521
00:27:46,560 --> 00:27:51,399
Speaker 5: just go out, get drinks, party because I can't I

522
00:27:51,520 --> 00:27:54,560
Speaker 5: know if my if my bedtime is ten now, it's

523
00:27:54,640 --> 00:27:56,320
Speaker 5: only going to get earlier the older I get.

524
00:27:56,400 --> 00:27:59,639
Speaker 1: So you're having fun, that's all.

525
00:27:59,720 --> 00:28:12,880
Speaker 6: Yet take it home.

526
00:28:13,600 --> 00:28:16,280
Speaker 3: Yeah, you're too much of an old soul. And I

527
00:28:16,320 --> 00:28:20,200
Speaker 3: think that the purpose question is so interesting because internally,

528
00:28:20,400 --> 00:28:24,760
Speaker 3: like you know, you have your your idea, and then externally,

529
00:28:24,880 --> 00:28:28,480
Speaker 3: like for those looking upon you, it's it's like, you know,

530
00:28:28,560 --> 00:28:31,760
Speaker 3: you bring so much joy in your music, like the

531
00:28:31,920 --> 00:28:35,000
Speaker 3: arrangements of these songs and how you use your voice

532
00:28:35,040 --> 00:28:37,320
Speaker 3: as a horn is not only mind blowing, but it's

533
00:28:37,320 --> 00:28:42,440
Speaker 3: also joy filled. And you know your purpose, like you

534
00:28:42,640 --> 00:28:45,000
Speaker 3: just bring so much joy just by the work that

535
00:28:45,080 --> 00:28:46,840
Speaker 3: you do. So I think it's always, you know, a

536
00:28:46,880 --> 00:28:51,240
Speaker 3: funny question, but I need to ask about about those

537
00:28:51,360 --> 00:28:55,320
Speaker 3: arrangements and about coming up with you know, those really

538
00:28:55,360 --> 00:28:58,320
Speaker 3: intricate but but really joyful parts.

539
00:29:00,440 --> 00:29:04,480
Speaker 5: Oh man, I love this question. So because I was

540
00:29:04,560 --> 00:29:08,120
Speaker 5: listening a year and a half ago, I was listening

541
00:29:08,160 --> 00:29:13,240
Speaker 5: to and discovering and being introduced to more ensemble recordings,

542
00:29:13,280 --> 00:29:18,080
Speaker 5: whether it was more Duke Ellington, more Billy Straehorn, more,

543
00:29:19,720 --> 00:29:23,560
Speaker 5: Benny Golsen, more thatd Jones and mel Lewis, and I

544
00:29:23,600 --> 00:29:26,360
Speaker 5: wanted that behind me, I was like, I want horns

545
00:29:26,400 --> 00:29:30,040
Speaker 5: now want I want that kind of support, and I

546
00:29:30,080 --> 00:29:32,200
Speaker 5: want there to be arrangements and I want to be

547
00:29:32,920 --> 00:29:34,680
Speaker 5: and I think at first it wasn't even like I

548
00:29:34,720 --> 00:29:39,120
Speaker 5: wanted to sing parts necessarily, but I just wanted that sound.

549
00:29:39,640 --> 00:29:42,560
Speaker 5: And so the only way that I felt like we

550
00:29:42,560 --> 00:29:46,240
Speaker 5: could make it fresh and new was not only by

551
00:29:47,360 --> 00:29:50,080
Speaker 5: kind of calling on my peers that I knew who

552
00:29:50,120 --> 00:29:53,560
Speaker 5: loved to arrange and who loved to write, but by

553
00:29:53,560 --> 00:29:56,440
Speaker 5: giving each of them some of the songs that I

554
00:29:56,520 --> 00:29:59,280
Speaker 5: liked and allowing them to have free reign. They asked me,

555
00:29:59,280 --> 00:30:02,120
Speaker 5: what do you want on this? I was like, just go,

556
00:30:02,400 --> 00:30:05,560
Speaker 5: you know, just create, just write and see what happens,

557
00:30:05,640 --> 00:30:09,760
Speaker 5: you know, because I didn't want it to be like, Okay,

558
00:30:09,880 --> 00:30:13,360
Speaker 5: singer comes in at the at the beginning, solo horn player,

559
00:30:13,640 --> 00:30:14,520
Speaker 5: singer at the end.

560
00:30:14,600 --> 00:30:16,080
Speaker 4: I wanted it to be intricate.

561
00:30:16,120 --> 00:30:19,040
Speaker 5: I wanted it to be a statement of each of

562
00:30:19,080 --> 00:30:22,120
Speaker 5: their musical personalities because they all come from different backgrounds.

563
00:30:22,160 --> 00:30:26,640
Speaker 5: One of them listens to revel, and I think everybody

564
00:30:26,640 --> 00:30:29,600
Speaker 5: listens to classic music, but a lot of heavy influences

565
00:30:29,600 --> 00:30:34,040
Speaker 5: in revel and you know Mazorski, I think he said,

566
00:30:34,440 --> 00:30:38,000
Speaker 5: and then there's a lot of Latin influence and listening

567
00:30:38,080 --> 00:30:41,800
Speaker 5: to people like Chuccio Valdez and Eddie Palmieri and you know,

568
00:30:41,840 --> 00:30:44,520
Speaker 5: all of these different backgrounds, Barry Harris, and so I

569
00:30:44,600 --> 00:30:48,040
Speaker 5: just wanted everybody to kind of pour into the project, you.

570
00:30:48,000 --> 00:30:49,200
Speaker 4: Know, in every way.

571
00:30:49,240 --> 00:30:52,000
Speaker 5: I didn't want it to rely solely on one arranger

572
00:30:52,560 --> 00:30:56,520
Speaker 5: or solely on one one book necessarily.

573
00:30:56,560 --> 00:30:58,200
Speaker 4: I wanted to write a wide range.

574
00:30:58,000 --> 00:31:02,800
Speaker 5: Of repertoire and wide cast a wide net for arrangements.

575
00:31:03,800 --> 00:31:08,479
Speaker 5: And then as the project grew, whatever backgrounds that they

576
00:31:08,480 --> 00:31:12,600
Speaker 5: were writing behind each soloist, I ended up learning just

577
00:31:12,640 --> 00:31:14,720
Speaker 5: because we were playing the song so much, and so

578
00:31:14,760 --> 00:31:17,360
Speaker 5: I would try to sing along with them, and then

579
00:31:17,640 --> 00:31:20,360
Speaker 5: they started writing parts for me, and they started writing

580
00:31:20,400 --> 00:31:23,040
Speaker 5: sections for me to improvise. And I don't think that

581
00:31:23,040 --> 00:31:27,000
Speaker 5: that would have happened if I had just either stuck

582
00:31:27,040 --> 00:31:30,880
Speaker 5: with a smaller band and kind of played looser arrangements.

583
00:31:30,880 --> 00:31:34,200
Speaker 5: Which is great too. I think because I took the

584
00:31:34,240 --> 00:31:39,240
Speaker 5: step and wanted to expand and wanted to grow, the

585
00:31:39,280 --> 00:31:42,800
Speaker 5: opportunity was made for me to grow and to do

586
00:31:42,840 --> 00:31:46,200
Speaker 5: something that I hadn't done prior, and to surround myself

587
00:31:46,240 --> 00:31:49,920
Speaker 5: with people who were also thinking and passionate about music

588
00:31:50,360 --> 00:31:54,280
Speaker 5: and who were interested in learning more and not necessarily

589
00:31:54,320 --> 00:31:57,640
Speaker 5: copying or imitating our hero's word for word and song

590
00:31:57,720 --> 00:32:02,720
Speaker 5: for song, but using those inspirations to create our own music.

591
00:32:03,200 --> 00:32:05,600
Speaker 5: And as a result, I mean, we had a show

592
00:32:06,080 --> 00:32:09,400
Speaker 5: at town Hall, our debut at town Hall, and Ron

593
00:32:09,440 --> 00:32:12,440
Speaker 5: Carter came, Chris Potter came, Kenney Garrett came, Lenny White

594
00:32:13,640 --> 00:32:16,040
Speaker 5: and they all loved it. And I was like, Okay,

595
00:32:16,120 --> 00:32:19,080
Speaker 5: this is all I needed. Ralph Slalama, Gary Smullyan, I

596
00:32:19,120 --> 00:32:21,200
Speaker 5: was like, this is this is all I needed to to,

597
00:32:21,520 --> 00:32:24,080
Speaker 5: not not to that I didn't love it enough before,

598
00:32:24,880 --> 00:32:27,320
Speaker 5: but to have people that we look up to who

599
00:32:27,360 --> 00:32:31,360
Speaker 5: created their own musical landscapes say that, you know, they're

600
00:32:31,400 --> 00:32:32,960
Speaker 5: proud of what we're doing and for us to keep

601
00:32:33,000 --> 00:32:34,800
Speaker 5: going was enough for me.

602
00:32:38,560 --> 00:32:42,560
Speaker 3: That's amazing. Is there anything about this album that that

603
00:32:42,640 --> 00:32:46,040
Speaker 3: you want that we haven't talked about that you want

604
00:32:46,320 --> 00:32:47,280
Speaker 3: to be included in this?

605
00:32:49,000 --> 00:32:49,320
Speaker 4: Hmmm?

606
00:32:52,680 --> 00:32:54,680
Speaker 5: I think, I mean, I guess we already touched on it.

607
00:32:55,600 --> 00:33:00,680
Speaker 5: But hopefully this album is a testament to what is

608
00:33:00,760 --> 00:33:06,000
Speaker 5: possible when when you trust yourself as an artist, and

609
00:33:06,600 --> 00:33:09,000
Speaker 5: when you trust the process, and when you keep your

610
00:33:09,000 --> 00:33:11,760
Speaker 5: mind open. And the reason I named it portrait is

611
00:33:11,800 --> 00:33:15,800
Speaker 5: because not only because I love visual art and I

612
00:33:15,800 --> 00:33:20,200
Speaker 5: wanted an oil painting of myself on the cover. But

613
00:33:21,040 --> 00:33:23,520
Speaker 5: when I look at when I look at art, I

614
00:33:23,560 --> 00:33:26,280
Speaker 5: see the whole picture, and I see the completion of

615
00:33:26,320 --> 00:33:29,280
Speaker 5: the artist's idea. But the more that I admire it

616
00:33:29,480 --> 00:33:31,240
Speaker 5: and the more that I look, I see all of

617
00:33:31,280 --> 00:33:33,240
Speaker 5: the details and all of the colors and the textures

618
00:33:33,280 --> 00:33:36,680
Speaker 5: that were required to make this complete picture. And so

619
00:33:36,720 --> 00:33:38,800
Speaker 5: hopefully that's what people will take away when they listen

620
00:33:38,880 --> 00:33:41,640
Speaker 5: to this album. Is like, at first, you might say,

621
00:33:41,680 --> 00:33:45,640
Speaker 5: this is gen Z Superstar, is Marriatory, you know, this

622
00:33:45,720 --> 00:33:48,960
Speaker 5: is Grammy, you know whatever. But the more you listen,

623
00:33:49,040 --> 00:33:51,840
Speaker 5: you'll be like, she's a musician. You know, she's she's

624
00:33:51,840 --> 00:33:57,080
Speaker 5: a part of the process. She is integral in in

625
00:33:57,120 --> 00:34:00,320
Speaker 5: this music throughout every song. You know, her identity is

626
00:34:00,320 --> 00:34:05,680
Speaker 5: becoming more and more clear. And uh yeah, hopefully people

627
00:34:05,800 --> 00:34:07,880
Speaker 5: get to know me more by listening to this album.

628
00:34:08,000 --> 00:34:13,720
Speaker 4: So, oh, you're muted.

629
00:34:17,640 --> 00:34:20,279
Speaker 1: What did you learn about yourself in the making of

630
00:34:20,280 --> 00:34:25,920
Speaker 1: this album?

631
00:34:26,400 --> 00:34:28,120
Speaker 5: I guess I learned that that I have what it

632
00:34:28,200 --> 00:34:32,319
Speaker 5: takes and the image that came to my mind when

633
00:34:32,320 --> 00:34:35,360
Speaker 5: I was when I was kind of on the road Honestly,

634
00:34:35,400 --> 00:34:37,160
Speaker 5: when I was on stage in the middle of singing,

635
00:34:38,080 --> 00:34:42,759
Speaker 5: I was thinking about how a lot of performances, a

636
00:34:42,840 --> 00:34:45,640
Speaker 5: lot of times there's a spotlight on the vocalist and

637
00:34:45,680 --> 00:34:47,719
Speaker 5: then the band is under some kind of blue light,

638
00:34:47,880 --> 00:34:51,600
Speaker 5: you know, barely kind of seen in the background, and

639
00:34:51,680 --> 00:34:53,640
Speaker 5: I wanted I wanted there to be some sort of

640
00:34:53,680 --> 00:34:57,160
Speaker 5: collaborative expression. I wanted everybody to be, you know, in

641
00:34:57,239 --> 00:34:59,239
Speaker 5: half circles on stage, you know.

642
00:34:59,320 --> 00:35:01,600
Speaker 4: I wanted the drummer.

643
00:35:01,280 --> 00:35:03,239
Speaker 5: To be able to hear the piano player and the

644
00:35:03,239 --> 00:35:06,239
Speaker 5: bass player and nobody use in ears, and everybody listen

645
00:35:06,320 --> 00:35:09,920
Speaker 5: to each other and be able to control our own

646
00:35:10,000 --> 00:35:16,480
Speaker 5: dynamics and build our musical chemistry together. And I think, yeah,

647
00:35:16,520 --> 00:35:19,799
Speaker 5: I realized that because I wanted that, and I thought

648
00:35:19,800 --> 00:35:23,320
Speaker 5: about it and it actually happened. I was like, Okay,

649
00:35:23,440 --> 00:35:28,239
Speaker 5: these past four months have been insanity with this project,

650
00:35:28,360 --> 00:35:31,480
Speaker 5: you know, and trying.

651
00:35:31,239 --> 00:35:33,440
Speaker 4: To explain it to people.

652
00:35:34,440 --> 00:35:37,080
Speaker 5: But I'm glad that I stuck with my vision, and

653
00:35:37,120 --> 00:35:41,800
Speaker 5: I'm glad that I trusted myself as an artist who

654
00:35:43,040 --> 00:35:45,040
Speaker 5: wants to be able to enjoy what it is that

655
00:35:45,120 --> 00:35:47,680
Speaker 5: I do and have other people enjoy it as well.

656
00:35:49,080 --> 00:35:51,319
Speaker 4: I have what it takes, and I'm glad that I was.

657
00:35:51,480 --> 00:35:54,600
Speaker 5: I'm looking back on it now, I'm glad that I

658
00:35:54,719 --> 00:35:57,840
Speaker 5: was confident enough to follow through on this vision because

659
00:35:58,320 --> 00:36:01,200
Speaker 5: as an artist, I this is what I wanted, and

660
00:36:01,239 --> 00:36:02,560
Speaker 5: I'm glad that that had happened.

661
00:36:04,000 --> 00:36:06,439
Speaker 1: Very cool. Wait, who doy is the best FAMI leader

662
00:36:06,480 --> 00:36:07,160
Speaker 1: You've ever seen?

663
00:36:08,600 --> 00:36:10,360
Speaker 4: The best band leader I've ever.

664
00:36:10,239 --> 00:36:12,080
Speaker 1: Seen in terms of sharing the spotlight.

665
00:36:13,239 --> 00:36:23,920
Speaker 4: Damn, the leader I've ever seen in person. Hmmm, I think.

666
00:36:25,200 --> 00:36:25,759
Speaker 1: I don't know.

667
00:36:26,400 --> 00:36:28,439
Speaker 5: I'm thinking about all the people that I've seen live

668
00:36:28,520 --> 00:36:31,400
Speaker 5: over the past couple of months, and I'm trying to

669
00:36:31,480 --> 00:36:39,360
Speaker 5: think of hmm. Well, okay, I'll say I went to

670
00:36:39,440 --> 00:36:43,359
Speaker 5: Smoke Jazz Club a couple of weeks ago and I

671
00:36:43,400 --> 00:36:49,200
Speaker 5: saw Sullivan Fortner, Chris Potter, Steve Wilson, Steve Wilson, Steve Wilson,

672
00:36:49,200 --> 00:36:52,080
Speaker 5: I can't remember Desron Douglas, and Jonathan Blake.

673
00:36:52,120 --> 00:36:53,239
Speaker 4: It was Jonathan Blake's gig.

674
00:36:53,640 --> 00:36:56,719
Speaker 5: But I appreciated the fact that everybody had their fair

675
00:36:56,760 --> 00:36:58,600
Speaker 5: share of the spotlight.

676
00:36:59,719 --> 00:37:02,440
Speaker 4: And yeah, that's what I want. I want everybody.

677
00:37:02,640 --> 00:37:04,600
Speaker 5: I want the lights to be on everybody, not just me,

678
00:37:04,640 --> 00:37:06,840
Speaker 5: and everybody else is back there somewhere you know, you

679
00:37:06,920 --> 00:37:08,759
Speaker 5: can't tell if I'm singing the tracks or not, like

680
00:37:09,640 --> 00:37:11,759
Speaker 5: I want, I want to this is jazz. I want

681
00:37:11,800 --> 00:37:18,480
Speaker 5: to present live music, live art and yeah.

682
00:37:18,000 --> 00:37:20,319
Speaker 1: Oh say ja, do you want to ask to wrap up?

683
00:37:21,800 --> 00:37:26,880
Speaker 3: Well, I can't wait for these arrangements to be live.

684
00:37:27,000 --> 00:37:29,960
Speaker 3: You're going on. You are on a pretty massive tour

685
00:37:30,080 --> 00:37:32,319
Speaker 3: right now, and I'm you know, I'm sure it's it

686
00:37:32,480 --> 00:37:37,400
Speaker 3: is electric, yes, So I can't wait for everybody to

687
00:37:37,440 --> 00:37:38,160
Speaker 3: experience that.

688
00:37:38,719 --> 00:37:39,200
Speaker 4: Thank you.

689
00:37:40,400 --> 00:37:45,520
Speaker 3: Are you doing the arrangements purely as they as they appear,

690
00:37:45,680 --> 00:37:50,080
Speaker 3: or sometimes you're you're exploring different avenues and yeah, you've

691
00:37:50,120 --> 00:37:53,240
Speaker 3: got to keep you know, sometimes slow going.

692
00:37:53,960 --> 00:37:56,440
Speaker 5: And what's what I'll say is like, sorry if this

693
00:37:56,480 --> 00:38:01,440
Speaker 5: is going a long, but I'll say because we you know,

694
00:38:01,520 --> 00:38:04,440
Speaker 5: worked on we have a pretty wide book. But we

695
00:38:04,560 --> 00:38:07,680
Speaker 5: recorded these eight songs and we've been playing them already,

696
00:38:08,040 --> 00:38:11,320
Speaker 5: and so now that they're recorded, I kind of don't.

697
00:38:11,120 --> 00:38:13,360
Speaker 4: Want to play them anymore. I kind of want to

698
00:38:13,400 --> 00:38:13,880
Speaker 4: expand it.

699
00:38:13,880 --> 00:38:16,359
Speaker 5: So I've been I've been passing out my assignments of

700
00:38:16,440 --> 00:38:19,279
Speaker 5: different songs that I want to be arranged, so that

701
00:38:19,600 --> 00:38:23,080
Speaker 5: you know, when I'm doing a ninety minute set, thirty

702
00:38:23,200 --> 00:38:25,319
Speaker 5: or forty minutes of it will be the album and

703
00:38:25,360 --> 00:38:29,280
Speaker 5: then we have room to you know, explore some new material.

704
00:38:31,680 --> 00:38:32,319
Speaker 4: Beautiful.

705
00:38:32,880 --> 00:38:35,480
Speaker 1: Cool, Thank you so much for your con Thank you.

706
00:38:35,600 --> 00:38:39,680
Speaker 4: I hope, I hope I had some forbes Worthy answers.

707
00:38:41,560 --> 00:38:44,480
Speaker 1: I mean, what is the forbor the answer anyway, I don't.

708
00:38:44,560 --> 00:38:47,680
Speaker 1: I don't know. You know, as long as as long

709
00:38:47,719 --> 00:38:51,759
Speaker 1: as it's fun conversation, that's really all that matters. An

710
00:38:51,800 --> 00:38:56,960
Speaker 1: interesting conversation. Cool, Thanks great, seeing you again.

711
00:38:57,560 --> 00:38:57,960
Speaker 5: You doo.

712
00:38:58,520 --> 00:39:00,160
Speaker 4: Now you make sure you party this week in.

713
00:39:02,120 --> 00:39:03,279
Speaker 1: Another one is twenty four.

714
00:39:03,320 --> 00:39:03,759
Speaker 6: You got it.

715
00:39:04,200 --> 00:39:07,440
Speaker 5: I know that is our purpose in life, find a

716
00:39:07,480 --> 00:39:08,600
Speaker 5: party and go.

717
00:39:10,080 --> 00:39:13,279
Speaker 1: In there. I have done that. I'm good. But like

718
00:39:13,400 --> 00:39:16,399
Speaker 1: I said, it's not so much that it just says

719
00:39:16,480 --> 00:39:20,160
Speaker 1: a question. I just want to see someone who is

720
00:39:20,280 --> 00:39:23,640
Speaker 1: just like honest enough to say I fucking.

721
00:39:23,440 --> 00:39:28,680
Speaker 4: No, not me. You didn't get me this time. Maybe

722
00:39:28,719 --> 00:39:29,960
Speaker 4: on the next album interview.

723
00:39:31,080 --> 00:39:33,920
Speaker 1: Oh well, good seeing you, Take care, take care of y'all.

724
00:39:34,239 --> 00:39:41,880
Speaker 4: Bye bye,