1 00:00:00,600 --> 00:00:01,400 Speaker 1: Taking a Walk. 2 00:00:01,520 --> 00:00:05,400 Speaker 2: I remember walking around one night at a festival as 3 00:00:05,480 --> 00:00:07,880 Speaker 2: I was in between my junior and senior years of 4 00:00:07,960 --> 00:00:11,400 Speaker 2: high school with out on the road with this band. 5 00:00:11,560 --> 00:00:15,200 Speaker 2: You know. I just remember walking around really late one 6 00:00:15,280 --> 00:00:18,079 Speaker 2: night at a fastball and going, this would not be 7 00:00:18,400 --> 00:00:21,840 Speaker 2: such a bad way to go. I just felt like 8 00:00:21,880 --> 00:00:25,840 Speaker 2: I belonged and felt like it was something I could 9 00:00:26,440 --> 00:00:29,040 Speaker 2: get better, you know, see how far this could go. 10 00:00:29,200 --> 00:00:32,440 Speaker 1: Welcome to the Taking a Walk Podcast. This is the 11 00:00:32,479 --> 00:00:36,320 Speaker 1: podcast hosted by Buzz Night, talking with musicians about the 12 00:00:36,360 --> 00:00:41,040 Speaker 1: inside stories behind their music, their passions, their challenges, and 13 00:00:41,080 --> 00:00:45,800 Speaker 1: their latest projects. Today, buzz speaks with Dobra Master and 14 00:00:45,920 --> 00:00:53,519 Speaker 1: sixteen time Grammy winner Jerry Douglas. His music spans country, bluegrass, rock, jazz, 15 00:00:53,560 --> 00:00:58,320 Speaker 1: and more into a distinctive musical vision. Man considered a 16 00:00:58,480 --> 00:01:03,360 Speaker 1: musical trailblazer, Jerry Douglas joins Buzz Night next on Taking 17 00:01:03,400 --> 00:01:03,800 Speaker 1: a Walk. 18 00:01:05,440 --> 00:01:08,000 Speaker 3: Jerry Douglas, It's so great having you on the Taking 19 00:01:08,080 --> 00:01:09,080 Speaker 3: a Walk Podcast. 20 00:01:09,640 --> 00:01:12,520 Speaker 2: Nice to see you, Nice to see you. How's everything 21 00:01:12,600 --> 00:01:14,960 Speaker 2: been with you? Everything has been great. 22 00:01:15,360 --> 00:01:19,840 Speaker 3: The nice folks at City Winery were kind enough to 23 00:01:19,959 --> 00:01:23,880 Speaker 3: sink us up August twentieth, a Boston date, and also 24 00:01:24,040 --> 00:01:27,679 Speaker 3: August twenty third a city Winery New York City date 25 00:01:27,840 --> 00:01:28,400 Speaker 3: as well. 26 00:01:28,560 --> 00:01:31,120 Speaker 2: So you're going to be making the rounds, sir, who 27 00:01:31,120 --> 00:01:35,280 Speaker 2: are the city wineries? And I don't drink? Yeah? Who 28 00:01:35,280 --> 00:01:36,440 Speaker 2: am I going to give it all to? 29 00:01:37,120 --> 00:01:37,320 Speaker 1: Oh? 30 00:01:37,440 --> 00:01:40,600 Speaker 3: Well, you know what, Just go easy on everybody. But 31 00:01:41,480 --> 00:01:44,840 Speaker 3: how did a young man from Warren, Ohio get the 32 00:01:44,920 --> 00:01:46,679 Speaker 3: music bug man? 33 00:01:48,080 --> 00:01:54,360 Speaker 2: You know? My father, my parents moved up to Ohio 34 00:01:54,400 --> 00:01:57,280 Speaker 2: from West Virginia, where there was either work in the 35 00:01:57,320 --> 00:01:59,440 Speaker 2: coal mines there be a farmer, or work on the 36 00:01:59,440 --> 00:02:01,720 Speaker 2: state road. You mean, you didn't have many choices. So 37 00:02:02,640 --> 00:02:07,880 Speaker 2: they moved up to Ohio, Northeastern Ohio for work. My 38 00:02:08,000 --> 00:02:11,000 Speaker 2: dad moved up there and worked in steel mills, and 39 00:02:11,040 --> 00:02:14,079 Speaker 2: he played, he played guitar. You know, all those people 40 00:02:14,480 --> 00:02:16,720 Speaker 2: had moved up from the South, they brought their music 41 00:02:16,800 --> 00:02:20,200 Speaker 2: with them, if nothing else, you know, whatever they could 42 00:02:20,200 --> 00:02:24,760 Speaker 2: carry in, all the music they could remember. And so 43 00:02:25,120 --> 00:02:29,160 Speaker 2: it was through my father that I got the love 44 00:02:29,280 --> 00:02:31,240 Speaker 2: to play music. He was a guitar player and a 45 00:02:31,240 --> 00:02:34,200 Speaker 2: singer and had his own bluegrass band. And I got 46 00:02:34,240 --> 00:02:36,560 Speaker 2: to watch those guys, you know, And I be rolling 47 00:02:36,600 --> 00:02:39,919 Speaker 2: around on the floor watching these guys arrange a song, 48 00:02:40,160 --> 00:02:42,480 Speaker 2: you know, and figure out who took a solo here, 49 00:02:42,520 --> 00:02:44,919 Speaker 2: who took a solo there, and it all kind of 50 00:02:45,000 --> 00:02:51,120 Speaker 2: like sunk in. And plus I just I don't remember 51 00:02:51,880 --> 00:02:56,440 Speaker 2: a time when I didn't love music, you know, or 52 00:02:56,680 --> 00:03:00,000 Speaker 2: want to hear it, you know, whenever it wasn't there. 53 00:03:01,120 --> 00:03:03,240 Speaker 3: So I'm going to go out on a limb and say, 54 00:03:03,800 --> 00:03:07,360 Speaker 3: Jerry Douglas really did not have a Plan B in 55 00:03:07,480 --> 00:03:08,560 Speaker 3: mind for his career. 56 00:03:09,160 --> 00:03:11,519 Speaker 2: Well I did. I did have a plan B. I 57 00:03:11,960 --> 00:03:14,880 Speaker 2: was gonna I was actually going to become an English 58 00:03:14,960 --> 00:03:18,960 Speaker 2: teacher and uh and I was all set up to 59 00:03:19,000 --> 00:03:21,400 Speaker 2: go to University of Maryland and then I joined the 60 00:03:21,400 --> 00:03:24,560 Speaker 2: Country Gentleman in d C. And that was as close 61 00:03:24,600 --> 00:03:29,040 Speaker 2: as I got to Maryland. And I remember walking around 62 00:03:29,040 --> 00:03:32,240 Speaker 2: one night at a festival as I was in between 63 00:03:32,280 --> 00:03:35,800 Speaker 2: my junior and senior years of high school with out 64 00:03:35,840 --> 00:03:39,920 Speaker 2: on the road with this band, you know, and I 65 00:03:40,120 --> 00:03:42,920 Speaker 2: just remember walking that around really late one night at 66 00:03:42,920 --> 00:03:46,080 Speaker 2: a festival and going, this would not be such a 67 00:03:46,120 --> 00:03:50,680 Speaker 2: bad way to go, you know, listening to all these 68 00:03:50,720 --> 00:03:54,240 Speaker 2: people play, you know, around campfires, and just what a 69 00:03:54,280 --> 00:03:57,840 Speaker 2: cool scene it was. But what a musical scene I 70 00:03:57,960 --> 00:04:00,880 Speaker 2: was in, you know, And learning just you know, being 71 00:04:00,920 --> 00:04:04,000 Speaker 2: that young and just being exposed to all of these bands, 72 00:04:04,560 --> 00:04:07,520 Speaker 2: all these different kinds of music under one banner was 73 00:04:07,960 --> 00:04:12,880 Speaker 2: really bluegrass at that point, and I just felt like 74 00:04:12,960 --> 00:04:16,800 Speaker 2: I belonged and felt like it was something I could 75 00:04:17,520 --> 00:04:20,120 Speaker 2: get better, you know, see how far this could go. 76 00:04:21,080 --> 00:04:25,919 Speaker 2: And I don't ever remember thinking about throwing in the 77 00:04:26,000 --> 00:04:29,200 Speaker 2: towel of any kind. You know, times were hard, you know, 78 00:04:29,279 --> 00:04:31,840 Speaker 2: we coming up as young musicians. We didn't make a 79 00:04:31,880 --> 00:04:35,640 Speaker 2: lot of money, but man, we had a lot of fun. 80 00:04:36,240 --> 00:04:39,640 Speaker 2: We ended up playing great music and you know, discovering 81 00:04:39,680 --> 00:04:43,200 Speaker 2: each other's music, and that's what really made me want 82 00:04:43,240 --> 00:04:46,760 Speaker 2: to be become and stick and become a musician. You know, 83 00:04:46,839 --> 00:04:51,120 Speaker 2: there was such camaraderie in that and the cream of 84 00:04:51,160 --> 00:04:53,760 Speaker 2: the crop, you know, when the cream would rise and 85 00:04:53,560 --> 00:04:57,640 Speaker 2: you got to play with those guys or those women, 86 00:04:58,240 --> 00:05:01,680 Speaker 2: men everybody more men back at that point. You know, 87 00:05:01,760 --> 00:05:03,720 Speaker 2: I'm glad to see there's so many women now it's 88 00:05:03,960 --> 00:05:09,960 Speaker 2: unbelievably great. But I just felt like there was I 89 00:05:10,080 --> 00:05:13,599 Speaker 2: belonged there, and so I've been working all of these 90 00:05:13,680 --> 00:05:17,599 Speaker 2: years to stick in there, try to make it better 91 00:05:17,640 --> 00:05:21,280 Speaker 2: when I could. You know, when I I've done a 92 00:05:21,320 --> 00:05:24,240 Speaker 2: lot of studio work, so I'm trying to make the 93 00:05:24,320 --> 00:05:27,039 Speaker 2: records sound as good and be able to compete with 94 00:05:27,120 --> 00:05:31,760 Speaker 2: any genre that they come up against. And that's something 95 00:05:32,120 --> 00:05:36,640 Speaker 2: I think I've helped improve a little bit over the years. 96 00:05:37,279 --> 00:05:41,000 Speaker 2: And just from doing so many country sessions, you know, 97 00:05:41,120 --> 00:05:45,000 Speaker 2: being the new studio for you know, twelve sixteen hours 98 00:05:45,000 --> 00:05:50,600 Speaker 2: a day, just taking that and and and you know, 99 00:05:50,680 --> 00:05:55,400 Speaker 2: passing that forward to onto bluegrass music, which wasn't always 100 00:05:55,440 --> 00:05:59,040 Speaker 2: recorded so well. You know, it was mostly field recording 101 00:05:59,040 --> 00:06:01,960 Speaker 2: at first, and then and you know they're the great 102 00:06:01,960 --> 00:06:05,919 Speaker 2: old the great old Stanley Brothers and Flatten Scrubs and 103 00:06:05,920 --> 00:06:08,680 Speaker 2: Bill Monroe stuff, you know that was recorded early on. 104 00:06:08,839 --> 00:06:12,960 Speaker 2: But I've always thought that I could make it sound better, 105 00:06:13,240 --> 00:06:17,920 Speaker 2: you know, sonically, and that's what I that's what I 106 00:06:17,960 --> 00:06:20,600 Speaker 2: worked toward when i'm you know, when I'm producing somebody. 107 00:06:20,960 --> 00:06:25,440 Speaker 2: But it's it's just a music that deserves to be heard. 108 00:06:25,640 --> 00:06:27,359 Speaker 2: You know, once you've heard it, you like it and 109 00:06:27,360 --> 00:06:31,760 Speaker 2: it's with you forever. So it's it's it's just something. 110 00:06:31,960 --> 00:06:35,120 Speaker 2: It's it's it's the grand experiment, you know for me. 111 00:06:36,120 --> 00:06:39,159 Speaker 3: You know, other musicians are in awe of you. And 112 00:06:39,760 --> 00:06:42,160 Speaker 3: in fact, I've wanted to get you on the podcast 113 00:06:42,279 --> 00:06:47,239 Speaker 3: for a long time because we had the great Bill 114 00:06:47,320 --> 00:06:51,680 Speaker 3: Payne from Little Feet on the podcast. And once we 115 00:06:51,680 --> 00:06:55,160 Speaker 3: were done, I said, Bill, who do you think I 116 00:06:55,160 --> 00:06:58,159 Speaker 3: should get? This was early on in doing the podcast, 117 00:06:58,640 --> 00:07:00,800 Speaker 3: and the first person he mentioned, You've got to get 118 00:07:00,880 --> 00:07:01,719 Speaker 3: Jerry Douglas. 119 00:07:02,160 --> 00:07:09,840 Speaker 2: You know, wow, Bill, I love him. Man, what an 120 00:07:09,840 --> 00:07:13,360 Speaker 2: incredible musician in person he is. You know, I didn't 121 00:07:13,440 --> 00:07:17,560 Speaker 2: really know Billy paid until you know, the last two 122 00:07:17,640 --> 00:07:22,880 Speaker 2: or three years really, and uh, just I was around 123 00:07:23,200 --> 00:07:27,600 Speaker 2: you know, Little Feet, you know, and just as a fan. 124 00:07:28,280 --> 00:07:30,560 Speaker 2: Really yeah, I thought, man, you know, they're there are 125 00:07:30,600 --> 00:07:35,240 Speaker 2: like another level up from from most bands that play 126 00:07:35,280 --> 00:07:37,960 Speaker 2: that kind of music. They have so many things going 127 00:07:38,000 --> 00:07:40,960 Speaker 2: on in their band. It's just and it's loose and 128 00:07:41,000 --> 00:07:45,360 Speaker 2: it's tight at the same time. It's uh and Billy 129 00:07:46,360 --> 00:07:50,080 Speaker 2: is an amazing keyboard player, amazing piano player. And I 130 00:07:50,160 --> 00:07:53,600 Speaker 2: just went to Brussels with with him and we just 131 00:07:53,720 --> 00:07:56,800 Speaker 2: we've played on some sessions that you know, and only 132 00:07:57,240 --> 00:07:59,960 Speaker 2: only French was spoken there in neither Bill or nor 133 00:08:00,520 --> 00:08:05,240 Speaker 2: spoke French. So we're just kind of like going, uh huh, right, right, okay, 134 00:08:05,560 --> 00:08:09,400 Speaker 2: here we go. And no one seemed to know the difference. 135 00:08:09,840 --> 00:08:13,040 Speaker 2: And so but Billy, Billy took me. He said, there's 136 00:08:13,040 --> 00:08:15,559 Speaker 2: some sessions in Brussels. I played on this guy's record 137 00:08:15,560 --> 00:08:17,280 Speaker 2: a couple of times. I think you would, I think 138 00:08:17,320 --> 00:08:19,680 Speaker 2: you would enjoy this. And they're looking for something new, 139 00:08:19,720 --> 00:08:22,200 Speaker 2: and I told him you were the thing that we needed. 140 00:08:23,680 --> 00:08:26,360 Speaker 2: So we went over and we've done it, and uh, 141 00:08:26,760 --> 00:08:28,800 Speaker 2: we're back from that. But you know, I spent a 142 00:08:28,840 --> 00:08:32,040 Speaker 2: lot of time with with Bill and he's just a 143 00:08:32,080 --> 00:08:37,320 Speaker 2: lovely guy and and a major, major mover shaker in 144 00:08:37,440 --> 00:08:40,840 Speaker 2: the whole rock and roll world, you know. And whatever 145 00:08:40,960 --> 00:08:43,440 Speaker 2: that kind of music is that Little Feet played, it 146 00:08:43,520 --> 00:08:46,760 Speaker 2: was so many it was an amalgamation of so many things, 147 00:08:46,800 --> 00:08:50,079 Speaker 2: and Billy was, you know, at the head of that charge. 148 00:08:50,160 --> 00:08:54,000 Speaker 2: So I got millions of great things to say about 149 00:08:54,040 --> 00:08:57,000 Speaker 2: Billy Payne. That that's that's that's what I can tell 150 00:08:57,040 --> 00:08:57,600 Speaker 2: you about that. 151 00:08:57,840 --> 00:09:01,880 Speaker 3: Well, you've collaborated with so many different people, and I'm 152 00:09:01,920 --> 00:09:04,760 Speaker 3: sure this is an unfair question, but who are some 153 00:09:04,960 --> 00:09:09,400 Speaker 3: of the favorite studio collaborations first out of the I 154 00:09:09,440 --> 00:09:15,080 Speaker 3: don't know, fourteen hundred collaborations that you've you've had. 155 00:09:16,080 --> 00:09:19,880 Speaker 2: Yeah, it's it's it's it's kind of a blur. You know, 156 00:09:20,000 --> 00:09:24,000 Speaker 2: it's and I'm asked that question a lot, and and 157 00:09:24,640 --> 00:09:28,040 Speaker 2: you know, the first there have been so many things where, 158 00:09:28,320 --> 00:09:30,319 Speaker 2: you know, when I've been just sitting in the studio 159 00:09:30,360 --> 00:09:33,959 Speaker 2: and i would just say to myself, remember this, remember this, 160 00:09:34,160 --> 00:09:38,080 Speaker 2: because this is something. This is a big deal. This 161 00:09:38,160 --> 00:09:41,400 Speaker 2: is a big deal, this is this is uh. You know, 162 00:09:42,200 --> 00:09:46,720 Speaker 2: you think about making the best music you can make. Well, okay, 163 00:09:46,840 --> 00:09:51,240 Speaker 2: right now you're in that situation, so step up. You know, 164 00:09:52,000 --> 00:09:56,600 Speaker 2: things that at times, like with James Taylor or Elvis 165 00:09:56,640 --> 00:10:01,920 Speaker 2: Costello with Strength to Numbers with my with my guys 166 00:10:02,040 --> 00:10:06,439 Speaker 2: you know, Edgar Meyer and Bailafleck and Sam Bush and 167 00:10:06,440 --> 00:10:10,160 Speaker 2: and Mark O'Connor. We were all the five of us 168 00:10:10,200 --> 00:10:13,120 Speaker 2: on this record called Strengthen Numbers. You know, that was 169 00:10:13,160 --> 00:10:17,720 Speaker 2: one that was a really great learning experience for me. 170 00:10:18,400 --> 00:10:20,800 Speaker 2: And it was, you know, was I was in this 171 00:10:20,920 --> 00:10:23,920 Speaker 2: cocoon with my friends, but we were pushing each other 172 00:10:24,040 --> 00:10:28,040 Speaker 2: really hard, you know, into territory that maybe we hadn't 173 00:10:28,720 --> 00:10:33,920 Speaker 2: sampled before. And the payoff for that was was really 174 00:10:34,000 --> 00:10:40,800 Speaker 2: great in uh not I'm not talking about financially, I'm 175 00:10:40,840 --> 00:10:47,240 Speaker 2: talking about just just information and and uh lessons, you know, 176 00:10:47,400 --> 00:10:52,360 Speaker 2: life lessons and uh, just cooperating with people, collaborating. Yeah, 177 00:10:52,559 --> 00:10:56,600 Speaker 2: I am a collaborator. I love that. I mean I 178 00:10:56,640 --> 00:10:58,920 Speaker 2: get a chance to do that so much with the 179 00:10:59,280 --> 00:11:03,880 Speaker 2: Trans Atlanta Accessions, the thing that I do in Scotland. 180 00:11:03,960 --> 00:11:07,920 Speaker 2: Every year. I go over and we have musicians coming 181 00:11:07,960 --> 00:11:11,800 Speaker 2: from America and we have musicians coming to all meeting 182 00:11:11,880 --> 00:11:18,360 Speaker 2: in one place up in Scotland, in Glasgow. We start 183 00:11:18,480 --> 00:11:22,320 Speaker 2: formula forming this show, you know, and people people from 184 00:11:22,320 --> 00:11:25,840 Speaker 2: both sides who've never met, I have no idea, don't 185 00:11:25,840 --> 00:11:27,840 Speaker 2: know about each other, you know, and we just kind 186 00:11:27,840 --> 00:11:34,280 Speaker 2: of throw everybody together and collaborate. It's a giant collaboration 187 00:11:34,520 --> 00:11:39,679 Speaker 2: experiment and it always turns out so beautiful. And you know, 188 00:11:39,760 --> 00:11:42,240 Speaker 2: I get I get five songs from each of the 189 00:11:42,360 --> 00:11:44,199 Speaker 2: artists that are going to be on it every year, 190 00:11:44,200 --> 00:11:48,920 Speaker 2: and then I start balancing that and trying to create 191 00:11:48,960 --> 00:11:51,480 Speaker 2: a show out of that. By the time I get 192 00:11:51,520 --> 00:11:54,800 Speaker 2: to Glasgow, I have a show. So we rehearse that 193 00:11:54,920 --> 00:11:59,280 Speaker 2: show and throw these people together and it's just amazing 194 00:11:59,360 --> 00:12:03,800 Speaker 2: what they what they end up with. It's it's uh, 195 00:12:03,840 --> 00:12:06,240 Speaker 2: and it only happens one time. You know. We do 196 00:12:06,400 --> 00:12:10,079 Speaker 2: nine shows and we finish in London at the at 197 00:12:10,120 --> 00:12:13,400 Speaker 2: the Queen's Festival Hall in London on the South Bank, 198 00:12:13,840 --> 00:12:17,079 Speaker 2: right by the right by they love the London Eye 199 00:12:17,120 --> 00:12:21,199 Speaker 2: over there, and we finished, we finished the tour there 200 00:12:21,280 --> 00:12:23,760 Speaker 2: and it never happens again. You know. It's just one 201 00:12:23,800 --> 00:12:27,640 Speaker 2: of those things. It's it's uh, it's like we we 202 00:12:27,720 --> 00:12:30,120 Speaker 2: get into this world and we we flesh it out. 203 00:12:30,200 --> 00:12:34,400 Speaker 2: We try everything we we uh and we create the 204 00:12:34,400 --> 00:12:37,080 Speaker 2: most beautiful music we can in the time that we have, 205 00:12:37,840 --> 00:12:41,960 Speaker 2: and uh, it always turns out so good. I always 206 00:12:42,000 --> 00:12:44,200 Speaker 2: think it the first of it, how in the world 207 00:12:44,280 --> 00:12:45,760 Speaker 2: are we going to make a show out of this? 208 00:12:46,200 --> 00:12:49,960 Speaker 2: Everybody is so different, but by the end of it, 209 00:12:50,040 --> 00:12:53,520 Speaker 2: you know, they've all embraced each other's differences and and 210 00:12:53,800 --> 00:12:56,560 Speaker 2: you know, you look back and some there's one person 211 00:12:56,679 --> 00:12:59,720 Speaker 2: standing in the star position, but the other stars are 212 00:12:59,800 --> 00:13:04,960 Speaker 2: back here, singing background vocals or whatever it takes, you know, 213 00:13:05,080 --> 00:13:09,040 Speaker 2: to it's a huge band and it's a it's a 214 00:13:09,080 --> 00:13:13,680 Speaker 2: beautiful sound, and that, you know, is the I can't 215 00:13:13,720 --> 00:13:18,439 Speaker 2: think of a of a circumstance where collaboration is is 216 00:13:19,120 --> 00:13:21,800 Speaker 2: a bigger you know, starts with a bigger c you 217 00:13:21,840 --> 00:13:27,439 Speaker 2: know than that right there, It's that and That's what 218 00:13:27,480 --> 00:13:29,520 Speaker 2: I do, That's what I love to do, is just 219 00:13:29,679 --> 00:13:33,160 Speaker 2: you know, trade ideas with people you know, and turnover 220 00:13:33,440 --> 00:13:36,640 Speaker 2: turn over every stone and try every idea. 221 00:13:37,960 --> 00:13:41,000 Speaker 3: You know, let everybody in so much like an athlete 222 00:13:41,200 --> 00:13:45,200 Speaker 3: in the zone when they're performing at their highest level. 223 00:13:46,600 --> 00:13:48,480 Speaker 2: Can you explain how a. 224 00:13:48,360 --> 00:13:52,480 Speaker 3: Master musician like you gets into the zone and what 225 00:13:52,520 --> 00:13:53,320 Speaker 3: that feels like. 226 00:13:54,840 --> 00:13:56,920 Speaker 2: Well, you know, I've done it for many years with 227 00:13:56,960 --> 00:14:00,240 Speaker 2: it with Alison Krause and Union Station. I mean, and 228 00:14:00,280 --> 00:14:05,240 Speaker 2: we all enter that zone because we have that musical 229 00:14:05,679 --> 00:14:10,000 Speaker 2: music is just beautiful and and for us to uh, 230 00:14:10,640 --> 00:14:13,520 Speaker 2: you know, we feel like we're we're stewards, you know, 231 00:14:13,520 --> 00:14:16,920 Speaker 2: whereas we've just been handed these beautiful songs. Now, what 232 00:14:16,960 --> 00:14:19,000 Speaker 2: are you going to do with them? You know, how 233 00:14:19,040 --> 00:14:22,120 Speaker 2: are you going to uphold this standard? You know, keep 234 00:14:22,120 --> 00:14:26,600 Speaker 2: this bar high? And but but sometimes you can be 235 00:14:26,680 --> 00:14:31,800 Speaker 2: out on stage and having a good night and just 236 00:14:32,000 --> 00:14:34,760 Speaker 2: not even you know, it's sort of like being in 237 00:14:34,800 --> 00:14:37,560 Speaker 2: an out of body experience. I mean, you're standing there 238 00:14:37,600 --> 00:14:40,800 Speaker 2: watching yourself do this. It feels like you can't make 239 00:14:40,840 --> 00:14:44,120 Speaker 2: a mistake, and you know, of course you do. Then 240 00:14:44,200 --> 00:14:47,960 Speaker 2: eventually start thinking about it that way you're going to 241 00:14:48,000 --> 00:14:53,920 Speaker 2: make a mistake, but it's just it becomes so refined 242 00:14:54,360 --> 00:14:57,280 Speaker 2: with that band. It's it. It gets into it, it 243 00:14:57,320 --> 00:15:00,720 Speaker 2: gets into that zone where it's we're all there at 244 00:15:00,760 --> 00:15:06,520 Speaker 2: the same time, and uh, every every cylinder is hitting 245 00:15:07,440 --> 00:15:12,040 Speaker 2: perfectly in time and everything is great with the world. 246 00:15:12,160 --> 00:15:15,000 Speaker 2: You know. It's a really good it's a great feeling 247 00:15:15,080 --> 00:15:18,000 Speaker 2: to just kind of it is really like standing there 248 00:15:18,040 --> 00:15:21,480 Speaker 2: watching this thing. It's out of body. It's a it 249 00:15:21,480 --> 00:15:24,480 Speaker 2: can get that good with a band like that. 250 00:15:24,760 --> 00:15:27,760 Speaker 1: Yeah, we'll be right back with more of the Taking 251 00:15:27,800 --> 00:15:36,120 Speaker 1: a Walk Podcast. Welcome back to the Taking a Walk Podcast. 252 00:15:37,120 --> 00:15:40,520 Speaker 3: What was the experience like doing the uh being part 253 00:15:40,520 --> 00:15:43,680 Speaker 3: of the Oh Brother where art the soundtrack? 254 00:15:46,320 --> 00:15:49,840 Speaker 2: It was wild and funny and and you know, I've 255 00:15:49,920 --> 00:15:53,080 Speaker 2: known I've known Tiva and Burnett for years before that. 256 00:15:53,240 --> 00:15:55,720 Speaker 2: And he when he explained to me what we're gonna do, 257 00:15:55,800 --> 00:15:57,840 Speaker 2: he said, we're gonna make We're going to make a 258 00:15:57,880 --> 00:16:00,280 Speaker 2: record to go with a movie. But we're we're going 259 00:16:00,360 --> 00:16:02,320 Speaker 2: to record all these songs that we've been told we 260 00:16:02,360 --> 00:16:06,880 Speaker 2: can't make any money making, you know, playing so Uh, 261 00:16:07,160 --> 00:16:09,320 Speaker 2: I said, how many records do you think this is 262 00:16:09,360 --> 00:16:12,640 Speaker 2: going to sell? T bow And and he said eight million? 263 00:16:14,520 --> 00:16:18,760 Speaker 2: And he was too off her maybe four off by now, 264 00:16:18,800 --> 00:16:21,440 Speaker 2: I don't know, but it's been. It was a great record, 265 00:16:21,560 --> 00:16:23,600 Speaker 2: you know. And and at the time when we were 266 00:16:23,600 --> 00:16:26,360 Speaker 2: doing the record, we were we were all playing this 267 00:16:26,480 --> 00:16:29,440 Speaker 2: music you know that we had played, you know, early 268 00:16:29,520 --> 00:16:35,760 Speaker 2: in our lives and had had surpassed, you know, the 269 00:16:35,760 --> 00:16:40,200 Speaker 2: the simplicity of it in a way, and we had 270 00:16:40,200 --> 00:16:43,840 Speaker 2: to get that back. That was what we were really 271 00:16:43,880 --> 00:16:47,840 Speaker 2: there for, was to create music from a time capsule. 272 00:16:49,040 --> 00:16:52,360 Speaker 2: And uh and uh, we actually got to be in 273 00:16:52,440 --> 00:16:56,240 Speaker 2: the movie uh uh toward the end of the movie, 274 00:16:56,440 --> 00:16:59,000 Speaker 2: right before we're in a building where they were right 275 00:16:59,080 --> 00:17:01,400 Speaker 2: a guy out on a they take him out on 276 00:17:01,440 --> 00:17:06,399 Speaker 2: a rail. We were on stage. Dan Tamensky and Barry 277 00:17:06,400 --> 00:17:09,600 Speaker 2: Bales and Ron Block and I were up there with 278 00:17:09,800 --> 00:17:14,640 Speaker 2: really bad haircuts they gave us. Uh there were from 279 00:17:14,760 --> 00:17:17,919 Speaker 2: the twenties and thirties, you know, and we so we 280 00:17:18,040 --> 00:17:22,760 Speaker 2: sported those haircuts all summer. But it was worth it, 281 00:17:22,840 --> 00:17:25,280 Speaker 2: you know. And and I got a lot more respect 282 00:17:25,359 --> 00:17:30,840 Speaker 2: for actors George Clonean and everybody was they were they 283 00:17:30,880 --> 00:17:34,240 Speaker 2: have to do their part like six seven times to 284 00:17:34,280 --> 00:17:37,919 Speaker 2: get every angle because there was one camera shooting, so 285 00:17:39,080 --> 00:17:43,840 Speaker 2: and it was you know, held by Roger Deakins. He 286 00:17:44,040 --> 00:17:46,439 Speaker 2: was the guy sitting on the camera and would arrive 287 00:17:46,520 --> 00:17:49,440 Speaker 2: every day in a nice crisp pair of jeans and 288 00:17:49,520 --> 00:17:52,159 Speaker 2: a nice crisp white shirt, you know, and he's sitting 289 00:17:52,200 --> 00:17:56,080 Speaker 2: there on that camera and he's in command, and so 290 00:17:56,280 --> 00:17:59,119 Speaker 2: he would shoot it from every angle. And I watched 291 00:17:59,119 --> 00:18:03,239 Speaker 2: those people go through the same thing exactly, you know, 292 00:18:03,440 --> 00:18:07,840 Speaker 2: six times to do it perfectly. It's very time consuming. 293 00:18:08,160 --> 00:18:10,399 Speaker 2: What they have to do is like we can go 294 00:18:10,480 --> 00:18:12,520 Speaker 2: back and do something over again. We don't have to 295 00:18:12,520 --> 00:18:14,480 Speaker 2: do the whole thing over again. We can do it 296 00:18:14,800 --> 00:18:16,800 Speaker 2: just a piece of it when we're recording, you know, 297 00:18:16,840 --> 00:18:19,600 Speaker 2: in our lives. But they're on film. You know, they 298 00:18:19,640 --> 00:18:22,640 Speaker 2: have to they have to they have to speak, they 299 00:18:22,680 --> 00:18:25,240 Speaker 2: have to act, they have to look right, you know, 300 00:18:25,640 --> 00:18:28,120 Speaker 2: it has to it has to go together. And but 301 00:18:28,119 --> 00:18:30,920 Speaker 2: but it was. It was wonderful because my wife is 302 00:18:30,960 --> 00:18:37,399 Speaker 2: from Mississippi, so the mississippissippy is is is still a 303 00:18:37,480 --> 00:18:42,600 Speaker 2: source of wonderment to me. And I don't totally understand 304 00:18:42,640 --> 00:18:45,119 Speaker 2: everything that goes on down there. But but what an 305 00:18:45,160 --> 00:18:48,320 Speaker 2: amazing place. And we were in Vicksburg, and we did 306 00:18:48,359 --> 00:18:50,679 Speaker 2: our part. We did it in Vicksburg and a building 307 00:18:50,680 --> 00:18:54,720 Speaker 2: that had never had air conditioning, and we're in dead 308 00:18:54,760 --> 00:18:58,520 Speaker 2: people suits, you know, we're we're in wool three piece 309 00:18:58,640 --> 00:19:04,000 Speaker 2: suits and it's and it's July in a building that 310 00:19:04,119 --> 00:19:06,520 Speaker 2: never had so they would have this truck that would 311 00:19:06,520 --> 00:19:08,800 Speaker 2: pump all this air conditioning in. And there were two 312 00:19:08,960 --> 00:19:13,000 Speaker 2: hundred people in other dead people's suits sitting at the 313 00:19:13,040 --> 00:19:17,640 Speaker 2: tables and we're up there playing in sweat. And there 314 00:19:17,680 --> 00:19:20,560 Speaker 2: was one room in the back that had air conditioning 315 00:19:20,600 --> 00:19:24,199 Speaker 2: going all the time, and George Ploni was piling in 316 00:19:24,240 --> 00:19:26,480 Speaker 2: there with us as musicians. He was in there with 317 00:19:26,560 --> 00:19:29,600 Speaker 2: us just going wow, is it hot out there? You know, 318 00:19:29,680 --> 00:19:33,480 Speaker 2: it just and you got to know these people, they're 319 00:19:33,560 --> 00:19:35,800 Speaker 2: just people, you know, they're just like us. It's like 320 00:19:35,880 --> 00:19:37,880 Speaker 2: people people are afraid to come up to you once 321 00:19:37,880 --> 00:19:40,280 Speaker 2: in a while just because you're you know, they saw 322 00:19:40,320 --> 00:19:43,199 Speaker 2: you on stage and they just don't know, you know, 323 00:19:43,600 --> 00:19:46,040 Speaker 2: what a marvelous thing that is. What they do, know 324 00:19:46,119 --> 00:19:47,919 Speaker 2: what a marvelous thing it is, and they wish they 325 00:19:47,920 --> 00:19:49,840 Speaker 2: could do it, and they treat you in a different 326 00:19:49,880 --> 00:19:52,920 Speaker 2: way because you've done that. But you know, we're just people. 327 00:19:53,600 --> 00:19:57,520 Speaker 2: We're just just we just happened to do what we do, 328 00:19:57,640 --> 00:19:58,719 Speaker 2: it's a little bit different. 329 00:19:59,600 --> 00:20:03,280 Speaker 3: Tell me how you have first ran into Molly Tuttle 330 00:20:03,400 --> 00:20:06,679 Speaker 3: and what it's been like doing project work with Molly. 331 00:20:08,680 --> 00:20:13,160 Speaker 2: Molly's Molly is such a powerhouse and such a such 332 00:20:13,200 --> 00:20:19,720 Speaker 2: a so soft you know and so quiet and reserved 333 00:20:19,880 --> 00:20:22,720 Speaker 2: and everything until she picks up that guitar, you know, 334 00:20:23,520 --> 00:20:26,760 Speaker 2: and when she's when she straps on the guitar, this other, 335 00:20:27,000 --> 00:20:31,920 Speaker 2: this other person takes over and Uh, she's not afraid 336 00:20:31,920 --> 00:20:36,000 Speaker 2: of anything. She's she she'll wade right into anything. And 337 00:20:36,520 --> 00:20:39,240 Speaker 2: the whole band is that way. And you know, the 338 00:20:39,280 --> 00:20:41,439 Speaker 2: first record I did with her was sort of like 339 00:20:41,480 --> 00:20:44,040 Speaker 2: I call in the ringers and we make a record, 340 00:20:44,160 --> 00:20:46,240 Speaker 2: you know, and she gives presents me with all the 341 00:20:46,320 --> 00:20:49,520 Speaker 2: ideas and the songs and everything, and we worked them out, 342 00:20:49,600 --> 00:20:52,120 Speaker 2: figured out what we were going to play, and then 343 00:20:52,480 --> 00:20:55,160 Speaker 2: then we picked the music the musicians. And the only 344 00:20:55,200 --> 00:20:57,960 Speaker 2: person she knew for sure was she said, Ron Block, 345 00:20:58,160 --> 00:21:00,240 Speaker 2: I definitely want Ron Block to play banjo on the 346 00:21:00,280 --> 00:21:04,840 Speaker 2: Recognize Done. I know that guy, and so we can 347 00:21:04,920 --> 00:21:07,720 Speaker 2: get him. And we started bringing in, you know, filling 348 00:21:07,760 --> 00:21:10,919 Speaker 2: in the band and and that was a great record, 349 00:21:11,160 --> 00:21:15,240 Speaker 2: really fun record to make and getting her feet wet, 350 00:21:15,880 --> 00:21:18,119 Speaker 2: really really, you know, mean, she's been playing bluegrass for 351 00:21:18,200 --> 00:21:21,560 Speaker 2: years in her family band in California and with other 352 00:21:21,640 --> 00:21:25,119 Speaker 2: people you know of her same you know her age 353 00:21:26,080 --> 00:21:29,200 Speaker 2: and all that. But and it is a different language. 354 00:21:29,400 --> 00:21:32,200 Speaker 2: I did have to learn a different language. I had 355 00:21:32,240 --> 00:21:37,200 Speaker 2: to learn, you know, millennial language and what not to say, 356 00:21:37,400 --> 00:21:40,719 Speaker 2: what to say. It's like I felt, I never there 357 00:21:40,760 --> 00:21:43,960 Speaker 2: were times when I felt really old, you know, I 358 00:21:44,000 --> 00:21:47,440 Speaker 2: would say something that was some something that they go ooh, 359 00:21:47,760 --> 00:21:51,639 Speaker 2: you can't say that. Please educate me on what I 360 00:21:51,680 --> 00:21:56,639 Speaker 2: can say. And you know me, I'm only mean the best. 361 00:21:56,960 --> 00:22:00,200 Speaker 2: I only mean the best. Anything I say, please don't 362 00:22:00,240 --> 00:22:04,240 Speaker 2: take it in a derogatory way or I'm not against anything, 363 00:22:04,480 --> 00:22:08,760 Speaker 2: so so please just tell me when I cross the line. 364 00:22:09,440 --> 00:22:12,879 Speaker 2: And I did, and they told me, and but we 365 00:22:13,000 --> 00:22:16,320 Speaker 2: got along so fine. But then the second record, the 366 00:22:16,359 --> 00:22:18,679 Speaker 2: band came in and she said, I want to do 367 00:22:18,720 --> 00:22:20,800 Speaker 2: this one with the band, with the band we have 368 00:22:21,200 --> 00:22:26,400 Speaker 2: and yeah, amazing music musicians, young group of musicians. And 369 00:22:27,440 --> 00:22:31,160 Speaker 2: I said it will take longer because bands working bands 370 00:22:31,280 --> 00:22:33,840 Speaker 2: take longer in the studio because they're not usually a 371 00:22:33,960 --> 00:22:38,040 Speaker 2: studio savvy, you know about not to move on the 372 00:22:38,080 --> 00:22:42,439 Speaker 2: microphone because your sound changes, you know, and you hear that. 373 00:22:42,760 --> 00:22:44,800 Speaker 2: You know you want you want to you want to 374 00:22:44,840 --> 00:22:47,439 Speaker 2: be as steady and as as you can. You know, 375 00:22:47,600 --> 00:22:50,560 Speaker 2: just just stay in your lane, just stay right there 376 00:22:51,280 --> 00:22:54,680 Speaker 2: and give that microphone the best performance you can. And 377 00:22:55,960 --> 00:22:58,800 Speaker 2: they knocked it out of the park. They came in, 378 00:22:58,960 --> 00:23:03,639 Speaker 2: and I I was wrong about that band being not 379 00:23:03,760 --> 00:23:07,240 Speaker 2: being savvy, because they were totally and I would just 380 00:23:07,320 --> 00:23:09,520 Speaker 2: you know, make up, just have something to say once 381 00:23:09,560 --> 00:23:12,200 Speaker 2: in a little while, but not much mean, and we'd 382 00:23:12,240 --> 00:23:14,679 Speaker 2: get in I had. What I did was with the 383 00:23:14,720 --> 00:23:18,560 Speaker 2: second record, was brought everybody down front because Molly and 384 00:23:18,640 --> 00:23:23,000 Speaker 2: I had really worked the songs out and the band 385 00:23:23,040 --> 00:23:25,760 Speaker 2: didn't really know the songs yet. So I after they 386 00:23:26,080 --> 00:23:28,920 Speaker 2: kind of got recordings of them and got in advance, 387 00:23:29,000 --> 00:23:31,679 Speaker 2: you know, recordings of what we wanted to do. But 388 00:23:31,920 --> 00:23:33,679 Speaker 2: then I set them all down in the front of 389 00:23:33,680 --> 00:23:35,760 Speaker 2: the studio in a circle, and so we could look 390 00:23:35,800 --> 00:23:39,040 Speaker 2: at each other and talk to each other as we 391 00:23:39,080 --> 00:23:41,239 Speaker 2: went through the songs, and we all learned them at 392 00:23:41,240 --> 00:23:45,000 Speaker 2: the same time, and you know, and we had the 393 00:23:45,080 --> 00:23:48,399 Speaker 2: same groove going on, you know, we were thinking the 394 00:23:48,440 --> 00:23:53,159 Speaker 2: same things. And it then went to our stations you know, 395 00:23:53,240 --> 00:23:56,200 Speaker 2: in our little blocked out places where we won't the fiddle, 396 00:23:56,240 --> 00:23:59,439 Speaker 2: I won't end up on the banjo tracker or the 397 00:23:59,480 --> 00:24:02,240 Speaker 2: other way or things like that, you know, to just 398 00:24:04,240 --> 00:24:09,000 Speaker 2: move everybody around so we're you know, completely clean recording. 399 00:24:09,560 --> 00:24:15,040 Speaker 2: And but they nailed it. They nailed it. And personalities 400 00:24:15,440 --> 00:24:20,600 Speaker 2: just overflowing with personalities, you know, but one end in mind, 401 00:24:20,680 --> 00:24:24,000 Speaker 2: you know, and just to make a great record and 402 00:24:24,200 --> 00:24:27,240 Speaker 2: sound like a band, you know, and they do and 403 00:24:27,320 --> 00:24:30,359 Speaker 2: they are and they've and since we've recorded, they've gone 404 00:24:30,359 --> 00:24:33,159 Speaker 2: out and they just have this persona that's like no 405 00:24:33,280 --> 00:24:36,919 Speaker 2: other band out there. I mean, it's just like I 406 00:24:36,960 --> 00:24:39,439 Speaker 2: don't know, it's it's a glitz and glamour, you know, 407 00:24:39,880 --> 00:24:43,040 Speaker 2: and that a lot of glamour and a lot of 408 00:24:43,160 --> 00:24:46,119 Speaker 2: really good playing, really good playing, and they can they 409 00:24:46,119 --> 00:24:49,040 Speaker 2: can back it all up. And and but Molly is 410 00:24:49,720 --> 00:24:53,359 Speaker 2: her songwriting gets better and better and better. You know. 411 00:24:53,480 --> 00:24:56,680 Speaker 2: I didn't know you could work use the word cassiopeia 412 00:24:56,840 --> 00:25:02,080 Speaker 2: in in a song, but she did. Uh, the name Cassiopeia, 413 00:25:02,200 --> 00:25:04,760 Speaker 2: you know, so you look up in the sky and 414 00:25:04,800 --> 00:25:09,120 Speaker 2: you see. But I'd never heard it in a song 415 00:25:12,000 --> 00:25:14,000 Speaker 2: until it came running by. But she would bring these 416 00:25:14,040 --> 00:25:18,600 Speaker 2: songs up it. There was only one song that I said, 417 00:25:18,720 --> 00:25:20,879 Speaker 2: I don't know about this song, and she said, catch 418 00:25:20,920 --> 00:25:23,359 Speaker 2: said the same thing, So that one's out, you know. 419 00:25:23,520 --> 00:25:28,000 Speaker 2: So you know, but we've we've had nothing but great 420 00:25:28,040 --> 00:25:31,280 Speaker 2: times in the studio and uh, it's just been a 421 00:25:31,359 --> 00:25:34,919 Speaker 2: it's been a wonderful trip, you know. And for me 422 00:25:35,080 --> 00:25:37,359 Speaker 2: to get her to ride along with that band and 423 00:25:37,400 --> 00:25:42,760 Speaker 2: watch its success, you know, a couple of Grammys and uh, 424 00:25:43,280 --> 00:25:46,280 Speaker 2: who knows, who knows what's ahead for them? You know, 425 00:25:46,680 --> 00:25:50,560 Speaker 2: it's it's a the whole scene is changing, you know. 426 00:25:50,800 --> 00:25:55,080 Speaker 2: You can see with Billy Strings and Molly Sierra Hole 427 00:25:55,960 --> 00:25:58,879 Speaker 2: just it's all and they're they're at the there at 428 00:25:58,880 --> 00:26:01,160 Speaker 2: the front of it, there at the spearhead of this thing. 429 00:26:01,359 --> 00:26:04,679 Speaker 2: And Billy's just you know, selling out. His thing is 430 00:26:04,720 --> 00:26:10,200 Speaker 2: a totally different scene. I mean, to play into fifty 431 00:26:10,359 --> 00:26:12,800 Speaker 2: fifty thousand people or something like that in the night. 432 00:26:13,080 --> 00:26:16,399 Speaker 2: It's a phenomena, is really what's going on with Billy. 433 00:26:16,400 --> 00:26:19,399 Speaker 2: And he couldn't happen to a nicer fella either, because 434 00:26:20,080 --> 00:26:22,720 Speaker 2: he's just I love that guy. I mean, he made 435 00:26:22,760 --> 00:26:25,159 Speaker 2: the right choice when he got to his fork in 436 00:26:25,200 --> 00:26:28,480 Speaker 2: the road. He took the right turn and everything's looking 437 00:26:28,560 --> 00:26:30,359 Speaker 2: up for him. It's all great, who. 438 00:26:30,200 --> 00:26:33,199 Speaker 3: Are you taking on the road for this round of shows? 439 00:26:33,840 --> 00:26:34,359 Speaker 2: In the band? 440 00:26:34,359 --> 00:26:35,280 Speaker 3: Who's going to be with you? 441 00:26:36,520 --> 00:26:40,200 Speaker 2: Well, in my band, Mike Seal is an amazing electric 442 00:26:40,200 --> 00:26:43,640 Speaker 2: guitar player. And it sounds funny to say that I've 443 00:26:43,640 --> 00:26:49,320 Speaker 2: got a bass, violin, dobro and electric guitar, But what 444 00:26:49,400 --> 00:26:52,960 Speaker 2: a wall of sound we can make, you know. And 445 00:26:53,000 --> 00:26:55,399 Speaker 2: we had we had a drummer, great drummer for a 446 00:26:55,440 --> 00:26:59,760 Speaker 2: long time, and then I did the John Hyett record 447 00:27:00,000 --> 00:27:02,760 Speaker 2: produce to John Hyatt record, and he didn't on this 448 00:27:02,800 --> 00:27:05,440 Speaker 2: particular record, he wanted to go at it without drums, 449 00:27:05,480 --> 00:27:08,359 Speaker 2: so we just went I took my band in the 450 00:27:08,400 --> 00:27:12,480 Speaker 2: studio just without the drummer. And since then we just thought, well, 451 00:27:12,520 --> 00:27:15,480 Speaker 2: there's all look, look at all this space that's out 452 00:27:15,520 --> 00:27:20,400 Speaker 2: here that drums were kind of covering it before, and 453 00:27:20,440 --> 00:27:22,359 Speaker 2: now we've got all the space to work with. What 454 00:27:22,359 --> 00:27:25,119 Speaker 2: do we do with this? So you know, it's just 455 00:27:25,160 --> 00:27:29,000 Speaker 2: a new chapter. But that's the band that I'll have 456 00:27:29,160 --> 00:27:34,320 Speaker 2: with me and Mike seele On on guitar, Daniel Kimbrough 457 00:27:34,359 --> 00:27:40,320 Speaker 2: on bass, and Christian Settlemeyer on violin and just master musicians, 458 00:27:40,359 --> 00:27:43,919 Speaker 2: master musicians. They pushed me around all the time. It's great. 459 00:27:44,400 --> 00:27:47,000 Speaker 2: I love the pushing, I love the challenge, I love 460 00:27:47,040 --> 00:27:50,040 Speaker 2: the pushing. I need that. You know, we run out 461 00:27:50,080 --> 00:27:54,119 Speaker 2: of people who who inspire us that way, you know, 462 00:27:54,200 --> 00:27:58,639 Speaker 2: and on stage. So it's great having these guys and 463 00:27:58,840 --> 00:28:05,240 Speaker 2: I respect them as much as musicians as anyone I've 464 00:28:05,280 --> 00:28:08,640 Speaker 2: ever met. These guys are these guys can they can 465 00:28:08,720 --> 00:28:13,239 Speaker 2: hold there? They can hold it right there, and they 466 00:28:13,840 --> 00:28:16,320 Speaker 2: don't if they fear nothing, They're fearless. 467 00:28:17,200 --> 00:28:20,439 Speaker 3: In closing, Jerry, anybody on the dream list that you 468 00:28:20,520 --> 00:28:24,320 Speaker 3: haven't collaborated with that you're itching to collaborate with. 469 00:28:24,440 --> 00:28:28,280 Speaker 2: Well, you know, I've done this thing that for the 470 00:28:28,359 --> 00:28:32,359 Speaker 2: last three or four years. My managers put me in 471 00:28:32,400 --> 00:28:35,400 Speaker 2: these situations like a gray fox. For a couple of years, 472 00:28:35,480 --> 00:28:38,240 Speaker 2: I was the residence of the artists and residence, so 473 00:28:38,280 --> 00:28:41,240 Speaker 2: I would play with just practically every band that was 474 00:28:41,320 --> 00:28:45,400 Speaker 2: on stage. And that's a good way to get to 475 00:28:45,440 --> 00:28:49,040 Speaker 2: know people, because you're not when you go out on 476 00:28:49,080 --> 00:28:51,880 Speaker 2: stage with somebody, you're not only taking you're not only 477 00:28:52,480 --> 00:28:56,160 Speaker 2: just taking up a you know, some real estate on stage. 478 00:28:57,200 --> 00:28:59,680 Speaker 2: You need to fit into what they're doing. You need 479 00:28:59,760 --> 00:29:02,400 Speaker 2: to be become a chameleon, you know. And that's something 480 00:29:02,440 --> 00:29:05,080 Speaker 2: that I've learned to do over the years, just from 481 00:29:05,120 --> 00:29:08,240 Speaker 2: doing sessions, you know, and being called in so many 482 00:29:08,280 --> 00:29:13,280 Speaker 2: times to replace the saxophone because it took the song 483 00:29:13,360 --> 00:29:16,920 Speaker 2: too far away from the genre and the market they 484 00:29:16,920 --> 00:29:19,120 Speaker 2: wanted to sell it in. So here comes to dobro 485 00:29:19,200 --> 00:29:25,120 Speaker 2: player to get rid of the saxophone, solo, replace the saxophone. 486 00:29:25,800 --> 00:29:28,920 Speaker 2: But you know, sometimes you have to do that, Sometimes 487 00:29:28,920 --> 00:29:31,480 Speaker 2: you have to be a chameleon. And these instruments allow 488 00:29:31,600 --> 00:29:32,920 Speaker 2: us to do that. 489 00:29:33,000 --> 00:29:33,200 Speaker 3: You know. 490 00:29:33,520 --> 00:29:39,080 Speaker 2: It's our personalities. The instruments are conduit for our own personalities. 491 00:29:39,160 --> 00:29:43,120 Speaker 2: And when you hear somebody play, that's their real personality. 492 00:29:43,760 --> 00:29:48,960 Speaker 2: That's what I believe. And so there are people who 493 00:29:49,720 --> 00:29:51,800 Speaker 2: I want to play with. I've played with so many 494 00:29:51,800 --> 00:29:54,600 Speaker 2: people in that situation, like I'm talking about. And at 495 00:29:54,640 --> 00:29:58,360 Speaker 2: Earl Scruggs Festival that's coming up in the end of August, 496 00:29:59,200 --> 00:30:03,719 Speaker 2: the last weekend Labor Day festival. Really I'm the host 497 00:30:03,800 --> 00:30:08,920 Speaker 2: of that festival. Uh. Somehow the Scruggs family took me 498 00:30:08,960 --> 00:30:12,320 Speaker 2: on and I am I'm a I'm a spokesman and 499 00:30:13,040 --> 00:30:16,360 Speaker 2: happy to be earlse if it hadn't been for Earl Scruggs, 500 00:30:15,960 --> 00:30:18,840 Speaker 2: I wouldn't be here, none of us would be here, 501 00:30:19,520 --> 00:30:23,880 Speaker 2: you know, And so I'm I'm paying back. I'll be 502 00:30:24,000 --> 00:30:28,719 Speaker 2: forever paying back for that. But you know, there are 503 00:30:28,800 --> 00:30:32,000 Speaker 2: musicians and other genres and and but there are musicians 504 00:30:32,040 --> 00:30:35,720 Speaker 2: in this in this bluegrass genre too that I've wanted 505 00:30:35,760 --> 00:30:39,640 Speaker 2: to play with. And you know, guys like Danny Paisley, 506 00:30:40,280 --> 00:30:44,680 Speaker 2: you know, whose father, Bob Paisley was was an icon 507 00:30:45,080 --> 00:30:50,600 Speaker 2: in sort of Pennsylvania Maryland area of bluegrass for years 508 00:30:50,600 --> 00:30:53,760 Speaker 2: and years and and his son Bob passed away, but 509 00:30:53,840 --> 00:30:56,680 Speaker 2: his son Danny took it up, took up the mantlin. Man. 510 00:30:57,000 --> 00:30:59,800 Speaker 2: You know, he's he's one of these guys. He's he's 511 00:31:00,280 --> 00:31:03,840 Speaker 2: he's like he's just he's like Dale McCurry. He's from 512 00:31:03,880 --> 00:31:07,400 Speaker 2: the same he's cut from the same cloth. And they 513 00:31:07,480 --> 00:31:10,080 Speaker 2: just go out there and they make you love this music, 514 00:31:10,160 --> 00:31:12,280 Speaker 2: you know, they just they just pour their hearts out 515 00:31:12,280 --> 00:31:15,600 Speaker 2: and you and you can't walk away from there without 516 00:31:15,800 --> 00:31:19,640 Speaker 2: just thinking, man, I've just seen something I didn't think 517 00:31:19,680 --> 00:31:21,320 Speaker 2: I would ever see in my life. You know, it's 518 00:31:21,400 --> 00:31:25,640 Speaker 2: just eye opening experiences. You know that people bring dell 519 00:31:25,840 --> 00:31:30,840 Speaker 2: and people like people like Danny and and you know, 520 00:31:31,000 --> 00:31:35,040 Speaker 2: to fit them into my other worlds, you know, with 521 00:31:35,200 --> 00:31:39,160 Speaker 2: Sam and Baylea and Edgar and you know, all the 522 00:31:39,160 --> 00:31:41,200 Speaker 2: things we do it tell your I that are so crazy, 523 00:31:41,240 --> 00:31:43,840 Speaker 2: and all these different collaborations that we do out there, 524 00:31:44,600 --> 00:31:49,440 Speaker 2: you know, and bringing the older bluegrass guys forward into 525 00:31:49,480 --> 00:31:53,640 Speaker 2: that is really fun for me. I love to hear 526 00:31:54,160 --> 00:31:59,280 Speaker 2: the two worlds collide, you know, but it's what comes 527 00:31:59,280 --> 00:32:01,160 Speaker 2: out on the other end is always beautiful. 528 00:32:02,880 --> 00:32:07,120 Speaker 3: August twentieth, City Winery in Boston, August twenty third, The 529 00:32:07,160 --> 00:32:11,680 Speaker 3: City Winery in New York City. Mister force of nature, 530 00:32:11,760 --> 00:32:15,360 Speaker 3: Jerry Douglass, it's really awesome to have you on taking 531 00:32:15,400 --> 00:32:15,800 Speaker 3: a walk. 532 00:32:15,840 --> 00:32:18,440 Speaker 2: Thank you, thank you, thank you for asking me to 533 00:32:18,480 --> 00:32:22,440 Speaker 2: be on and sello to everybody up there for me 534 00:32:22,480 --> 00:32:25,400 Speaker 2: and what we're really looking forward to play in Boston. 535 00:32:26,440 --> 00:32:29,160 Speaker 2: I don't know if we've played the Boston City Winery before. 536 00:32:29,640 --> 00:32:31,840 Speaker 2: I don't think I have, but I have played the 537 00:32:31,880 --> 00:32:35,880 Speaker 2: New York and loved it. So looking forward to seeing 538 00:32:35,920 --> 00:32:37,880 Speaker 2: all our friends up there, you know, we have so 539 00:32:38,000 --> 00:32:40,520 Speaker 2: many and we're gonna spend some time up there in 540 00:32:40,560 --> 00:32:44,080 Speaker 2: that area during that during that tour. So yeah, it'll 541 00:32:44,120 --> 00:32:47,080 Speaker 2: be good to get up there and be in New 542 00:32:47,120 --> 00:32:51,240 Speaker 2: York City, being in Boston, being the big city. Can't wait. 543 00:32:52,080 --> 00:32:52,680 Speaker 3: You're awesome. 544 00:32:52,760 --> 00:32:55,320 Speaker 2: Thanks Jerry, Thank you, thank you. 545 00:32:56,640 --> 00:32:59,120 Speaker 1: Thanks for listening to this episode of the Taking a 546 00:32:59,120 --> 00:33:03,040 Speaker 1: Walk podcast. Share this and other episodes with your friends 547 00:33:03,120 --> 00:33:06,600 Speaker 1: and follow us so you never miss an episode. Taking 548 00:33:06,640 --> 00:33:10,560 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 549 00:33:10,760 --> 00:33:13,040 Speaker 1: and wherever you get your podcasts.