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Speaker 1: This is Masters in Business with Barry Riddholts on Bloomberg Radio.

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Speaker 1: Welcome to the podcast. This is Barry Riddholts. You're listening

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Speaker 1: to Masters in Business on Bloomberg Radio. And I know

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Speaker 1: I say this every week, I have a very special

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Speaker 1: guest this week, but this week I really have a

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Speaker 1: very special guest. Uh. Some of you guys know I'm

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Speaker 1: a bit of a jazz fan, and uh, somebody I've

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Speaker 1: seen a number of times who always puts on a

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Speaker 1: phenomenal show is guitarist and vocalist and rack Huntur John Pizzarelli.

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Speaker 1: We we touched on about half of the questions I

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Speaker 1: wanted to get to. There's so much more stuff to

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Speaker 1: talk about the music industry and how things are changing,

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Speaker 1: what's going on with that entire shift to digital, and

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Speaker 1: how the new world has just completely turned music upside down,

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Speaker 1: especially in the realm of jazz, which isn't uh a

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Speaker 1: popular music the way pop and rap and hip hop

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Speaker 1: is today, but it is still something that is appreciated

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Speaker 1: by people of finer taste and and understanding of music history. Anyway,

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Speaker 1: John was great. He spoke with us for about an

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Speaker 1: hour and a half and graced us with a couple

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Speaker 1: of songs on his um guitar. I think if you're

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Speaker 1: a music fan at all, and if you're especially if

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Speaker 1: you're a jazz fan, you're gonna find today's show especially delightful. So,

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Speaker 1: without any further ado, my conversation with John Pizzarelli. This

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Speaker 1: is Masters in Business with Barry Ridholts on Bloomberg Radio.

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Speaker 1: My special guest today is John Pizzarelli. He is a

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Speaker 1: famous jazz guitarist vocalist who has played with ge just

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Speaker 1: about everybody in the world of music. I know we

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Speaker 1: normally focus on people in finance and investing, but today

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Speaker 1: we're gonna look at the business of music and jazz

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Speaker 1: in particular. Um, welcome to Bloomberg. It's great to be here.

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Speaker 1: Thanks for having me. So a little background about John.

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Speaker 1: You have recorded, let's see how wrong my my research.

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Speaker 1: You've recorded twenty three albums of your own music, singing

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Speaker 1: solo albums. Yeah. You've appeared as either a featured guitarist

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Speaker 1: or vocalist on forty other albums, and then you've appeared

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Speaker 1: as a session player on and a bunch of other ones. Yeah. Um,

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Speaker 1: you have in the past, you've toured extensively with your

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Speaker 1: own trio, your own quartet. We'll talk a little bit

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Speaker 1: about the big bands you're touring with now for the

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Speaker 1: Sinatra centennial. We're doing some things right. We'll get to that.

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Speaker 1: And you've also you've played with some of the biggest

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Speaker 1: names in the industry, haven't you. Well. I've opened for

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Speaker 1: Frank Sinatra. I've played with Rosemary Clooney, James Taylor, Natalie Cole,

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Speaker 1: Ricky Lee Jone said Paul McCartney. No one we've ever

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Speaker 1: heard of that. No, yeah, some of you might know.

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Speaker 1: But um and John is also in addition to the

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Speaker 1: author of a book, World on a String about his

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Speaker 1: adventures in the music world, he is also the host

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Speaker 1: of a weekly radio program co hosted with the vocalist

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Speaker 1: Jessica Malasky, who also happens to be your wife. We

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Speaker 1: share a bed there you go, and and a radio

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Speaker 1: mike and um. You know, whenever I read reviews of yours,

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Speaker 1: they always talk about your soft voice, your knack for

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Speaker 1: up tempo swing, and your charming stage presence. There you go.

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Speaker 1: That's the triple threat, there it is. So let's let's

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Speaker 1: jump right into this. You come from a family of musicians.

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Speaker 1: Your dad Bucky really well known Bucky Pizzorelli, famous guitarist,

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Speaker 1: literally played with everybody back in the day, still playing today. Yeah,

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Speaker 1: he said he's played with everybody except Bing Crosby. I

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Speaker 1: think was the only one that he missed. He missed

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Speaker 1: along the way, so he um. At one point in

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Speaker 1: time he was the guitarist for the Tonight Show band.

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Speaker 1: He was on staff at NBC and uh so he

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Speaker 1: played for the Tonight Show with Johnny Carson when it

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Speaker 1: was in New York. Uh and then when they went

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Speaker 1: to l A, he stayed here because the family was

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Speaker 1: pretty well rooted in New Jersey. I remember getting the

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Speaker 1: person a person call from Doc Severance and looking for

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Speaker 1: my father. And then when Doc came back a couple

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Speaker 1: of years later, we went back to see him after

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Speaker 1: the show and it was him and another trumpet player

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Speaker 1: named Johnny Frost, and Doc looked at the two of

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Speaker 1: them said, you're the only two guys I wanted to

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Speaker 1: go to California. They wanted to stayed back. And your

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Speaker 1: uncle's also a professional musicians. My father's uncle's were One

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Speaker 1: was a guitar player who went out with all the

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Speaker 1: big bands. His name was Bobby Dominic, and then there

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Speaker 1: was Peter Dominic who stayed around New Jersey and worked

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Speaker 1: in the silk mills in Patterson, New Jersey, but on

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Speaker 1: the weekends played gigs on the band Joe and music

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Speaker 1: around the house constantly growing up, no getting away from it.

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Speaker 1: Did you know you always wanted to be position or

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Speaker 1: were there other temptations career wise? Now? I think I

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Speaker 1: just fell into doing it, you know, I was. It

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Speaker 1: was the one thing when I was in high school.

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Speaker 1: You play a dance, you'd make twenty five dollars, you

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Speaker 1: get you know, you'd make fifty dollars if it was

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Speaker 1: a big deal in nineteen seventy seven, fifty dollars in

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Speaker 1: your pocket. So it was just something that we were doing.

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Speaker 1: I was still playing baseball a little bit through high school.

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Speaker 1: But evidently you have to be able to hit to

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Speaker 1: be a baseball player, especially the curveball. That's really tough

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Speaker 1: to uh breaking even the fastball really So no baseball

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Speaker 1: baseball career, going to play for the Red Sox, No,

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Speaker 1: But but I am. It was just I had a

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Speaker 1: lot of fun playing these gigs and uh and then

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Speaker 1: I would still have gigs in bars around New Jersey

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Speaker 1: and New York playing like cover bands and then make

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Speaker 1: real money working with my father on jazz gigs. So

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Speaker 1: what was the lure of rock and roll in those days?

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Speaker 1: So we're about the same age. Maybe I'm you got

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Speaker 1: you were born at sixty and born, But we came

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Speaker 1: up with the Beatles, the Stones. Who was there a

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Speaker 1: giant lure of becoming a rock god? Well, I think

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Speaker 1: what I wanted to do was I wanted to write songs,

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Speaker 1: and I like Jackson Brown and James Taylor and Billy Joel,

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Speaker 1: Billy Joel probably in particular, and the Beatles. So I

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Speaker 1: was writing all these songs, and I would I had

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Speaker 1: equipment to do stuff in my room where I could

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Speaker 1: set up and make demos of all these things, so

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Speaker 1: I would I would quietly keep that thing going and

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Speaker 1: try to figure out how I was going to eventually

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Speaker 1: shop all that stuff, you know, and get it out there.

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Speaker 1: But in the meantime I was out worker with my dad.

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Speaker 1: My dad said I was the only guy playing jazz

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Speaker 1: to support his rock and roll habit. You got the

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Speaker 1: way around. Well, that's kind of the way things have

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Speaker 1: developed these days, Although you know it's not the business

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Speaker 1: it was twenty years ago. It's totally changed what We're

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Speaker 1: gonna definitely talk about that a lot more in in

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Speaker 1: the upcoming segments. Um, let's talk about Nat King Cole

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Speaker 1: in the last two minutes. We have huge influence on you.

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Speaker 1: Oh yeah, Well that was the thing, is that one

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Speaker 1: I've heard the Nat called trio on record. It's a

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Speaker 1: long story that I got to it, but there they

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Speaker 1: were that records were re released in the Best of

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Speaker 1: the Necking Col Trio Parts one and two. My father said,

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Speaker 1: go find them. I found the records, brought them home,

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Speaker 1: played them and he said, you understand, and I want

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Speaker 1: that's it because it was it was the anti uh

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Speaker 1: Night and Day and I get a kick out of you.

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Speaker 1: It was Root sixty six, Straighten Up a Fly right

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Speaker 1: and from France, Sauce and and all these yeah, and

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Speaker 1: all the songs that someone who was twenty could sing

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Speaker 1: on gigs and things. It was. It fit me perfectly

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Speaker 1: on jazz gigs, not on rock and roll, right on

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Speaker 1: my debt, Yeah, and then even on my own little

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Speaker 1: gigs I could start to play them too. I had

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Speaker 1: this sort of eclectic repertoire because in that coal. So

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Speaker 1: let's fast forward A few years later, was it you

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Speaker 1: release Dear Mr Cole. Yeah, then I had I had

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Speaker 1: a group going and then uh Kyoshi here Kawa from

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Speaker 1: the japan label of our c A recommended that I

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Speaker 1: do A said we'd like to you to do a

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Speaker 1: record with Benny Green and Chris McBride were real hot

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Speaker 1: and fantastic jazz musicians. And after a long discussion, I

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Speaker 1: said sure, okay, and they picked all the songs and

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Speaker 1: I made this record. It was and at that time

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Speaker 1: was it sold pretty well? It was a good record

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Speaker 1: for me. I'm Barry rid Helpts. You're listening to Masters

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Speaker 1: in Business on Bloomberg Radio. My special guest today is

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Speaker 1: jazz guitarist and singer John Pizzarelli. We've been talking about

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Speaker 1: his mentors and people who influenced him when he began

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Speaker 1: his career. Let's start with your dad, Bucky Pizzarelli. What

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Speaker 1: was it like having a father who was really a

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Speaker 1: renowned jazz guitarist. Well, it was actually it was quite

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Speaker 1: interesting because uh, you know, we didn't really know about

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Speaker 1: like a lot of these people were coming over the house.

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Speaker 1: I think the like to have we always knew when

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Speaker 1: Benny Goodman was coming over because we were all sent upstairs,

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Speaker 1: don't come down, you know, so we knew, you know,

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Speaker 1: Benny Goodman was somebody anyway, because he was the king

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Speaker 1: of Swing, except when he was napping in your parents

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Speaker 1: sleep on the you know, he'd come over. He keep

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Speaker 1: the pants off and have the socks on still, so

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Speaker 1: you wouldn't ruin the crease, you know, in the pants, right,

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Speaker 1: but you'd have Less Paul and Zoots, Sims and slam Stewart.

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Speaker 1: And although they may not have been household days, Less

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Speaker 1: Paul was uh, you still had these guys who had

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Speaker 1: incredible careers and you really didn't know that much about

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Speaker 1: their careers until like years later he said, Oh my god,

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Speaker 1: I was sitting in a room with slam Stewart. The

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Speaker 1: questions I could have asked this guy, you know. So

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Speaker 1: it was really fun to be around the guys and

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Speaker 1: and and the idea of watching them hang out together

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Speaker 1: was as fun as watching them play together. And it

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Speaker 1: was it was in watching them hang out and saying, yeah,

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Speaker 1: these are the guys I want to hang out with.

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Speaker 1: So the only way to hang out with him was

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Speaker 1: to learn Honeysuckle Rose. You had to learn their language

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Speaker 1: and it was all those songs so you could sit

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Speaker 1: in and then after the song you could listen to

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Speaker 1: somebody tell a story. So that's why you wanted to

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Speaker 1: be part of that group. So who of this incredible

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Speaker 1: rate of musicians coming through the Pizzarelli household in New Jersey?

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Speaker 1: Who was an early mentor for you? Was it just

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Speaker 1: your dad? Was it? I think the big one was

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Speaker 1: that my my father was really the mentor because he

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Speaker 1: he he always steered you in the right direction, you know.

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Speaker 1: And what I managed to do when we started to

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Speaker 1: do gigs together, I always drove so in the dots

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Speaker 1: in two ten and I would make cassettes of all

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Speaker 1: these records that he was on, like just the track

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Speaker 1: from this one, a track from that one, one with

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Speaker 1: Zoot Sims, one with Joe Venuti, one with all these

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Speaker 1: different guys, and I put it on and so you

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Speaker 1: want to hear some music? Yeah, boom, and when I

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Speaker 1: drive and he'd listened to it because he didn't really

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Speaker 1: listen to the records that he made. They were all

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Speaker 1: in the house. I said, what was it like working

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Speaker 1: with that guy? Oh? Well, I tell you all. That

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Speaker 1: guy was unbelievable, you know, you tell a Joe Venuti story.

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Speaker 1: He talked about Zoot Sims and the guys who were

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Speaker 1: making the music that supported all the great guys like

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Speaker 1: Ben Crosby and Frank Sinatra or Woody Herman or Nat Cole.

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Speaker 1: Were these guys who were all in the house, you know,

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Speaker 1: so it was interesting to know hear them play, and

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Speaker 1: then hear what they had to say about all those guys,

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Speaker 1: and then and you've got more excited about being around

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Speaker 1: them and learning them. You know, you always heard this

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Speaker 1: style of music like swing jazz made popular by a

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Speaker 1: Count Basie and Oscar Peterson and Benny Goodman played at

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Speaker 1: such a high level you were like, well, that's what

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Speaker 1: I want to do. I mean, that's it's not old

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Speaker 1: fashioned to me. That's you know, when you hear it

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Speaker 1: played like that, it's as good as anything and still

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Speaker 1: contemporary and still minron and not at all dated. Now,

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Speaker 1: every now and then you'll hear an old scratchy recording

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Speaker 1: and you'll hear you could hear how data it is.

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Speaker 1: But when and we'll talk about your band in the

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Speaker 1: next segment, But when I hear some of your contemporary

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Speaker 1: arrangements of either the Great American Songbook or anything that

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Speaker 1: Sinatra did from the songbook. They're very fresh, they're very modern.

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Speaker 1: It doesn't seem at old dated. Well, we use that

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Speaker 1: the guys who all participate in the making of those records,

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Speaker 1: who arranged and do those things, are guys who come

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Speaker 1: from the same place from studying that stuff, wanting to

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Speaker 1: be part of that, or playing with famous people when

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Speaker 1: they were young also and said well, I want to

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Speaker 1: take that as a foundation and go from there. It's

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Speaker 1: the same thing with me with the net Coultrial. We

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Speaker 1: use it as a foundation, you know, through my twenties

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Speaker 1: and early thirties, and then took off from there when

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Speaker 1: we started to apply it to other people who were

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Speaker 1: influential and things like that. So, so let's talk about

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Speaker 1: some of the people you've met and played with. You

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Speaker 1: mentioned you met Les Paul when you were young. Did

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Speaker 1: you ever get to sit in with him? Yeah, we,

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Speaker 1: my father and I did a couple of times. Uh.

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Speaker 1: We went to a uh. He used to play all

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Speaker 1: over the place, and we we actually played together a

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Speaker 1: place called the Hanover Trail Steakhouse in Ramsey, New Jersey.

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Speaker 1: He was playing there on a Sunday night with his

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Speaker 1: son and he had all you know, all those tapes

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Speaker 1: making all that music, and he was playing how high

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Speaker 1: the Moon and everything, and he saw my dad and

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Speaker 1: I said, you gotta come play, Come on up, and

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Speaker 1: we got up played with him. The funny thing was

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Speaker 1: is that I saw him play once with a musician

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Speaker 1: where if the musicians started to get too fancy, he

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Speaker 1: would pull his plug out on the guitar so the

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Speaker 1: sound would go dead. So I was saying, I don't

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Speaker 1: want to be purpose. Yeah, so I wouldn't want to

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Speaker 1: sit next to where he could pull the plug out,

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Speaker 1: so I sat on the other side of him. So

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Speaker 1: instead when I was playing and people were like applauding

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Speaker 1: while I was playing, he just started de tuning my guitar.

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Speaker 1: One of my great regrets. When I first moved into

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Speaker 1: the city a hundred years ago, I lived on seventeenth

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Speaker 1: and third unless Paul played every Tuesday at Tuesday's. It

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Speaker 1: was one of those things, Oh it's it's right there,

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Speaker 1: like the corner fiftt oh, I gotta go. Never won

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Speaker 1: my one one of my biggest musical It is one

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Speaker 1: of the great things about the city is that they

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Speaker 1: there's the things that go on like that, and you say,

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Speaker 1: I gotta go there. I want to do that. It's

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Speaker 1: right here, and unless you make a concerted effort, it

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Speaker 1: doesn't happen. Um. So you you got to see Benny

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Speaker 1: Goodman in his underwear, But did you ever get to

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Speaker 1: play with I played with him once. We were going

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Speaker 1: to a gig in Connecticut. My fast, let's stop see Benny.

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Speaker 1: We pulled into Benny's place. I think he called and

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Speaker 1: said we were come. And Benny was sitting in a

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Speaker 1: chair and he would always try to find a read

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Speaker 1: for his clarinet. He always looking for the perfect read.

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Speaker 1: And we had the guitars, and he said, get the guitars,

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Speaker 1: and we were sitting there and he started to play

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Speaker 1: avalon and so we were following along one of his

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Speaker 1: big songs that he always play, and my father played.

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Speaker 1: He pointed the clarinet towards my father. My father started

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Speaker 1: to play a little solo and he was listening, and

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Speaker 1: then after my father was done, he like looked at me, like, okay,

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Speaker 1: you have to play now. So I got to play

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Speaker 1: a little solo in Benny Goodman's living room. That was

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Speaker 1: close I got. We opened for him on a number

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Speaker 1: of concerts, so that was fun too. It was the

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Speaker 1: first time I got to Los Angeles, was opening for

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Speaker 1: Benny Goodman with my father, and then Rosemary Clooney is

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Speaker 1: somebody else you did an album of duets with in

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Speaker 1: addition to supporting her as a that was guitars for

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Speaker 1: a while. Once again, Bucky Pitzarelli couldn't do the two weeks,

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Speaker 1: all of the the ten nights of a two week run,

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Speaker 1: so I subbed two nights in a row, and on

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Speaker 1: the second night and literally my father said, this is

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Speaker 1: exactly what you will play, so here now, this is it.

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Speaker 1: Now play it back. Okay, don't do anything else. So

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Speaker 1: I played and the second night I actually she actually said,

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Speaker 1: you have a new record out. I want you to

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Speaker 1: come out to uh California and sing at our singer

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Speaker 1: salute songwriters. And it's like, okay. She was just totally

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Speaker 1: up on the new album. Like within a day someone

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Speaker 1: said he's got a record out. I just read about it,

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Speaker 1: and she was from then on as generous as anyone

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Speaker 1: was to me. For it must have been almost twenty years.

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Speaker 1: I knew in your book you very much imply, but

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Speaker 1: you never explicitly state that a lot of these oh

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Speaker 1: I can't make that gig, can you substitute? Was really

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Speaker 1: your dad kind of teeing you up with some of

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Speaker 1: these people. Yeah, I mean I think that's true. Uh,

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Speaker 1: it's it was really a lot. It was really fun

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Speaker 1: on the various occasions that those things would happen, and

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Speaker 1: then you know, then he would bring me along also,

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Speaker 1: aside from just subbing. He'd he'd say, you know, we

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Speaker 1: got this gig, and he'd say, I'm gonna bring my

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Speaker 1: kid with me. He's gonna play some duets. And so

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Speaker 1: that happened a number of times where you know, some

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Speaker 1: guys are going, oh, who's this twenty four year old

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Speaker 1: with him? And then we you know, we had worked

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Speaker 1: so much, we were prepared to do anything. You know,

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Speaker 1: we play four hour gigs, so when we had to

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Speaker 1: play thirty minutes somewhere, we were bulletproof. I'm Barry rid Halts.

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Speaker 1: You're listening to Masters in Business on Bloomberg Radio. My

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Speaker 1: special guest today is John Pizzarelli. He is a highly

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Speaker 1: regarded jazz guitarist and vocalist, specializing in, amongst other things,

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Speaker 1: the Great American Songbook. And here we are. It's two

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Speaker 1: thousand fifteen. It is the centennial of Frank Sinatra's birthday,

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Speaker 1: and about a decade ago you released an album, Dear

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Speaker 1: Mr Sinatra. How how was that received? Actually, that was

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Speaker 1: received quite well. I think you can put your name

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Speaker 1: put Sinatra's name still means something. And in that particular case,

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Speaker 1: it was the right time for me to make that record.

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Speaker 1: And it was a unique record in that we didn't

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Speaker 1: uh copy any of the old arrangements. We had new

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Speaker 1: arrangements written by John Clayton from Who's a great bass

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Speaker 1: player from West Coast and a ranger, and that their band,

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Speaker 1: the Clayton Hamilton Jazz Orchestra. So I wanted to use

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Speaker 1: a specific band with a specific sound, and inside of

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Speaker 1: that homage was basically based on the songs that were

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Speaker 1: written for Sinatra by people like Sammy Cohn and Jimmy

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Speaker 1: van Heusen. So we used end psy Coleman, So we

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Speaker 1: had Witchcraft and we Small Hours and Ring a Ding

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Speaker 1: Ding and the Last Dance. So there were these songs

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Speaker 1: specifically written for Sinatra and then other ones from other records.

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Speaker 1: So you eventually get the call to open for Sinatra

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Speaker 1: on a tour. I guess they thought um in Europe,

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Speaker 1: perhaps the Germans weren't too keen on a stand up

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Speaker 1: comic and they didn't have any there's no such thing

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Speaker 1: as a German comics and Don Rickles probably not the

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Speaker 1: right guy for that crowd, to say the least, let's trouble.

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Speaker 1: So yeah, I got lucky because the the uh I

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Speaker 1: was with our c A here in the United States.

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Speaker 1: They were owned by the Bertelsman group of m BMG

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Speaker 1: based in Germany, and uh so the guy over their

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Speaker 1: heinz hen Sugges six said, uh, Pitza really should do it.

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Speaker 1: We were good friends. I had done a bunch of

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Speaker 1: things over there, and sure enough at all worked itself

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Speaker 1: out and I did a month tour of Europe to

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Speaker 1: lead up to doing the six dates in Germany. So

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Speaker 1: it was, it was. It was really amazing because I

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Speaker 1: couldn't believe it was gonna happen. And then you're in

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Speaker 1: the room and there you know. The rehearsal. The first

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Speaker 1: rehearsal was that was the best because we brought we

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Speaker 1: put out the charts. I sat down, I stood in

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Speaker 1: front of the band. In the first row was Frank

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Speaker 1: Sinatra Jr. And Bill Miller, who was Sinatra's longtime piano player,

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Speaker 1: and we played the charts down. Took us as long

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Speaker 1: as it was going to take in the show. It

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Speaker 1: was like twenty five minutes. I said, sounds great, fellas,

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Speaker 1: thanks a lot, and Frank Sinatra Junior says, that's it.

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Speaker 1: I said, they sound great, and he's like, jeezus, was

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Speaker 1: Shirley mcleand you another two hours and it still wouldn't

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Speaker 1: be right. So we were laughing about that. But it

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Speaker 1: was exciting. I said, all the bands, you know, after

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Speaker 1: the with Sinatra's and it was amazing. You know, you

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Speaker 1: tell a story about and I'm trying to remember if

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Speaker 1: this was either in concert or in the book. You're

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Speaker 1: in like Atlanta, Georgia, somewhere it's a million degrees and

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Speaker 1: he doesn't want to do rehearsal. It's too damn high.

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Speaker 1: He came in and uh it was. It's a six

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Speaker 1: thousand seat outdoor venue called chas Stain Park. We got

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Speaker 1: in a day early, so they got us Sara to rehearse.

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Speaker 1: I was rehearsing, someone said Frank's here, get the hell

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Speaker 1: off the stage, just like that. So it was like,

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Speaker 1: you know, plates cups, everything's been in some we went

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Speaker 1: running out. He had a jacket on the back that

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Speaker 1: said hurry up and wait, and it was literally a

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Speaker 1: hundred degrees and he and that he had even a

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Speaker 1: wind break around was amazing, and he started singing like

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Speaker 1: he was going to imagination. It's funny. And Junior, his

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Speaker 1: son they called him Junior, turned around and put his

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Speaker 1: fist in front of Sinatra's face and said, you've got

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Speaker 1: to fight it. And Sinatra looked at him like, okay,

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Speaker 1: what do you want? What do you want? And he said, uh,

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Speaker 1: what does America to mean? How I live in And

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Speaker 1: we were way out, just the six of us eating

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Speaker 1: a pizza in the middle of the six thousand empty seats,

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Speaker 1: and Sinatra sang three glorious songs. He's sang that one

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Speaker 1: Camarader com Shine and luck be a Lady. We were crying.

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Speaker 1: It was so brilliant that way just knocked it out

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Speaker 1: of the park. We were weeping into our pizza. And

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Speaker 1: then he said, throw another log on the air conditioner

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Speaker 1: and he walked off. So you actually played with him

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Speaker 1: also for a while. I opened the shows. I opened

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Speaker 1: the twelve shows in the States and the twelve in

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Speaker 1: the thing. And my last number was always sing, sing, sing,

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Speaker 1: and I'd be playing that and I'd look into wings

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Speaker 1: and there was Sinatra snapping his fingers, and he would

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Speaker 1: always come out and say, it wasn't that fantastic. We

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Speaker 1: always go boy, we could have We could have been

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Speaker 1: easily sent back to the States at any time. Now,

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Speaker 1: the first time you met him, he was you. You

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Speaker 1: described that as a kind of interesting. Yeah, well, I,

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Speaker 1: after this long walked down the hallway and his man,

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Speaker 1: Hank Tanio, the head production guy, was fantastic fellow in

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Speaker 1: a deduced me and we just sort of shook hands

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Speaker 1: Sanatra and I and and uh, he just sort of

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Speaker 1: looked at me and grumped, you know. And I was

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Speaker 1: about to walk away, and he said eat something, you

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Speaker 1: look bad, and and then I walked away where everybody

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Speaker 1: was laughing. That was like, basically it that's the words

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Speaker 1: of wisdom. You have something to eat, you don't look

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Speaker 1: too good. That's great. I'm Barry rid Holts. You're listening

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Speaker 1: to Masters in Business on Bloomberg Radio. My special guest

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Speaker 1: today is John Pizzarelli. He is a renowned guitarist vocalist

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Speaker 1: rock contour who has pretty much played with everybody in

427
00:21:31,720 --> 00:21:35,560
Speaker 1: the music industry. Let's talk continue what we were discussing

428
00:21:35,640 --> 00:21:40,120
Speaker 1: earlier about opening up for Frank Sinatra on the European

429
00:21:40,240 --> 00:21:43,960
Speaker 1: and an American tour. What did that mean to you personally?

430
00:21:44,400 --> 00:21:46,159
Speaker 1: You mentioned he was a hero of viewers for so

431
00:21:46,320 --> 00:21:49,439
Speaker 1: long and and how did it impact you professionally? Oh,

432
00:21:49,520 --> 00:21:51,159
Speaker 1: I think it's it was a big deal, you know.

433
00:21:51,280 --> 00:21:54,159
Speaker 1: I mean the thing for me is was trying to

434
00:21:55,200 --> 00:21:58,679
Speaker 1: realize that there was no room for I'm so nervous

435
00:21:58,760 --> 00:22:00,720
Speaker 1: that it's Frank Sinatra. I mean, we really had to

436
00:22:00,760 --> 00:22:04,080
Speaker 1: go out and do your twenty minutes. Whatever they said went,

437
00:22:04,440 --> 00:22:07,159
Speaker 1: you know, and you knew, uh, no fooling around, no

438
00:22:07,280 --> 00:22:09,399
Speaker 1: fooling around, and no, there was really no time for

439
00:22:10,600 --> 00:22:13,080
Speaker 1: uh butterflies. You just really had to go out and

440
00:22:13,160 --> 00:22:16,240
Speaker 1: do the show and get it done and uh. And

441
00:22:16,359 --> 00:22:18,480
Speaker 1: it was also one of the you know, the most

442
00:22:18,560 --> 00:22:20,840
Speaker 1: people I'd played in front of, you know, in in

443
00:22:21,080 --> 00:22:24,840
Speaker 1: uh where were we in uh Hamburg? In the back

444
00:22:24,880 --> 00:22:27,359
Speaker 1: of Derby Park. We played along the backstretch of of

445
00:22:27,480 --> 00:22:31,520
Speaker 1: a race track and there was twenty thousand people there.

446
00:22:31,920 --> 00:22:34,040
Speaker 1: So you're going, oh, it's twenty people. You know. I

447
00:22:34,200 --> 00:22:36,800
Speaker 1: was just in uh, nobody's in in Mahwa in front

448
00:22:36,840 --> 00:22:40,560
Speaker 1: of the sixteen beer drinkers, So it was you know,

449
00:22:40,640 --> 00:22:42,520
Speaker 1: those kind of things. It was like, oh, yeah, you know,

450
00:22:42,920 --> 00:22:45,040
Speaker 1: this is if this is where you desire to go,

451
00:22:45,359 --> 00:22:49,000
Speaker 1: here you are now do what you do. So it

452
00:22:49,160 --> 00:22:51,840
Speaker 1: was really, uh, it was interesting to be put in

453
00:22:51,960 --> 00:22:54,440
Speaker 1: that situation without any you know, and just go, okay,

454
00:22:54,440 --> 00:22:56,320
Speaker 1: you're gonna open for Frank Sinatra. And there were people

455
00:22:56,400 --> 00:22:59,240
Speaker 1: like when we did in the States too, uh you know,

456
00:22:59,400 --> 00:23:01,960
Speaker 1: you my friend was on an elevator with two guys

457
00:23:02,000 --> 00:23:03,720
Speaker 1: to see the kid wasn't so bad. You know, he

458
00:23:04,320 --> 00:23:06,960
Speaker 1: wasn't so nervous. You know, people were really watching to

459
00:23:07,000 --> 00:23:08,639
Speaker 1: see what the hell was going on. So that was

460
00:23:08,720 --> 00:23:10,560
Speaker 1: sort of what was interesting about it was just that

461
00:23:11,880 --> 00:23:14,000
Speaker 1: you know, you've worked your life to get to this point.

462
00:23:14,080 --> 00:23:17,080
Speaker 1: Now you have to deliver and what about um some

463
00:23:17,200 --> 00:23:20,560
Speaker 1: of the overlap between music did they must have really

464
00:23:20,680 --> 00:23:23,879
Speaker 1: run a tight hand on your set list. They didn't,

465
00:23:23,920 --> 00:23:25,920
Speaker 1: but I did because I made I had to think, well,

466
00:23:25,920 --> 00:23:27,680
Speaker 1: I'm not going to do all of me only because

467
00:23:27,720 --> 00:23:29,119
Speaker 1: he's made a great record. All of me and my

468
00:23:29,200 --> 00:23:31,320
Speaker 1: allarmy is not going to match up to people going well,

469
00:23:31,400 --> 00:23:34,080
Speaker 1: that's what that was. So I had three little words.

470
00:23:34,119 --> 00:23:37,679
Speaker 1: I opened with an instrumental I did, uh, I think

471
00:23:37,720 --> 00:23:40,960
Speaker 1: the group played if I had you uh we I know.

472
00:23:41,080 --> 00:23:43,000
Speaker 1: We closed with sing Sing, Sing, and we had something

473
00:23:43,040 --> 00:23:45,720
Speaker 1: else in the middle that we we tried to stay

474
00:23:45,800 --> 00:23:47,760
Speaker 1: away from. We had a little baby medley that was

475
00:23:47,800 --> 00:23:52,200
Speaker 1: really great that Bill Miller particularly liked. Uh So I

476
00:23:52,280 --> 00:23:53,840
Speaker 1: had a little Basie thing in it. So it was

477
00:23:53,920 --> 00:23:56,840
Speaker 1: pretty much just trying to steer clear of anything that

478
00:23:57,040 --> 00:24:00,480
Speaker 1: was too reminiscent of what Sinatra was doing, and it

479
00:24:00,520 --> 00:24:02,440
Speaker 1: worked out pretty well. We had just enough stuff to

480
00:24:02,880 --> 00:24:05,640
Speaker 1: to make that happen. And you had a fun little

481
00:24:05,680 --> 00:24:08,800
Speaker 1: song you used to play called I Like Jersey Best,

482
00:24:09,320 --> 00:24:13,320
Speaker 1: which was a musical tribute slash parody and we you know,

483
00:24:13,760 --> 00:24:15,879
Speaker 1: my buddy Joe Cosgra wrote the song and we had

484
00:24:15,920 --> 00:24:18,639
Speaker 1: been following us around New Jersey and it was and

485
00:24:18,680 --> 00:24:20,520
Speaker 1: when we opened at the Garden State Arts Center, it

486
00:24:20,600 --> 00:24:22,560
Speaker 1: was the one time when I said, if if I

487
00:24:22,680 --> 00:24:25,680
Speaker 1: do this song, they're gonna love it, and Sinatra's gonna

488
00:24:25,760 --> 00:24:27,879
Speaker 1: kill me. I just didn't want to go near it,

489
00:24:28,000 --> 00:24:30,560
Speaker 1: so I was all set. My father actually did that

490
00:24:30,720 --> 00:24:33,520
Speaker 1: night with us, which was really terrific. So we had

491
00:24:33,560 --> 00:24:35,159
Speaker 1: it all set up. We were already it was just

492
00:24:35,240 --> 00:24:37,160
Speaker 1: about to go on, and one of the ushers comes

493
00:24:37,200 --> 00:24:40,520
Speaker 1: backstage and says, oh, by the way, Brendan Burns in

494
00:24:40,640 --> 00:24:43,240
Speaker 1: the audience tonight, which is a line in the song.

495
00:24:43,359 --> 00:24:46,480
Speaker 1: He's in the song and he knows from Governor it's

496
00:24:46,560 --> 00:24:49,760
Speaker 1: in our beautiful arena. Now it's had Brendan Burne carved

497
00:24:49,840 --> 00:24:52,520
Speaker 1: on the wall. So I knew he was like he

498
00:24:52,640 --> 00:24:54,600
Speaker 1: wanted to hear his song, you know, and hear his name.

499
00:24:54,640 --> 00:24:56,159
Speaker 1: I was like, oh, I gotta do the song now

500
00:24:56,200 --> 00:24:58,399
Speaker 1: Brendan Burns here, so I get and then in the

501
00:24:58,480 --> 00:25:00,240
Speaker 1: middle of the thing I did. I got away with it.

502
00:25:00,320 --> 00:25:01,680
Speaker 1: But it was one of those things where I was

503
00:25:02,400 --> 00:25:03,760
Speaker 1: trying to figure out, you know, I don't want to

504
00:25:03,760 --> 00:25:05,560
Speaker 1: get too cute here. You know, you get a little

505
00:25:05,560 --> 00:25:07,800
Speaker 1: too cute with Sinatra and it's not no, you never

506
00:25:07,960 --> 00:25:09,960
Speaker 1: not have got a mess with yeah. So and that

507
00:25:10,040 --> 00:25:12,800
Speaker 1: could have taken Uh, if the crowd liked it too much,

508
00:25:13,040 --> 00:25:14,600
Speaker 1: it could have been big trouble. He might not have

509
00:25:14,680 --> 00:25:17,439
Speaker 1: been too happy. So it worked out just right, and uh,

510
00:25:17,720 --> 00:25:19,960
Speaker 1: the whole thing was fantastically but you know, it was funny.

511
00:25:20,040 --> 00:25:23,639
Speaker 1: Once we closed opening for Rosemary Clooney, we closed with

512
00:25:23,720 --> 00:25:25,480
Speaker 1: sing Sing, Sing with the big band, and as I

513
00:25:25,520 --> 00:25:27,760
Speaker 1: walked up, she was flaudy. She was like, that was

514
00:25:27,840 --> 00:25:30,480
Speaker 1: really true. Ific, You'll never ope for me again, So

515
00:25:30,920 --> 00:25:34,280
Speaker 1: you know she was almost kidding. The last, the last

516
00:25:34,320 --> 00:25:37,720
Speaker 1: thing an opener wants is the crowd really enthusiastic and

517
00:25:37,920 --> 00:25:39,800
Speaker 1: want you just settle them in and get out of

518
00:25:39,800 --> 00:25:43,119
Speaker 1: the way please. That's hilarious. So now let's talk a

519
00:25:43,160 --> 00:25:45,840
Speaker 1: little bit about the future music and what's going to

520
00:25:45,920 --> 00:25:49,480
Speaker 1: be going on with all these changes. Really, the first

521
00:25:49,560 --> 00:25:52,960
Speaker 1: question I have to ask is is it the audience

522
00:25:53,119 --> 00:25:56,960
Speaker 1: taste that's changing? Is it the technology that's changing? What

523
00:25:57,240 --> 00:26:02,560
Speaker 1: is it that's driving as flux in the music industry? Well,

524
00:26:02,840 --> 00:26:05,920
Speaker 1: I think the one thing that works for me, since

525
00:26:06,000 --> 00:26:09,680
Speaker 1: I'm not someone my music, I'm not record sales don't

526
00:26:09,720 --> 00:26:12,200
Speaker 1: generate what I do, which is the which is you know,

527
00:26:12,359 --> 00:26:15,760
Speaker 1: I make my records just so that they're almost like

528
00:26:15,840 --> 00:26:17,840
Speaker 1: calling cards. You can say he's got a new record

529
00:26:17,920 --> 00:26:20,640
Speaker 1: coming out, He'll come promoted at your club. And they

530
00:26:20,880 --> 00:26:24,800
Speaker 1: end having done this now for twenty five years, they

531
00:26:24,880 --> 00:26:27,359
Speaker 1: know what I'm gonna do. My My thing is about

532
00:26:27,440 --> 00:26:30,240
Speaker 1: live performance. That's the one thing that they can't take

533
00:26:30,320 --> 00:26:33,280
Speaker 1: away from what goes on with everything else. So when

534
00:26:33,359 --> 00:26:35,840
Speaker 1: when I was a kid, the story was when we

535
00:26:35,920 --> 00:26:38,880
Speaker 1: were kids, when that's right where we're about the same age,

536
00:26:39,720 --> 00:26:42,359
Speaker 1: you would a new record would come out and a

537
00:26:42,440 --> 00:26:45,440
Speaker 1: band would tour to promote the record. Right where you're

538
00:26:45,480 --> 00:26:48,159
Speaker 1: describing is the exact opposite. Hey, we want to go

539
00:26:48,320 --> 00:26:50,000
Speaker 1: on tour. Let's put out a record so we have

540
00:26:50,119 --> 00:26:52,320
Speaker 1: something to talk about on the road. Yeah. They was, well,

541
00:26:52,359 --> 00:26:53,639
Speaker 1: does he have a new album out and can come

542
00:26:53,640 --> 00:26:55,040
Speaker 1: back if he has a new album out? And so,

543
00:26:55,400 --> 00:26:58,639
Speaker 1: and it really isn't about I mean for me, the

544
00:26:58,800 --> 00:27:00,920
Speaker 1: I think the most records of one record might either

545
00:27:01,000 --> 00:27:05,080
Speaker 1: Bossonova or the Sinatra record was up around between forty

546
00:27:05,119 --> 00:27:07,119
Speaker 1: and fifty thousand. That's a lot of records for me.

547
00:27:07,840 --> 00:27:10,159
Speaker 1: That's the first of yours I've ever bought. Well there

548
00:27:11,640 --> 00:27:13,480
Speaker 1: hence why those sales were so good. I mean, I

549
00:27:13,560 --> 00:27:17,760
Speaker 1: think there's like Sinatra and Bossanova. Are you know they're

550
00:27:17,840 --> 00:27:21,359
Speaker 1: they're gold as they say, it's gold, Jerry, But it's uh,

551
00:27:21,520 --> 00:27:24,879
Speaker 1: that's the thing. So I've had a couple of and

552
00:27:24,920 --> 00:27:27,399
Speaker 1: then that whole records worked very well for me. So

553
00:27:29,359 --> 00:27:33,800
Speaker 1: but now, uh, it's a different ballgame and it's mostly

554
00:27:33,800 --> 00:27:36,760
Speaker 1: about getting out to performance. That's the one thing they

555
00:27:36,840 --> 00:27:41,040
Speaker 1: can't changes. You can't download live performance and have the

556
00:27:41,080 --> 00:27:44,000
Speaker 1: same experience as being at a live performance. You know,

557
00:27:44,119 --> 00:27:46,400
Speaker 1: that's the thing. So you know, when you get people

558
00:27:46,400 --> 00:27:48,240
Speaker 1: in the room to hear Sinatra music and you have

559
00:27:48,320 --> 00:27:50,760
Speaker 1: the best guys in New York, that's how you make

560
00:27:50,880 --> 00:27:53,760
Speaker 1: your career. You gotta you. I've spent a lot of

561
00:27:53,800 --> 00:27:57,399
Speaker 1: money putting those getting those arrangements together. I have so

562
00:27:57,520 --> 00:28:00,080
Speaker 1: many arrangements written by Don Sebeski or John clay and

563
00:28:00,240 --> 00:28:04,280
Speaker 1: really good arranged, solid arrangements. So when you go play

564
00:28:04,320 --> 00:28:06,080
Speaker 1: with the Boston Pops, you gotta play with the New

565
00:28:06,160 --> 00:28:08,520
Speaker 1: York That's where your investment is. So people go, wow,

566
00:28:08,560 --> 00:28:10,520
Speaker 1: it was really great. I wonder if he can do

567
00:28:10,600 --> 00:28:13,320
Speaker 1: a Gershwin show because that Roger's show was fantastic. Let's

568
00:28:13,359 --> 00:28:16,240
Speaker 1: get him back next year. You know, you spend so

569
00:28:16,359 --> 00:28:19,359
Speaker 1: let's talk about that. So when you buy an arrangement,

570
00:28:19,400 --> 00:28:22,200
Speaker 1: when you have somebody create an arrangement for you, is

571
00:28:22,280 --> 00:28:26,080
Speaker 1: that yours and yours exclusively or is it like an architect,

572
00:28:26,240 --> 00:28:28,920
Speaker 1: is he selling that same plan to other people? Well

573
00:28:29,440 --> 00:28:32,040
Speaker 1: a one off. John Clayton has sold some of like

574
00:28:32,440 --> 00:28:34,639
Speaker 1: some of those charts like nice and easy. I know

575
00:28:34,760 --> 00:28:37,680
Speaker 1: that he's made some of them available, which is fine.

576
00:28:37,760 --> 00:28:40,800
Speaker 1: You know that he's made them available to people to buy.

577
00:28:40,960 --> 00:28:42,800
Speaker 1: So like I think one or two of those charts

578
00:28:43,040 --> 00:28:46,240
Speaker 1: or he's put out there my things I get, uh,

579
00:28:46,880 --> 00:28:48,920
Speaker 1: mostly like the Don Sebeski things, the things that I

580
00:28:49,120 --> 00:28:52,000
Speaker 1: worked for Higher, I get them. I keep them, so

581
00:28:52,120 --> 00:28:54,080
Speaker 1: you own them. No one else has that arrangement, right,

582
00:28:54,200 --> 00:28:57,240
Speaker 1: And sometimes someone say can I borrow your charter? About Yeah, sure,

583
00:28:57,800 --> 00:28:59,920
Speaker 1: I'll let my friend borrow what to play with a

584
00:29:00,040 --> 00:29:02,600
Speaker 1: college band or something like that. But mostly it's all

585
00:29:02,720 --> 00:29:04,560
Speaker 1: worked for Higher. So like when you make a record,

586
00:29:05,080 --> 00:29:07,520
Speaker 1: you want to spend you know, you really want to

587
00:29:07,560 --> 00:29:09,960
Speaker 1: make sure you get great rangers because they're gonna follow

588
00:29:10,080 --> 00:29:13,240
Speaker 1: year round for twenty five years. So I mentioned I'm

589
00:29:13,280 --> 00:29:16,720
Speaker 1: a big fan of Radio Deluxe. That's weekly syndicated over

590
00:29:16,960 --> 00:29:19,640
Speaker 1: quite a number of stags forty stations, and it's on

591
00:29:20,160 --> 00:29:23,480
Speaker 1: what they call, uh is it mixed cloud mixed cloud

592
00:29:23,560 --> 00:29:25,640
Speaker 1: dot com. You can punch in Radio Deluxe and here

593
00:29:25,680 --> 00:29:30,000
Speaker 1: the show, and there's several past shows there too. So uh,

594
00:29:30,440 --> 00:29:33,080
Speaker 1: it's just with something where they wanted to bottle what

595
00:29:33,560 --> 00:29:35,280
Speaker 1: it was that my wife and I were doing. We

596
00:29:35,440 --> 00:29:38,320
Speaker 1: started doing it at fine Stein's in our nightclub act.

597
00:29:38,880 --> 00:29:40,680
Speaker 1: You know, she'd say hello, I'd say hello. People would

598
00:29:40,720 --> 00:29:43,760
Speaker 1: laugh and say that's great. You know, so we we

599
00:29:43,960 --> 00:29:46,840
Speaker 1: they and they, you know, talk to some people and

600
00:29:46,880 --> 00:29:48,320
Speaker 1: then the next thing, you know, and behind them mic

601
00:29:48,320 --> 00:29:50,120
Speaker 1: going from high top lexing an avenue. You're in the

602
00:29:50,160 --> 00:29:52,880
Speaker 1: deluxe living room. It's Radio Deluxe. How you doing, Jessica?

603
00:29:52,920 --> 00:29:54,480
Speaker 1: And she'd talk and then say, well, you know, that

604
00:29:54,560 --> 00:29:56,760
Speaker 1: reminds me of that Frank Sinatra record. Let's play it now.

605
00:29:57,240 --> 00:30:00,959
Speaker 1: And so, but it's for people may not be familiar

606
00:30:01,000 --> 00:30:03,320
Speaker 1: with it. First of all, you go to Radio Deluxe

607
00:30:03,400 --> 00:30:06,720
Speaker 1: with John Pezzareli dot com. If that if I'm getting

608
00:30:06,760 --> 00:30:08,880
Speaker 1: the U r L John Pittsrareli dot com, and then

609
00:30:08,920 --> 00:30:13,640
Speaker 1: you click on Radio Deluxe okay, And there appears to

610
00:30:13,720 --> 00:30:17,080
Speaker 1: be a lot of thought and a lot of consideration

611
00:30:17,160 --> 00:30:19,840
Speaker 1: that goes into the selection. It's not just all right,

612
00:30:19,920 --> 00:30:22,840
Speaker 1: let's put the shuffle mix on and see what comes out.

613
00:30:23,240 --> 00:30:25,920
Speaker 1: There's an arc and a story that gets told across

614
00:30:26,600 --> 00:30:29,560
Speaker 1: two hours of music. Um, what what I do? I

615
00:30:29,640 --> 00:30:32,400
Speaker 1: work early in the morning at my computer Sunday. That

616
00:30:32,480 --> 00:30:34,720
Speaker 1: comes out on Monday morning. I have a teat up

617
00:30:35,040 --> 00:30:37,479
Speaker 1: and I listened to it all week until I finish, uh,

618
00:30:37,960 --> 00:30:40,480
Speaker 1: you know, each morning. It's my my background us. You know,

619
00:30:40,600 --> 00:30:42,560
Speaker 1: that's the thing. We talk about it, you know, we don't.

620
00:30:42,640 --> 00:30:44,560
Speaker 1: It's one of those things where we we haven't made

621
00:30:45,080 --> 00:30:47,440
Speaker 1: a dime on it. We do it all at home,

622
00:30:48,160 --> 00:30:51,200
Speaker 1: and every time we say, you know, we have to

623
00:30:51,280 --> 00:30:53,080
Speaker 1: do this show again, we gotta set up the stuff,

624
00:30:53,120 --> 00:30:55,640
Speaker 1: you know, because we're just knuckleheads, you know, we just

625
00:30:56,160 --> 00:30:59,840
Speaker 1: you know, but people tell us these stories we've had.

626
00:31:00,000 --> 00:31:02,800
Speaker 1: We're talking about it just today, you know, where somebody

627
00:31:02,800 --> 00:31:05,640
Speaker 1: will say, you know, I take my I go visit

628
00:31:05,720 --> 00:31:08,360
Speaker 1: my mother in this home and then on Sunday nights

629
00:31:08,400 --> 00:31:10,280
Speaker 1: I leave or there, you know, I say goodbye and

630
00:31:10,840 --> 00:31:13,560
Speaker 1: coincides with you being on the radio here in Illinois,

631
00:31:14,040 --> 00:31:16,920
Speaker 1: and that two hour drive back is Radio Deluxe, and

632
00:31:16,960 --> 00:31:20,960
Speaker 1: I just think, oh so changes my attitude after what

633
00:31:21,080 --> 00:31:22,960
Speaker 1: I had to do, you know, and we just get

634
00:31:23,040 --> 00:31:24,960
Speaker 1: these letters and go what we it's you know, we

635
00:31:25,040 --> 00:31:28,200
Speaker 1: call it the Brokeback Radio Program. We can't quit it.

636
00:31:28,800 --> 00:31:31,680
Speaker 1: It's just crazy. We can't quit it. We've been speaking

637
00:31:31,720 --> 00:31:35,520
Speaker 1: with John Pizzarelli. He can be found at John Pizzarelli

638
00:31:35,600 --> 00:31:39,240
Speaker 1: dot com. Be sure and check out Radio Deluxe is

639
00:31:39,360 --> 00:31:43,200
Speaker 1: his weekly radio show. It's free. You can access it online.

640
00:31:43,320 --> 00:31:46,200
Speaker 1: His book is World on a String, and check out

641
00:31:46,320 --> 00:31:49,400
Speaker 1: his entire discography. I'll put a few links to some

642
00:31:49,520 --> 00:31:52,760
Speaker 1: of my favorite CDs. UH. If you enjoy this conversation,

643
00:31:52,880 --> 00:31:55,280
Speaker 1: be sure and stick around. We'll continue it on the

644
00:31:55,400 --> 00:31:59,520
Speaker 1: podcast extras. Check out my daily column on Bloomberg View

645
00:31:59,560 --> 00:32:02,760
Speaker 1: dot com, um or follow me on Twitter at Ridolts.

646
00:32:03,280 --> 00:32:06,240
Speaker 1: I'm Barry Ridhults. You're listening to Masters in Business on

647
00:32:06,360 --> 00:32:11,760
Speaker 1: Bloomberg Radio. Hi, welcome to the podcast portion of our show.

648
00:32:11,880 --> 00:32:14,280
Speaker 1: I'm really excited about our guests this week, and you

649
00:32:14,360 --> 00:32:17,360
Speaker 1: guys know I listen, I usually speak with someone from

650
00:32:17,440 --> 00:32:20,720
Speaker 1: finance or the world of business or investing, but I

651
00:32:20,840 --> 00:32:24,680
Speaker 1: wanted to work a little bit outside of that box,

652
00:32:25,000 --> 00:32:28,200
Speaker 1: and for that purpose today I brought in John Pizzarelli.

653
00:32:29,000 --> 00:32:32,360
Speaker 1: Full disclosure, I've seen his show three or four times

654
00:32:32,440 --> 00:32:35,560
Speaker 1: over the years, and each one has been just wonderful.

655
00:32:36,400 --> 00:32:38,800
Speaker 1: There's so much stuff to go over with you. I'm

656
00:32:38,840 --> 00:32:42,040
Speaker 1: gonna I'm gonna embarrass you a little bit, and then

657
00:32:42,080 --> 00:32:46,320
Speaker 1: we'll talk about some other stuff. UM. First, I mentioned

658
00:32:46,360 --> 00:32:50,240
Speaker 1: in the intro to the radio portion. Everybody describes your

659
00:32:50,800 --> 00:32:55,800
Speaker 1: charming stage presence. You really have become like this storytelling

660
00:32:56,160 --> 00:32:58,920
Speaker 1: rock con tour. I want to say, almost a third

661
00:32:59,000 --> 00:33:02,200
Speaker 1: of the show is you telling stories. How did that?

662
00:33:02,400 --> 00:33:05,480
Speaker 1: How did that ever develop? Um? I think it was.

663
00:33:06,280 --> 00:33:08,640
Speaker 1: I always like that version of it. I mean, actually

664
00:33:08,680 --> 00:33:11,360
Speaker 1: I was a fan of it started with the early

665
00:33:11,440 --> 00:33:15,200
Speaker 1: Cosby records, and then it went to the George Carlin records,

666
00:33:15,240 --> 00:33:17,280
Speaker 1: and then I used to watch Carson all the time,

667
00:33:17,320 --> 00:33:19,600
Speaker 1: and I used to love these monologues and these little

668
00:33:19,720 --> 00:33:24,720
Speaker 1: stories that you know, saturated the programs, and I like

669
00:33:24,880 --> 00:33:28,760
Speaker 1: the idea of trying to set up songs or you know,

670
00:33:29,560 --> 00:33:33,360
Speaker 1: of do this little these bits that you know, settled

671
00:33:33,400 --> 00:33:35,440
Speaker 1: people in a little bit, gave him an idea of

672
00:33:35,520 --> 00:33:37,000
Speaker 1: what was going on. And maybe it was a joke

673
00:33:37,160 --> 00:33:39,640
Speaker 1: or maybe it was a it was just a fact

674
00:33:39,800 --> 00:33:42,160
Speaker 1: that was well presented that made people go, oh, well,

675
00:33:42,240 --> 00:33:44,000
Speaker 1: I really want to hear what's going on now? Now

676
00:33:44,120 --> 00:33:46,760
Speaker 1: I can hear. Oh, that's what that was. So that's

677
00:33:46,760 --> 00:33:48,800
Speaker 1: where that came from. How was that song written? That's

678
00:33:48,800 --> 00:33:51,960
Speaker 1: an interesting thing. So the more I hung around people

679
00:33:52,000 --> 00:33:54,920
Speaker 1: like Jonathan Schwartz, who was on radio here. I would

680
00:33:54,960 --> 00:33:56,760
Speaker 1: try and pay attention, or I would give him a

681
00:33:56,800 --> 00:33:59,080
Speaker 1: call and say, you know, you kept talking about that song.

682
00:33:59,120 --> 00:34:00,960
Speaker 1: How does that song get to Sinatra? And he would

683
00:34:01,000 --> 00:34:03,680
Speaker 1: tell me a story about it. You know, there's several

684
00:34:03,720 --> 00:34:06,880
Speaker 1: different versions. So and I would add these things, would

685
00:34:06,920 --> 00:34:09,719
Speaker 1: read things, find things that were funny or or of

686
00:34:09,920 --> 00:34:12,040
Speaker 1: interest that made interest to me that I could throw

687
00:34:12,080 --> 00:34:14,799
Speaker 1: into a show. That would I just love that part

688
00:34:14,840 --> 00:34:17,480
Speaker 1: of the thing because I think people go, well, not

689
00:34:17,640 --> 00:34:19,839
Speaker 1: only just heard the songs I didn't hear you. Here's

690
00:34:19,840 --> 00:34:21,440
Speaker 1: another great song. You know, this is a great song.

691
00:34:21,520 --> 00:34:23,719
Speaker 1: Here's another great song. Didn't want to sound like that.

692
00:34:23,800 --> 00:34:25,919
Speaker 1: I wanted to say, you know what's interesting about this song?

693
00:34:26,120 --> 00:34:28,719
Speaker 1: Is this? You know you tell a story? Was it

694
00:34:28,880 --> 00:34:33,640
Speaker 1: the Smithsonian with somebody's piano? Yeah? My my piano player.

695
00:34:33,640 --> 00:34:35,279
Speaker 1: A couple of years ago, Ray Kennedy and we went

696
00:34:35,360 --> 00:34:38,239
Speaker 1: to the Smithsonian. I think I heard you tell this

697
00:34:38,440 --> 00:34:41,719
Speaker 1: about seven years ago. Six years yeah, probably more than that.

698
00:34:41,800 --> 00:34:44,360
Speaker 1: And I where we we went to the thing? The Smithsonian.

699
00:34:44,440 --> 00:34:47,640
Speaker 1: They said that's Gershwin's piano and you you why don't

700
00:34:47,640 --> 00:34:51,480
Speaker 1: you play it? And so Ray stepped over the ropes

701
00:34:51,800 --> 00:34:54,839
Speaker 1: who said this to Ray? The person in the place said,

702
00:34:55,160 --> 00:34:57,000
Speaker 1: go play there. You know you can play it okay,

703
00:34:57,080 --> 00:34:58,799
Speaker 1: So he stepped over the ropes. As he stepped over

704
00:34:58,840 --> 00:35:01,640
Speaker 1: the ropes and up there was this thing. It said,

705
00:35:01,680 --> 00:35:04,360
Speaker 1: step away from the piano and the lights are flashing.

706
00:35:04,400 --> 00:35:06,279
Speaker 1: Get away from the piano, and they said, don't worry,

707
00:35:06,280 --> 00:35:08,719
Speaker 1: it goes away. He's okay. So he sat down the

708
00:35:08,760 --> 00:35:11,320
Speaker 1: piano when he went by, dude and he started to

709
00:35:11,360 --> 00:35:13,480
Speaker 1: play this beautiful stride version of they can't take that

710
00:35:13,560 --> 00:35:15,960
Speaker 1: away from me. And we always laugh because then we

711
00:35:16,040 --> 00:35:18,200
Speaker 1: were hoping the voice would say, do you know I

712
00:35:18,360 --> 00:35:22,640
Speaker 1: got rhythm? It was just so great. And these are

713
00:35:22,680 --> 00:35:25,640
Speaker 1: the sort of you know, the things that run into

714
00:35:25,760 --> 00:35:27,759
Speaker 1: you know, they all these things happen, you know, the

715
00:35:27,800 --> 00:35:29,799
Speaker 1: gigs with Bucky at the Pierre when I was first

716
00:35:29,880 --> 00:35:33,120
Speaker 1: twenty years old, Pierre Hotel. So you're barely out of

717
00:35:33,200 --> 00:35:36,400
Speaker 1: high school and you're playing professional gigs with your dad.

718
00:35:36,480 --> 00:35:38,800
Speaker 1: I did an entire summer with him in night and

719
00:35:39,160 --> 00:35:43,120
Speaker 1: uh uh it was you know, I knew seven songs

720
00:35:43,719 --> 00:35:45,760
Speaker 1: for a four hour gig, and he would just pound

721
00:35:45,840 --> 00:35:48,160
Speaker 1: melodies out at me and go, you don't know this,

722
00:35:48,600 --> 00:35:50,520
Speaker 1: you know under his breath, and I'm wearing tuxas. Oh,

723
00:35:50,600 --> 00:35:52,600
Speaker 1: I know, yeah, I'm just trying to find chords. You know.

724
00:35:53,120 --> 00:35:55,920
Speaker 1: It was ear training every night, every night. Oh, it

725
00:35:56,000 --> 00:35:59,920
Speaker 1: was unbelievable that that's amazing. So so I know how

726
00:36:00,120 --> 00:36:04,040
Speaker 1: you found jazz. It was in your house. So growing

727
00:36:04,160 --> 00:36:06,359
Speaker 1: up in the sixties, it was all about rock and roll.

728
00:36:07,000 --> 00:36:09,479
Speaker 1: My mother had gone to music and art. He played

729
00:36:09,520 --> 00:36:13,200
Speaker 1: piano and tom's and saxophone, but piano was her instrument.

730
00:36:13,800 --> 00:36:16,800
Speaker 1: And um it's funny because I go off to college

731
00:36:16,840 --> 00:36:20,680
Speaker 1: and grad school, and back then everybody is completely broke.

732
00:36:20,880 --> 00:36:24,720
Speaker 1: Your poor put yourself through state school and then grad school,

733
00:36:25,120 --> 00:36:27,440
Speaker 1: and we all would swap albums and record them, and

734
00:36:28,160 --> 00:36:32,120
Speaker 1: I borrow. It's really a funny story. I borrow a

735
00:36:32,360 --> 00:36:37,240
Speaker 1: triple disc from a friend, Linda Ronstat with the Nelson

736
00:36:37,360 --> 00:36:42,719
Speaker 1: Riddle Orchestra doing What's New for sentimental reasons and lush life,

737
00:36:43,640 --> 00:36:48,719
Speaker 1: um round midnight, round midnight, And um see, I have

738
00:36:48,800 --> 00:36:51,000
Speaker 1: the advantage of having gone back and looked at all

739
00:36:51,080 --> 00:36:54,400
Speaker 1: my purchases not long and I think I've discovered the

740
00:36:54,560 --> 00:36:58,560
Speaker 1: greatest music ever played. And I go home to play

741
00:36:58,640 --> 00:37:01,359
Speaker 1: it from my mother. I'm gonna rest my mom, who

742
00:37:01,600 --> 00:37:05,640
Speaker 1: mocks every rock and roll song. Yeah, yeah, three chord progressions.

743
00:37:06,400 --> 00:37:08,920
Speaker 1: Find me something more interesting. Every now and then she

744
00:37:08,960 --> 00:37:11,480
Speaker 1: would say, who's the guy with the flute? I I

745
00:37:11,560 --> 00:37:14,960
Speaker 1: don't normally hear that. That's See and Anderson Jeffer. So

746
00:37:15,280 --> 00:37:18,840
Speaker 1: I play her Linda rons that and she shrugs and

747
00:37:19,000 --> 00:37:22,520
Speaker 1: rolls her eyes. I'm like, this is the Jerome current

748
00:37:22,600 --> 00:37:25,640
Speaker 1: and gersh when these are these are Rogers and Heart,

749
00:37:25,680 --> 00:37:28,960
Speaker 1: these are your people. So every song on that triple

750
00:37:29,080 --> 00:37:32,920
Speaker 1: disc album, I'm not exaggerating, every single song. She I

751
00:37:32,960 --> 00:37:35,040
Speaker 1: would play a song and she goes, go listen to

752
00:37:35,120 --> 00:37:37,680
Speaker 1: the Sarah Boon version of I played another song, Ella,

753
00:37:38,440 --> 00:37:41,400
Speaker 1: that's the Defender version. Go listen to Ella. Um? Who

754
00:37:41,480 --> 00:37:45,000
Speaker 1: else did she did? Would she send me to Billy Holland,

755
00:37:45,080 --> 00:37:48,479
Speaker 1: go down the list, Frank Sinatra? And each and every

756
00:37:48,560 --> 00:37:51,759
Speaker 1: time I would play a song. And then not that

757
00:37:52,080 --> 00:37:55,000
Speaker 1: much later, not that many years after that, I'm out

758
00:37:55,040 --> 00:37:58,040
Speaker 1: of grad school and I finally have two nickels to

759
00:37:58,080 --> 00:38:02,240
Speaker 1: rub together, and I get the Lla Fitzgerald's Great American Songbook.

760
00:38:02,280 --> 00:38:05,719
Speaker 1: It's sixteen CDs. It's like the most expensive thing I've

761
00:38:05,760 --> 00:38:10,200
Speaker 1: ever bought, including furniture, And I tell you now it's

762
00:38:10,239 --> 00:38:13,319
Speaker 1: on CDs. We've advanced that far. And I started playing

763
00:38:13,360 --> 00:38:15,160
Speaker 1: it and I'm like, oh my god, my mother was

764
00:38:15,320 --> 00:38:18,840
Speaker 1: right about everything. I have to go rethink my entire

765
00:38:19,600 --> 00:38:22,440
Speaker 1: childhood because if she's that right about this. But it's

766
00:38:22,480 --> 00:38:24,560
Speaker 1: the beauty of the record, you know, it's it's the

767
00:38:24,640 --> 00:38:27,760
Speaker 1: other thing is that Linda ronstat knew that Nelson Riddle

768
00:38:27,800 --> 00:38:30,200
Speaker 1: was important and she had to make records with him.

769
00:38:30,680 --> 00:38:33,440
Speaker 1: And so the fact that those three records got you

770
00:38:33,600 --> 00:38:37,600
Speaker 1: to those sixteen is the whole is why the thing works,

771
00:38:37,640 --> 00:38:39,920
Speaker 1: you know. It's the other thing about our radio program

772
00:38:40,040 --> 00:38:43,160
Speaker 1: Radio Deluxe is that you can play Sinatra, and you

773
00:38:43,239 --> 00:38:46,480
Speaker 1: can play nat Cole, Louis Armstrong and Elephvitzgerald and say,

774
00:38:46,560 --> 00:38:50,640
Speaker 1: now these people you can go to h Kurt Elling

775
00:38:50,719 --> 00:38:54,960
Speaker 1: or Tyranny Sutton or Stacy Kent or Curtis Steiger's or

776
00:38:55,239 --> 00:38:57,320
Speaker 1: you just had Curtis Steiger. Was it last week or

777
00:38:57,400 --> 00:38:59,600
Speaker 1: this week? Yeah? Probably last week. You know that you

778
00:38:59,760 --> 00:39:02,040
Speaker 1: you find these people now they see that they are

779
00:39:02,120 --> 00:39:04,920
Speaker 1: the ones who heard those records that are doing this,

780
00:39:05,080 --> 00:39:06,960
Speaker 1: and then we try to cross it, you know, and

781
00:39:07,040 --> 00:39:10,400
Speaker 1: the same thing how you can even get to believe

782
00:39:10,440 --> 00:39:12,200
Speaker 1: it or not, You can get to Joni Mitchell from

783
00:39:12,200 --> 00:39:18,520
Speaker 1: Annie Ross, because Lambert Henderson Ross was direct influence on

784
00:39:18,640 --> 00:39:22,120
Speaker 1: Joni Mitchell. So these things all across poliny. And that's

785
00:39:22,120 --> 00:39:23,759
Speaker 1: why it's so fun about the show is that that

786
00:39:23,880 --> 00:39:25,920
Speaker 1: was what you're talking about. How Linda rons That got

787
00:39:26,000 --> 00:39:28,960
Speaker 1: you to Sarah Vaughan is the same way how uh

788
00:39:29,320 --> 00:39:31,680
Speaker 1: you know, Ella Fitzgerald got you to Jane Mondhud. There

789
00:39:31,760 --> 00:39:36,160
Speaker 1: was there was actually in between Ella and the Linda

790
00:39:36,239 --> 00:39:40,880
Speaker 1: Ronstadt was the Nelson Riddle Sinatra trilogy, which I liked,

791
00:39:41,120 --> 00:39:44,399
Speaker 1: and your friend got into trouble for blasting the third one,

792
00:39:44,880 --> 00:39:46,920
Speaker 1: which I always thought was good but the weakest of

793
00:39:47,000 --> 00:39:50,120
Speaker 1: the three. So the Sinatra trilogy, And again that was

794
00:39:50,200 --> 00:39:52,200
Speaker 1: one of those things you the first time you hear that,

795
00:39:52,239 --> 00:39:54,960
Speaker 1: you're like, oh my god, this is amazing stuff. How

796
00:39:55,040 --> 00:39:57,000
Speaker 1: come I'm not hearing this on the radio. It was

797
00:39:57,080 --> 00:40:01,160
Speaker 1: recorded thirty years ago. Oh I it doesn't have last thing.

798
00:40:01,239 --> 00:40:03,400
Speaker 1: You should still be hearing that sort of stuff, So

799
00:40:03,680 --> 00:40:07,360
Speaker 1: that that's pretty amazing. It was um and Jonathan Schwartz

800
00:40:07,360 --> 00:40:10,680
Speaker 1: I think got fired over that or suspended, suspended for

801
00:40:10,760 --> 00:40:13,879
Speaker 1: like six months, I think for trashing that third said

802
00:40:13,920 --> 00:40:15,560
Speaker 1: it was I think he said it was a piece

803
00:40:15,600 --> 00:40:18,080
Speaker 1: of garbage or something. Really didn't like it, and and

804
00:40:18,400 --> 00:40:20,719
Speaker 1: well it was clearly the weakest of that. Well he

805
00:40:20,760 --> 00:40:23,200
Speaker 1: didn't like he's he's not a Gordon Jenkins fan, and

806
00:40:23,280 --> 00:40:25,840
Speaker 1: Gordon Jenkins wrote all that music for that, and so

807
00:40:25,960 --> 00:40:28,680
Speaker 1: he was sort of like, I'm not didn't I want

808
00:40:28,719 --> 00:40:31,040
Speaker 1: to hear more of the the jerome current In the end,

809
00:40:31,080 --> 00:40:34,279
Speaker 1: there's because he was. Jonathan still said, you know, there's

810
00:40:34,880 --> 00:40:37,719
Speaker 1: he has the list of songs that Sinatra has never recorded.

811
00:40:37,920 --> 00:40:39,880
Speaker 1: You know, there's no record of s wonderful, there's no

812
00:40:40,040 --> 00:40:42,640
Speaker 1: the more I see you, so he's like, there's there.

813
00:40:42,960 --> 00:40:45,520
Speaker 1: Why not those songs? Where were they? You know? So

814
00:40:45,640 --> 00:40:47,880
Speaker 1: it just should have been done. Since I brought up

815
00:40:47,960 --> 00:40:53,480
Speaker 1: my mom, she said, Um, her favorite pianist was George Shearing,

816
00:40:53,960 --> 00:40:56,280
Speaker 1: and she wants to know why you didn't record Lullaby

817
00:40:56,480 --> 00:40:59,320
Speaker 1: burn Land with him. I think there's enough of records

818
00:40:59,320 --> 00:41:01,719
Speaker 1: of that for there's a there's a ton of that.

819
00:41:01,840 --> 00:41:04,279
Speaker 1: She goes, I just always loved his I'm gonna say

820
00:41:04,320 --> 00:41:08,040
Speaker 1: this wrong. The augmented chords a non musician, I don't

821
00:41:08,040 --> 00:41:09,919
Speaker 1: know what that means. Well, and the whole thing about

822
00:41:09,960 --> 00:41:12,400
Speaker 1: the sound of that, the way the piano and the

823
00:41:12,840 --> 00:41:16,600
Speaker 1: vibe er phone and the guitar played together was a

824
00:41:16,800 --> 00:41:19,600
Speaker 1: very unique sound. And well to Buy a Bird Lamp

825
00:41:19,600 --> 00:41:22,600
Speaker 1: being his big hit, I chose be Careful It's My

826
00:41:22,680 --> 00:41:24,759
Speaker 1: Heart because that was from a record we had in

827
00:41:24,800 --> 00:41:27,320
Speaker 1: the house of the Sharing group, so we homage that.

828
00:41:27,520 --> 00:41:31,160
Speaker 1: And then the other one was, uh, there were a

829
00:41:31,200 --> 00:41:33,120
Speaker 1: lot of songs on that, If Dreams Come True. Yeah,

830
00:41:33,239 --> 00:41:34,759
Speaker 1: So there's a lot of songs on that, and that's

831
00:41:35,000 --> 00:41:36,799
Speaker 1: one of those c D things you know, we need

832
00:41:37,280 --> 00:41:42,120
Speaker 1: twenty more minutes, you know, but uh, if Dreams Come

833
00:41:42,160 --> 00:41:44,239
Speaker 1: True was based on it's the arrangement that he did

834
00:41:44,320 --> 00:41:47,040
Speaker 1: with Peggy Lee. So there a couple like that that

835
00:41:47,120 --> 00:41:49,040
Speaker 1: I picked out, and then a couple of new ones too.

836
00:41:49,640 --> 00:41:51,600
Speaker 1: So you know, that's the thing You've got so many

837
00:41:51,719 --> 00:41:54,440
Speaker 1: choices with with George, you know, he was just great

838
00:41:55,160 --> 00:41:59,560
Speaker 1: to say the least. Um, So you ever change the

839
00:41:59,680 --> 00:42:03,080
Speaker 1: show or a song and response to audience reaction during

840
00:42:03,160 --> 00:42:05,279
Speaker 1: the show or for the rest of the tour, how

841
00:42:05,320 --> 00:42:07,319
Speaker 1: do how does that happen? Yeah? I mean I think, well,

842
00:42:07,400 --> 00:42:09,759
Speaker 1: you know, when you're promoting a record in particular, like

843
00:42:09,840 --> 00:42:12,200
Speaker 1: if we promote a record, there was one called double

844
00:42:12,320 --> 00:42:16,680
Speaker 1: Exposure where we ended up doing songs like Harvest, Harvest,

845
00:42:16,719 --> 00:42:20,000
Speaker 1: Moon Freeman in Paris. Uh, there was one. There was

846
00:42:20,040 --> 00:42:21,960
Speaker 1: a Beatles song on there called I Feel Fine, and

847
00:42:22,000 --> 00:42:25,040
Speaker 1: then we did the Tom Wait's song into a Ellington song.

848
00:42:25,080 --> 00:42:28,160
Speaker 1: We had a Drunk on the Moon, so that into

849
00:42:28,280 --> 00:42:30,520
Speaker 1: Lush Life and out back to Drunk on the Moon.

850
00:42:31,040 --> 00:42:34,400
Speaker 1: So you would play them live and you'd say, Okay,

851
00:42:35,360 --> 00:42:36,840
Speaker 1: that one didn't seem to go over so well, but

852
00:42:36,920 --> 00:42:39,439
Speaker 1: everybody seemed to like the Lush Life and the Tom

853
00:42:39,480 --> 00:42:41,520
Speaker 1: Waits things, so we keep that one. And so you'd start,

854
00:42:41,640 --> 00:42:44,919
Speaker 1: like when you really start to go places and think

855
00:42:45,000 --> 00:42:49,080
Speaker 1: you're gonna pick these five from that record. Sometimes you

856
00:42:49,160 --> 00:42:51,520
Speaker 1: know there's some people don't like one in particularly. I

857
00:42:51,600 --> 00:42:53,520
Speaker 1: try to do all of them and then see what happens.

858
00:42:54,320 --> 00:42:56,600
Speaker 1: So it does change from time to time, and then

859
00:42:56,600 --> 00:42:59,239
Speaker 1: you keep the good ones in and then you can, uh,

860
00:42:59,440 --> 00:43:01,319
Speaker 1: you hope that you're going to add other ones along

861
00:43:01,360 --> 00:43:03,600
Speaker 1: the way. You know, are you ever surprised at what

862
00:43:03,760 --> 00:43:06,959
Speaker 1: works and doesn't work? Sometimes think hey, this is great

863
00:43:07,040 --> 00:43:11,000
Speaker 1: and the audience doesn't respond. Other throwaways they just love right.

864
00:43:11,080 --> 00:43:13,440
Speaker 1: It's actually, you know what's surprising is this this Johnny

865
00:43:13,480 --> 00:43:16,080
Speaker 1: Mercer thing. I literally went into Birdland last year and

866
00:43:16,400 --> 00:43:21,279
Speaker 1: recorded UH twenty Johnny Mercer songs, Don Sebeskie Arrangement's four

867
00:43:21,320 --> 00:43:25,400
Speaker 1: Horns rhythm section, and uh I put it out myself.

868
00:43:25,600 --> 00:43:27,320
Speaker 1: I just said I needed something to get me to

869
00:43:27,360 --> 00:43:29,080
Speaker 1: the next record, but I said, this is a good

870
00:43:29,080 --> 00:43:33,839
Speaker 1: little piece of business, and song after song absolutely killed.

871
00:43:34,239 --> 00:43:36,440
Speaker 1: I mean, I was so like, where was this record?

872
00:43:36,640 --> 00:43:39,640
Speaker 1: Years ago? I did a record Rogers Richard Rodgers that

873
00:43:39,719 --> 00:43:41,880
Speaker 1: wasn't as popular as this. You know, it's just amazing.

874
00:43:42,920 --> 00:43:45,600
Speaker 1: They they're they're maybe it's just the idea that there's

875
00:43:45,760 --> 00:43:49,840
Speaker 1: enough oddball materials. I call it the weird you know,

876
00:43:49,960 --> 00:43:52,400
Speaker 1: the outside of the lines things, as well as the

877
00:43:52,520 --> 00:43:55,440
Speaker 1: hits that people go, oh, I love Skylark, I love

878
00:43:55,480 --> 00:43:57,120
Speaker 1: I thought about you. And then you say, well, what's

879
00:43:57,160 --> 00:43:58,600
Speaker 1: this I got out of bed on the right side,

880
00:43:59,040 --> 00:44:02,320
Speaker 1: what's this other one? Slew foot? Where's that from? And

881
00:44:02,440 --> 00:44:03,919
Speaker 1: you set them up and all of a sudden, people,

882
00:44:03,960 --> 00:44:07,680
Speaker 1: oh that's great. I just shake my head. I go, Okay,

883
00:44:07,920 --> 00:44:10,480
Speaker 1: thank God for that. It's been around forever and nobody

884
00:44:10,560 --> 00:44:14,000
Speaker 1: really is and here's you know, there's books of uh. Well,

885
00:44:14,200 --> 00:44:15,879
Speaker 1: I made the thing last year, so I just put

886
00:44:15,960 --> 00:44:19,320
Speaker 1: it out. Uh, it's been fun to tour around, you know,

887
00:44:19,480 --> 00:44:21,959
Speaker 1: so it's like, well, that'll work, that'll play for a while.

888
00:44:22,480 --> 00:44:26,279
Speaker 1: I can well, the songs are not exactly written last month,

889
00:44:26,880 --> 00:44:31,080
Speaker 1: The Goody Goody and people are go Nuts. You know

890
00:44:31,200 --> 00:44:32,920
Speaker 1: it was written in the thirties. You know. That's the

891
00:44:32,960 --> 00:44:36,640
Speaker 1: other thing too, that's important about I think the presentation

892
00:44:36,800 --> 00:44:38,960
Speaker 1: that you've gotta you know, if you lead him in

893
00:44:38,960 --> 00:44:41,239
Speaker 1: the right directions. It doesn't matter what what songs you're

894
00:44:41,280 --> 00:44:43,200
Speaker 1: doing and when they were written, but if you let

895
00:44:43,280 --> 00:44:45,719
Speaker 1: them know where you're headed, I think that's the most

896
00:44:45,760 --> 00:44:48,000
Speaker 1: important thing. I think if you tell them here's where

897
00:44:48,040 --> 00:44:51,440
Speaker 1: we're going, trust me, and eventually they'll say, oh, well

898
00:44:51,520 --> 00:44:53,640
Speaker 1: that Harvest Moon thing was really good. Oh that's a

899
00:44:53,719 --> 00:44:56,080
Speaker 1: Neil Young song. Oh that was all right. I sort

900
00:44:56,120 --> 00:44:58,040
Speaker 1: of like that one, So that's good. You know, you

901
00:44:58,120 --> 00:44:59,920
Speaker 1: gotta let them know because you know there's there are

902
00:45:00,120 --> 00:45:03,520
Speaker 1: died in the wool uh songbook people. You know, I

903
00:45:03,560 --> 00:45:07,480
Speaker 1: don't like anything written after Okay, well try this one,

904
00:45:07,840 --> 00:45:10,239
Speaker 1: and you know, and you hope that you can lead

905
00:45:10,280 --> 00:45:13,040
Speaker 1: him in the right direction. You played something recently on

906
00:45:13,160 --> 00:45:15,080
Speaker 1: the show from I Want to Say. Her name is

907
00:45:15,239 --> 00:45:18,799
Speaker 1: Katie Melua Malula. Oh yeah, my wife plays that one. Yeah,

908
00:45:18,920 --> 00:45:22,160
Speaker 1: so I recognized her voice immediately and I have to

909
00:45:22,200 --> 00:45:26,520
Speaker 1: punch her name into my iTunes. She does this amazing

910
00:45:26,719 --> 00:45:30,040
Speaker 1: cup She's got this beautiful, lilting voice. She does this

911
00:45:30,320 --> 00:45:33,640
Speaker 1: cover of a Cure song. And I don't know how

912
00:45:33,719 --> 00:45:38,040
Speaker 1: well you know the Cure, but it's like relentlessly depressing

913
00:45:38,400 --> 00:45:42,640
Speaker 1: emo eighties sort of stuff like it was, or maybe

914
00:45:42,680 --> 00:45:46,520
Speaker 1: even nineties sort of stuff, and um was it trying

915
00:45:46,520 --> 00:45:48,080
Speaker 1: to remember the name of the song. It was off

916
00:45:48,120 --> 00:45:50,320
Speaker 1: a kiss Me, kiss Me, kiss Me, and it's just

917
00:45:50,560 --> 00:45:57,719
Speaker 1: this normally, um just depressing, terrible. I mean, I was

918
00:45:57,760 --> 00:46:00,200
Speaker 1: a Cure fan, but they were just like you how

919
00:46:00,239 --> 00:46:03,440
Speaker 1: to be willing to right that, like, all right, I'll

920
00:46:03,440 --> 00:46:04,920
Speaker 1: play a song and that's that. You're gonna move on.

921
00:46:05,239 --> 00:46:09,160
Speaker 1: And her version is just so amazing. And you find

922
00:46:09,239 --> 00:46:13,239
Speaker 1: that sometimes with cover songs that you get somebody just

923
00:46:13,360 --> 00:46:17,200
Speaker 1: taking a completely different spin, like like the Neil Young song.

924
00:46:17,280 --> 00:46:20,640
Speaker 1: People who may never listen to Neil Young might appreciate

925
00:46:20,760 --> 00:46:24,000
Speaker 1: the sort of the sort of stuff he does if

926
00:46:24,040 --> 00:46:27,040
Speaker 1: it's presented in in a way that's more palatable today. Well,

927
00:46:27,120 --> 00:46:29,120
Speaker 1: you know. And the thing is is that you're trying

928
00:46:29,160 --> 00:46:31,640
Speaker 1: to get the people who listen to Neil Young or

929
00:46:31,760 --> 00:46:34,960
Speaker 1: who were interested in that and who go the same

930
00:46:35,040 --> 00:46:36,440
Speaker 1: do the same thing that they did with the Ron

931
00:46:36,480 --> 00:46:38,239
Speaker 1: Stack record. For you is like they go, oh, well,

932
00:46:38,320 --> 00:46:40,439
Speaker 1: that was sort of interesting that you put a jazz song,

933
00:46:40,640 --> 00:46:43,759
Speaker 1: say with I Feel Fine. We put a little thing

934
00:46:43,880 --> 00:46:46,160
Speaker 1: up front of the sidewinder, which is a Lee Morgan cut,

935
00:46:46,800 --> 00:46:48,880
Speaker 1: and then they go, oh, well, maybe they're going to

936
00:46:48,960 --> 00:46:51,359
Speaker 1: discover something else. I was really felt that way about

937
00:46:51,360 --> 00:46:53,560
Speaker 1: the Beatle Record. I thought the Beatle Record because we

938
00:46:54,080 --> 00:46:58,759
Speaker 1: we were mixing in Woody Herman into the Woody Herman band,

939
00:46:58,840 --> 00:47:01,719
Speaker 1: we were putting the BASSI band sound, we had orchestra things.

940
00:47:02,200 --> 00:47:04,200
Speaker 1: I really thought we were presenting the Beatles in a

941
00:47:04,280 --> 00:47:07,640
Speaker 1: completely new way. And in the United States they were

942
00:47:07,640 --> 00:47:09,520
Speaker 1: a little freaked out by it. I always say, you know,

943
00:47:10,520 --> 00:47:12,720
Speaker 1: I have no idea, but you know it is lasted.

944
00:47:12,840 --> 00:47:15,160
Speaker 1: It is. It's the most love hated record that I

945
00:47:15,320 --> 00:47:19,680
Speaker 1: have out there. But you know, the the happy ending

946
00:47:19,760 --> 00:47:22,759
Speaker 1: for me was when I worked with Paul McCartney. The

947
00:47:22,840 --> 00:47:25,040
Speaker 1: first day he walked into the studio, he's they said,

948
00:47:25,040 --> 00:47:26,920
Speaker 1: Paul McCartney, jump Itzareil, And he said, you made a

949
00:47:26,960 --> 00:47:29,840
Speaker 1: Beatles c D. And I said, yes, I did, and

950
00:47:29,920 --> 00:47:32,400
Speaker 1: he said it's very good, and he walked away, and

951
00:47:32,440 --> 00:47:34,719
Speaker 1: I was like, well that day started out quite fine,

952
00:47:34,880 --> 00:47:37,120
Speaker 1: you know. So that's on. I have a hit. I

953
00:47:37,239 --> 00:47:40,680
Speaker 1: have the problem with the Beatles songs is that you

954
00:47:40,880 --> 00:47:44,120
Speaker 1: know them so well that when you hear it and

955
00:47:44,280 --> 00:47:48,239
Speaker 1: it's different, it can be jarrsh So I have two

956
00:47:48,840 --> 00:47:53,640
Speaker 1: different Beetles c D covers that I played just for

957
00:47:53,800 --> 00:47:57,120
Speaker 1: that reason. This is one of them and the other one.

958
00:47:57,239 --> 00:48:01,440
Speaker 1: I don't know if you know um Larry J. Belle

959
00:48:02,440 --> 00:48:05,879
Speaker 1: LJ is his nickname. He's when Paul McCartney was playing

960
00:48:05,960 --> 00:48:09,680
Speaker 1: with Wings, he was his guitar And you know, look

961
00:48:09,680 --> 00:48:12,520
Speaker 1: I'm talking to you would appreciate this. This is just pure,

962
00:48:13,520 --> 00:48:17,320
Speaker 1: just one guy, no over dub acoustic guitar playing the

963
00:48:17,440 --> 00:48:22,160
Speaker 1: rhythm and the vocals on guitar, and like yours, they're

964
00:48:22,280 --> 00:48:25,200
Speaker 1: very different, They're very fresh and I know that song,

965
00:48:25,320 --> 00:48:27,520
Speaker 1: but this is a completely different version of it. The

966
00:48:27,560 --> 00:48:30,160
Speaker 1: problem with the covers are they usually sound too much

967
00:48:30,239 --> 00:48:32,320
Speaker 1: like the original. Yeah, they just copy the original, and

968
00:48:32,520 --> 00:48:34,920
Speaker 1: what's the value of that. Somebody did a great cover said, well,

969
00:48:34,960 --> 00:48:38,160
Speaker 1: it's the same thing, right, that's always, you know, so

970
00:48:38,280 --> 00:48:41,560
Speaker 1: we we actually try to homage things in and out

971
00:48:41,680 --> 00:48:44,440
Speaker 1: inside little little hints that we know. You know. The

972
00:48:44,560 --> 00:48:47,360
Speaker 1: hard thing for me was not singing like the Beatles

973
00:48:47,400 --> 00:48:51,480
Speaker 1: sing you very much do a jazz version of the Beatles,

974
00:48:51,680 --> 00:48:55,000
Speaker 1: not a cover versions. And that was the idea. That's

975
00:48:55,000 --> 00:48:56,919
Speaker 1: what jazz records are. You know, if you took all

976
00:48:57,000 --> 00:48:59,239
Speaker 1: of me, you wouldn't do somebody else's record of all

977
00:48:59,320 --> 00:49:01,640
Speaker 1: of me, or it had be you or something you

978
00:49:01,680 --> 00:49:04,440
Speaker 1: would you know, you would say, here's my version of it.

979
00:49:04,960 --> 00:49:08,440
Speaker 1: So you're on the road pretty pretty often, you do

980
00:49:08,560 --> 00:49:11,360
Speaker 1: a hundred and fifty or so? Is that right? So

981
00:49:12,040 --> 00:49:14,040
Speaker 1: are you what do you do to keep killed time

982
00:49:14,120 --> 00:49:17,680
Speaker 1: on the road? Do you read? Do you listen to music? What? What?

983
00:49:17,920 --> 00:49:21,480
Speaker 1: What occupies your time? Uh, let's see, that's a very

984
00:49:21,520 --> 00:49:25,560
Speaker 1: good question. Wait, you know we we've I do try

985
00:49:25,640 --> 00:49:28,840
Speaker 1: to read a very I've read. I read a cooking

986
00:49:28,880 --> 00:49:30,839
Speaker 1: book was the last book I read by the woman

987
00:49:30,840 --> 00:49:34,120
Speaker 1: who owns Prune. Her name is Gabrielle Hamilton's so I

988
00:49:34,239 --> 00:49:36,520
Speaker 1: liked her and I read about how she got into

989
00:49:36,560 --> 00:49:39,960
Speaker 1: cooking because I really am interested in that. I like

990
00:49:40,160 --> 00:49:42,440
Speaker 1: to you know, I'm always working on the next thing.

991
00:49:42,560 --> 00:49:45,560
Speaker 1: So I'm sometimes looking at music or reading, you know,

992
00:49:45,680 --> 00:49:49,239
Speaker 1: listening to what I just recorded, and uh, seeing what

993
00:49:49,400 --> 00:49:50,920
Speaker 1: needs to be done on those things. So there's a

994
00:49:51,000 --> 00:49:53,160
Speaker 1: lot of business that gets done during the day and

995
00:49:53,360 --> 00:49:55,400
Speaker 1: sometimes and sometimes I just sit in a room and

996
00:49:56,040 --> 00:49:58,520
Speaker 1: I can watch Sports Center until the cows come home. Really,

997
00:49:58,719 --> 00:50:01,759
Speaker 1: you know, that's I don't be about that with all

998
00:50:01,800 --> 00:50:04,960
Speaker 1: my guests. There's always three or four questions I ask everybody,

999
00:50:05,360 --> 00:50:08,080
Speaker 1: and I'm going to ask you a version of them here. So,

1000
00:50:08,800 --> 00:50:11,399
Speaker 1: someone who's a millennial just getting out of college now

1001
00:50:11,640 --> 00:50:14,200
Speaker 1: and is interested in the career of music, what sort

1002
00:50:14,239 --> 00:50:18,080
Speaker 1: of advice would you give them? Well, they've they've probably

1003
00:50:18,160 --> 00:50:21,480
Speaker 1: studied since high school, what what kind of music they like?

1004
00:50:21,560 --> 00:50:23,200
Speaker 1: Because they can do that now, you know, you can

1005
00:50:23,440 --> 00:50:26,480
Speaker 1: you can pretty much discover what you're into at such

1006
00:50:26,520 --> 00:50:30,120
Speaker 1: an earlier age, I think. So I think the thing

1007
00:50:30,280 --> 00:50:32,439
Speaker 1: is is to uh, is to get out and play.

1008
00:50:32,560 --> 00:50:36,120
Speaker 1: Is to find places to play where you can spend

1009
00:50:36,200 --> 00:50:38,040
Speaker 1: a couple of hours in a room. The more you

1010
00:50:38,120 --> 00:50:41,320
Speaker 1: play in front of people, I feel that that's always

1011
00:50:41,480 --> 00:50:43,920
Speaker 1: that's you know, you can practice all you want in

1012
00:50:43,960 --> 00:50:45,839
Speaker 1: the room and you're gonna goh, I sounds so good today,

1013
00:50:46,040 --> 00:50:48,200
Speaker 1: you know, playing in in my living room, But the

1014
00:50:48,280 --> 00:50:49,839
Speaker 1: second you get in front of somebody in your hand

1015
00:50:49,880 --> 00:50:51,440
Speaker 1: starts to sweat a little bit, and you know, you

1016
00:50:51,560 --> 00:50:54,680
Speaker 1: drop your pick and everybody's looking at you. I think

1017
00:50:54,760 --> 00:50:58,759
Speaker 1: that it's just about trying to find ways to get

1018
00:50:58,760 --> 00:51:00,920
Speaker 1: out there and play, find groups to play with, or

1019
00:51:01,080 --> 00:51:03,800
Speaker 1: or if you're guitarist or piano players, solo gigs whatever.

1020
00:51:03,920 --> 00:51:06,160
Speaker 1: You know, it's very difficult to play a solo gig

1021
00:51:06,239 --> 00:51:08,839
Speaker 1: for four hours, so you know, you've got to build

1022
00:51:08,840 --> 00:51:11,120
Speaker 1: a repertoire. And that's all. Those things are things that

1023
00:51:11,200 --> 00:51:13,960
Speaker 1: I did. Anyway, I thought they were very useful, and

1024
00:51:14,160 --> 00:51:16,800
Speaker 1: by the time I was ready to step into my

1025
00:51:16,840 --> 00:51:18,719
Speaker 1: own thing, I felt a little more comfortable because I

1026
00:51:18,760 --> 00:51:20,680
Speaker 1: had been doing it already for a long time. So

1027
00:51:20,880 --> 00:51:23,719
Speaker 1: get out and play in front of people. Um. We

1028
00:51:23,880 --> 00:51:27,560
Speaker 1: talked about some of the changes in the industry, but um,

1029
00:51:28,480 --> 00:51:33,160
Speaker 1: what changes have there been within the music industry and

1030
00:51:33,280 --> 00:51:37,240
Speaker 1: what future changes do you expect that's going to alter

1031
00:51:37,400 --> 00:51:41,400
Speaker 1: the way people listen to and and find music. I

1032
00:51:41,520 --> 00:51:46,200
Speaker 1: think the there's uh the fact that it's funny. My

1033
00:51:46,320 --> 00:51:48,960
Speaker 1: friend the other day set up his stereo in his

1034
00:51:49,080 --> 00:51:50,960
Speaker 1: room because his son moved out finally, you know, one

1035
00:51:50,960 --> 00:51:52,160
Speaker 1: of those things. And he said, you know, when I

1036
00:51:52,280 --> 00:51:55,960
Speaker 1: put up the speakers, like I used to have bookshelf speakers,

1037
00:51:56,360 --> 00:51:59,720
Speaker 1: and I had a I had a my CD player

1038
00:51:59,800 --> 00:52:02,520
Speaker 1: and an amplifier and turned it on and I was like,

1039
00:52:02,640 --> 00:52:06,280
Speaker 1: oh my god, music in the room. You know. Everybody

1040
00:52:06,360 --> 00:52:09,680
Speaker 1: listens with headphones. It's so weird how people listen, you know,

1041
00:52:09,800 --> 00:52:12,680
Speaker 1: and they don't and those are terrible sound quality, yeah,

1042
00:52:12,840 --> 00:52:14,480
Speaker 1: you know, but I mean you can get good headphones,

1043
00:52:14,520 --> 00:52:16,520
Speaker 1: but like nobody sits in their room, it seems to me,

1044
00:52:16,600 --> 00:52:19,759
Speaker 1: and puts on their stereo and goes, okay, music with

1045
00:52:20,000 --> 00:52:23,400
Speaker 1: you know. I went to Radio Shack at twelve in speakers,

1046
00:52:23,440 --> 00:52:25,680
Speaker 1: bookshelf speakers. They were so great to listen to, you know.

1047
00:52:25,760 --> 00:52:28,080
Speaker 1: It's just the way people listen. And what do they

1048
00:52:28,160 --> 00:52:31,279
Speaker 1: listen on. Do they download immediately to a device? Are

1049
00:52:31,320 --> 00:52:35,800
Speaker 1: they They're rarely buying actual product anymore. So that's the

1050
00:52:35,880 --> 00:52:39,200
Speaker 1: weird thing too, is that I'm lucky because my people

1051
00:52:39,239 --> 00:52:41,279
Speaker 1: who come to my gigs want to get something. At

1052
00:52:41,320 --> 00:52:43,880
Speaker 1: the end, they'll buy the CDC, you'll sign it and

1053
00:52:44,000 --> 00:52:46,200
Speaker 1: take it home. Oh I got something, you know, and

1054
00:52:46,320 --> 00:52:48,879
Speaker 1: you how long have you been doing that? You every

1055
00:52:48,960 --> 00:52:52,600
Speaker 1: time I've seen you, you actually hang around after the show,

1056
00:52:52,719 --> 00:52:56,800
Speaker 1: people waiting online and they you chat, you take selfies,

1057
00:52:56,880 --> 00:52:58,880
Speaker 1: you do what have you? When? Did when did that

1058
00:52:59,040 --> 00:53:02,879
Speaker 1: come about? It's are it's been whenever we could get

1059
00:53:02,920 --> 00:53:06,880
Speaker 1: the records there, we do it. I mean I've been saying,

1060
00:53:06,920 --> 00:53:09,399
Speaker 1: you know, for the most part, that's the way to meet.

1061
00:53:09,440 --> 00:53:11,279
Speaker 1: The people are coming to hear you, and then you know,

1062
00:53:11,400 --> 00:53:13,600
Speaker 1: you'll meet Like at the Tiller Center, you meet people say,

1063
00:53:13,960 --> 00:53:16,080
Speaker 1: you know, twenty years ago it was me, and now

1064
00:53:16,280 --> 00:53:19,480
Speaker 1: I'm bringing my kids or you know, I decided I

1065
00:53:19,560 --> 00:53:21,440
Speaker 1: knew my parents would like this, so I brought them

1066
00:53:21,480 --> 00:53:23,040
Speaker 1: here and they were like, yeah, we couldn't believe how

1067
00:53:23,080 --> 00:53:25,279
Speaker 1: good this was. You know, it's really sweet. So I

1068
00:53:25,440 --> 00:53:28,000
Speaker 1: like to see what's going on. Who's coming to these concerts.

1069
00:53:28,080 --> 00:53:29,880
Speaker 1: You know, how old are they, how young are they?

1070
00:53:30,560 --> 00:53:32,319
Speaker 1: You know, are they been here for a long time?

1071
00:53:32,600 --> 00:53:35,120
Speaker 1: Is this their first time? It's it's really I do

1072
00:53:35,280 --> 00:53:37,120
Speaker 1: my own little thing. I mean, I don't write down

1073
00:53:37,160 --> 00:53:39,040
Speaker 1: what it is, but it's interesting to see who's coming.

1074
00:53:39,200 --> 00:53:41,560
Speaker 1: And but that means a gig that starts at eight

1075
00:53:41,840 --> 00:53:44,880
Speaker 1: that you finish on stage at ten you're not leaving

1076
00:53:44,920 --> 00:53:47,719
Speaker 1: the place till eleven thirty and nine. Sometimes yeah, you know,

1077
00:53:47,840 --> 00:53:50,600
Speaker 1: sometimes it's just a bunch of people. The Tilla Centers,

1078
00:53:50,760 --> 00:53:52,799
Speaker 1: it was. It was wild. It was this this long

1079
00:53:52,960 --> 00:53:55,800
Speaker 1: line of people, and I was just amazed at it

1080
00:53:55,920 --> 00:53:58,359
Speaker 1: that people were that patient about it. But I say, listen,

1081
00:53:58,400 --> 00:54:00,640
Speaker 1: I'm not going to go anywhere. So if you're patient,

1082
00:54:00,680 --> 00:54:02,920
Speaker 1: I'm patient. You know, I know it's important to them.

1083
00:54:03,320 --> 00:54:05,080
Speaker 1: I would love to go to a Pat Metheny concert

1084
00:54:05,120 --> 00:54:07,719
Speaker 1: and see patmthany afterwards. You I want to say, you

1085
00:54:07,800 --> 00:54:11,520
Speaker 1: know that kind of thing. So, uh, it's really interesting.

1086
00:54:11,560 --> 00:54:15,320
Speaker 1: I mean, I'm very I love that, you know, because

1087
00:54:15,360 --> 00:54:17,080
Speaker 1: of who I am, I can go backstage at most

1088
00:54:17,160 --> 00:54:21,600
Speaker 1: places and at jazz concerts anyway. But I mean it's nice.

1089
00:54:21,880 --> 00:54:24,360
Speaker 1: I like to make myself available because it's important to

1090
00:54:24,480 --> 00:54:27,120
Speaker 1: keep it all going. So I never do that. And

1091
00:54:27,600 --> 00:54:29,880
Speaker 1: this one show, I like, I said, this is the

1092
00:54:29,920 --> 00:54:32,640
Speaker 1: third or fourth time I saw you. I said to

1093
00:54:32,760 --> 00:54:35,840
Speaker 1: my wife, I go, wow, look all these people winning online.

1094
00:54:35,920 --> 00:54:37,800
Speaker 1: She's like, do you want to do that? I go,

1095
00:54:37,880 --> 00:54:39,200
Speaker 1: why would I do that? Am I going to ask

1096
00:54:39,280 --> 00:54:41,440
Speaker 1: him to be on the radio? And she goes, yeah,

1097
00:54:41,480 --> 00:54:42,960
Speaker 1: why don't you ask him to be on the radio.

1098
00:54:43,640 --> 00:54:46,040
Speaker 1: Oh you know, that's a good idea. So you have

1099
00:54:46,160 --> 00:54:48,960
Speaker 1: your wife, I have mine, for occasionally reminds me, I'm

1100
00:54:48,960 --> 00:54:52,040
Speaker 1: an idiot. Get online, get a c D, get online

1101
00:54:52,040 --> 00:54:54,800
Speaker 1: and invite him on the show. Okay, good, good idea.

1102
00:54:54,840 --> 00:54:57,280
Speaker 1: Here we are. Um. So the last question I always

1103
00:54:57,320 --> 00:54:59,040
Speaker 1: we're gonna, we're gonna get the guitar out and play

1104
00:54:59,080 --> 00:55:02,160
Speaker 1: a song or two. But the last question I asked everybody,

1105
00:55:02,400 --> 00:55:05,400
Speaker 1: and I always get some interesting responses, is what do

1106
00:55:05,480 --> 00:55:09,400
Speaker 1: you know about your chosen field, your industry today that

1107
00:55:09,600 --> 00:55:13,160
Speaker 1: you wish you knew when you were starting out. I

1108
00:55:13,320 --> 00:55:19,120
Speaker 1: think the thing the thing that I know I don't know,

1109
00:55:19,239 --> 00:55:22,680
Speaker 1: you know. I think that I think that I thought

1110
00:55:22,719 --> 00:55:24,719
Speaker 1: I knew everything when I was starting out, Like when

1111
00:55:24,760 --> 00:55:27,640
Speaker 1: I made my first record called all of Me on

1112
00:55:27,760 --> 00:55:30,080
Speaker 1: Our c A, which was a big deal for me.

1113
00:55:31,920 --> 00:55:34,480
Speaker 1: I really thought that I had I had my handle

1114
00:55:34,560 --> 00:55:37,120
Speaker 1: on it. I mean I really thought I was. I

1115
00:55:37,239 --> 00:55:41,920
Speaker 1: really felt confident about it. But I realized actually when

1116
00:55:41,960 --> 00:55:44,239
Speaker 1: I made my first I didn't really sing well. And

1117
00:55:44,320 --> 00:55:47,440
Speaker 1: I don't think that like singing got any better. I

1118
00:55:47,560 --> 00:55:49,680
Speaker 1: really felt took a while to get good at it.

1119
00:55:50,520 --> 00:55:52,680
Speaker 1: Whereas I thought at the very beginning I was. I thought, well,

1120
00:55:52,719 --> 00:55:55,319
Speaker 1: it's you know, it's really good, and I go back

1121
00:55:55,360 --> 00:55:57,719
Speaker 1: and listen to it. A good boy. Boy, I'm lucky

1122
00:55:57,800 --> 00:55:59,640
Speaker 1: to still be standing here, you know. So it was

1123
00:55:59,719 --> 00:56:02,719
Speaker 1: interest sting that tryst. I really thought I knew a

1124
00:56:02,800 --> 00:56:04,480
Speaker 1: lot of the beginning, but I don't. I didn't really

1125
00:56:04,520 --> 00:56:06,360
Speaker 1: know that much. I really learned a lot as I

1126
00:56:06,440 --> 00:56:09,240
Speaker 1: went along, and I realized how much the performing aspect

1127
00:56:09,320 --> 00:56:13,440
Speaker 1: of it was and sort of, you know, just you know,

1128
00:56:13,520 --> 00:56:16,520
Speaker 1: the idea of standing off the rough edges, you know,

1129
00:56:16,600 --> 00:56:19,400
Speaker 1: and knowing, oh, I see, you know where all the

1130
00:56:19,480 --> 00:56:22,719
Speaker 1: economy in it was to do that too much? You know,

1131
00:56:22,800 --> 00:56:25,320
Speaker 1: that's quite interesting. All right, So you broke your guitar

1132
00:56:25,920 --> 00:56:28,640
Speaker 1: over here, what would you like to uh usually play?

1133
00:56:28,680 --> 00:56:31,239
Speaker 1: I got rhythm because it's my most show off he things. Okay,

1134
00:56:31,320 --> 00:56:35,040
Speaker 1: let's do that. I got a few other names to

1135
00:56:35,160 --> 00:56:38,400
Speaker 1: run by you later. We'll we'll, we'll bounce until they

1136
00:56:38,480 --> 00:56:41,279
Speaker 1: kick us out of the studio. Charlie, is that other

1137
00:56:41,440 --> 00:56:44,759
Speaker 1: Mike ready to rock and roll? Or jazz? Is I

1138
00:56:44,760 --> 00:56:49,800
Speaker 1: can put it in place? He's gonna pick always in

1139
00:56:49,880 --> 00:56:52,680
Speaker 1: the right pocket? Is that what you always gave? Always there?

1140
00:56:52,719 --> 00:56:56,880
Speaker 1: There's a little pick area for them. When did your

1141
00:56:56,920 --> 00:57:01,080
Speaker 1: mother graduate music and Art? I want to say, Uh,

1142
00:57:02,160 --> 00:57:05,560
Speaker 1: there goes Charlie Pellick by the way, um voice of

1143
00:57:05,640 --> 00:57:12,680
Speaker 1: the submach I want to say, or so something like that.

1144
00:57:13,400 --> 00:57:15,200
Speaker 1: We just did the gala for them the other night.

1145
00:57:16,120 --> 00:57:18,640
Speaker 1: My daughter goes to La Guardy. Oh really, so that's

1146
00:57:19,000 --> 00:57:22,640
Speaker 1: she went for music and art? Um J Hunter College. Wow?

1147
00:57:24,640 --> 00:57:34,200
Speaker 1: How's that sounded? There? You ready? H Here we go?

1148
00:57:34,720 --> 00:57:38,960
Speaker 1: And this is a John Pizorelli model made by Bill

1149
00:57:39,040 --> 00:57:44,600
Speaker 1: Mole from Springfield, Missouri. And this was this is like

1150
00:57:44,680 --> 00:57:46,320
Speaker 1: my favorite one he's made. There's a new one that

1151
00:57:46,320 --> 00:57:48,680
Speaker 1: I'm playing now. This has some miles on it. This

1152
00:57:48,760 --> 00:57:53,640
Speaker 1: has definitely got miles on. I have a case made

1153
00:57:53,680 --> 00:57:56,240
Speaker 1: by a gentleman named Jeff Hoffey out of out of

1154
00:57:56,520 --> 00:58:01,000
Speaker 1: just out of Chicago, and uh, I just always take

1155
00:58:01,040 --> 00:58:03,120
Speaker 1: a picture of it. I said, here's the guitar going on,

1156
00:58:03,560 --> 00:58:08,560
Speaker 1: you know, and it always survives. You know, it's it's

1157
00:58:08,680 --> 00:58:11,040
Speaker 1: it's so uh that's the one thing that's changed the

1158
00:58:11,120 --> 00:58:13,160
Speaker 1: most as they finally can make a case that will

1159
00:58:13,200 --> 00:58:15,320
Speaker 1: protect these guitars. But this one I've just thrown around

1160
00:58:15,400 --> 00:58:18,320
Speaker 1: so much. It's not the case. It's the guitar player.

1161
00:58:18,880 --> 00:58:23,280
Speaker 1: So here as I got rhythm. I got rhythm, I

1162
00:58:23,480 --> 00:58:26,720
Speaker 1: got music. I got my God. Look at us far

1163
00:58:26,840 --> 00:58:32,480
Speaker 1: anything more? I got daisies in green pastures. I got

1164
00:58:32,720 --> 00:58:36,640
Speaker 1: my God. Look at us for anything more? Oh man trouble.

1165
00:58:37,640 --> 00:58:41,600
Speaker 1: I don't mind him. You won't find him at my dog.

1166
00:58:42,920 --> 00:58:46,680
Speaker 1: I got started lighting, I got sweet dreams. I got

1167
00:58:46,920 --> 00:58:49,560
Speaker 1: my God. Look at us far anything more? Who get

1168
00:58:49,640 --> 00:59:44,840
Speaker 1: us far anything more? Admitted him? At him? Oh man trouble,

1169
00:59:45,680 --> 00:59:49,600
Speaker 1: I don't mind him. You won't find him at my door.

1170
00:59:50,640 --> 00:59:54,439
Speaker 1: I got star like, I got sweet dreams. I got

1171
00:59:54,680 --> 00:59:57,720
Speaker 1: my God. Look at us for anything more? But that

1172
00:59:57,840 --> 01:00:08,800
Speaker 1: they did him? Don't get us for anything more? Fantastic,

1173
01:00:09,040 --> 01:00:12,280
Speaker 1: We get it, We get it, Charlie said, Let's do

1174
01:00:12,320 --> 01:00:14,920
Speaker 1: it again one more time, just kidding. That's fantastic. And

1175
01:00:14,920 --> 01:00:17,080
Speaker 1: about halfway through it, I'm like, why aren't I recording

1176
01:00:17,120 --> 01:00:20,280
Speaker 1: this on my phone? I'm so stupid? John? So now

1177
01:00:20,320 --> 01:00:22,640
Speaker 1: you got your phone? I do here we go? You

1178
01:00:22,720 --> 01:00:26,320
Speaker 1: can do it again and play something else. Let me

1179
01:00:26,360 --> 01:00:31,040
Speaker 1: grab my phone? Where with the row? How are we doing?

1180
01:00:31,120 --> 01:00:39,800
Speaker 1: Time wise? Charlie, We're good. Fantastic all right, it's only

1181
01:00:39,920 --> 01:00:44,040
Speaker 1: to do one quick video all right, what are we

1182
01:00:44,040 --> 01:00:47,200
Speaker 1: gonna do now? Here we go? You ready? The way

1183
01:00:47,280 --> 01:00:54,040
Speaker 1: you wear your hat, the way you sepulity, the memory

1184
01:00:54,120 --> 01:00:59,520
Speaker 1: of all that. No, they can't take that away from me.

1185
01:00:59,840 --> 01:01:04,080
Speaker 1: The way your smile just beams, the way you sing

1186
01:01:04,240 --> 01:01:10,680
Speaker 1: off keep, the way you haunt my dreams. No, they

1187
01:01:10,760 --> 01:01:15,320
Speaker 1: can't take that away from me. We may never never

1188
01:01:15,680 --> 01:01:20,640
Speaker 1: meet again. I'm a bumpet road to love. Still, I'll

1189
01:01:20,680 --> 01:01:26,560
Speaker 1: always always keep the memory of the way you hold

1190
01:01:26,680 --> 01:01:32,480
Speaker 1: your knife, the way were dance still three, the way

1191
01:01:32,560 --> 01:01:37,600
Speaker 1: you change my life. No, they can't take that away

1192
01:01:37,720 --> 01:01:42,960
Speaker 1: from me. No, they can't take that away from me.

1193
01:01:43,200 --> 01:01:52,800
Speaker 1: Do Dad, fantastic? I have to put this down to applaude?

1194
01:01:53,600 --> 01:01:58,120
Speaker 1: Do we get all that? All? Right? Fantastic? John? I

1195
01:01:58,160 --> 01:02:00,800
Speaker 1: can't begin to tell you how much fan was. I'm

1196
01:02:00,880 --> 01:02:03,520
Speaker 1: so glad, Uh, I'm so glad we had this time together.

1197
01:02:04,160 --> 01:02:06,160
Speaker 1: Everything I say is a lyric I have. I have

1198
01:02:06,240 --> 01:02:09,200
Speaker 1: a hundred other questions I didn't get to any time

1199
01:02:09,360 --> 01:02:13,440
Speaker 1: I wanted to discuss. God. Joe Williams, I don't know

1200
01:02:13,520 --> 01:02:15,880
Speaker 1: you know you, I've never heard you mentioned. Mose Allison,

1201
01:02:16,480 --> 01:02:21,040
Speaker 1: who find fascinating um. John Coltrane does an album with

1202
01:02:21,120 --> 01:02:24,000
Speaker 1: Johnny Hartman that I just adore. Yeah. The other one

1203
01:02:24,080 --> 01:02:27,960
Speaker 1: is the Ballad's record of just Johnny Hartman, just just's

1204
01:02:28,040 --> 01:02:31,520
Speaker 1: He's amazing and I have a song. I was curious

1205
01:02:31,680 --> 01:02:34,440
Speaker 1: as to if you've ever heard this version. It's an

1206
01:02:34,480 --> 01:02:37,640
Speaker 1: odd bowl version that's probably outside of your sphere, but

1207
01:02:37,760 --> 01:02:40,200
Speaker 1: you may like it for the show, and if I

1208
01:02:40,280 --> 01:02:42,760
Speaker 1: tell you the derivation of it, you'll understand why it's

1209
01:02:42,800 --> 01:02:46,960
Speaker 1: so ridiculous. There was a girl, she was a girl

1210
01:02:47,520 --> 01:02:52,800
Speaker 1: on a sitcom. She was fourteen. Her name is Renee Olstaed,

1211
01:02:53,680 --> 01:02:58,400
Speaker 1: and she does a version of Summertime. That is when

1212
01:02:58,480 --> 01:03:00,320
Speaker 1: you think that it's a fourteen year old kid, you

1213
01:03:00,360 --> 01:03:04,960
Speaker 1: would say, what the heck is this? It's so amazing that. Um.

1214
01:03:05,120 --> 01:03:07,600
Speaker 1: I was going to suggest you check it out, but

1215
01:03:07,760 --> 01:03:10,080
Speaker 1: that's a throway. I know you play Madeline Pero and

1216
01:03:10,280 --> 01:03:13,520
Speaker 1: Diana Krall and I love Julie London. You're all over that.

1217
01:03:13,960 --> 01:03:16,880
Speaker 1: I haven't heard Melody Guardaux, but she's an interesting Well

1218
01:03:16,920 --> 01:03:18,920
Speaker 1: we used to play her, and we played her. We

1219
01:03:19,080 --> 01:03:24,800
Speaker 1: actually got hurt to um uh schwartz. Oh really that

1220
01:03:24,960 --> 01:03:27,080
Speaker 1: was one that like Jessica found we I don't know

1221
01:03:27,120 --> 01:03:29,080
Speaker 1: if we had the record got to us or we looked.

1222
01:03:29,200 --> 01:03:30,800
Speaker 1: You know, we always just go on and see new

1223
01:03:30,880 --> 01:03:33,600
Speaker 1: releases and we jump on them right away, and she

1224
01:03:33,800 --> 01:03:35,840
Speaker 1: was somebody we got at right at the very beginning.

1225
01:03:35,880 --> 01:03:40,200
Speaker 1: She's an amazing story, car crash and everything. Anyway, this

1226
01:03:40,280 --> 01:03:42,360
Speaker 1: has been fantastic. Thank you so much for being so

1227
01:03:43,080 --> 01:03:45,040
Speaker 1: generous with your time. I'm gonna have Charlie come in

1228
01:03:45,080 --> 01:03:48,000
Speaker 1: and take a photo of us, and I'm gonna ask

1229
01:03:48,040 --> 01:03:50,600
Speaker 1: you to sign the book. Um, if people want to

1230
01:03:50,640 --> 01:03:53,520
Speaker 1: find you, they can go to John Pizzarelli dot com

1231
01:03:53,680 --> 01:03:57,440
Speaker 1: and all your discs, books, everything else. Tour date information

1232
01:03:57,560 --> 01:03:59,960
Speaker 1: is all is all there and they're all over the country.

1233
01:04:00,080 --> 01:04:01,840
Speaker 1: Now you can like me on Facebook. I'll be out

1234
01:04:01,840 --> 01:04:05,920
Speaker 1: on the West coast the first a second two weeks,

1235
01:04:06,240 --> 01:04:08,840
Speaker 1: second two weeks of August, and also during a week

1236
01:04:08,880 --> 01:04:12,360
Speaker 1: at Birdland July. And the new album, which will come

1237
01:04:12,440 --> 01:04:14,880
Speaker 1: back and talk about at length, is called it'll be

1238
01:04:14,960 --> 01:04:18,600
Speaker 1: called Midnight McCartney. It's all Paul McCartney songs done after

1239
01:04:18,880 --> 01:04:21,760
Speaker 1: the Beatles, silly little songs, no more lonely nights and

1240
01:04:21,800 --> 01:04:25,080
Speaker 1: all that stuff, and it's Paul McCartney approved. Alright, great,

1241
01:04:25,440 --> 01:04:28,240
Speaker 1: you've been listening to Masters in Business on Bloomberg Radio.

1242
01:04:28,360 --> 01:04:29,720
Speaker 1: You should to check us out next week.