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Speaker 1: Hey, I'm Norah Jones and today I'm playing along with

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Speaker 1: Questlove and Christian McBride.

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Speaker 2: Two for I'm just playing long we you. I'm just

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Speaker 2: playing in loon with you.

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Speaker 1: Hey there, I'm Norah. Welcome to the show with me,

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Speaker 1: as always is Sarah Oda.

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Speaker 3: Welcome, welcome.

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Speaker 1: Hey this was a twofer.

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Speaker 3: Oh yeah, this is our first two for Yes, it's

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Speaker 3: our first two for very exciting. We have not one,

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Speaker 3: but two incredible guest musicians in the studio with us.

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Speaker 3: We have drummer, producer, author, a frontman of the Roots

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Speaker 3: and fellow podcast hosts Yeah, Questlove, And we have Questlove's

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Speaker 3: fellow Philadelphian bass player, composer, educator, artistic director, Christian McBride.

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Speaker 1: I was going to say storyteller and joke man. Yes

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Speaker 1: also yes, Yeah, this was a really fun, fun time

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Speaker 1: for me. It was like a dream. It was like,

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Speaker 1: should we just make an album? Why are we all here?

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Speaker 4: Yeah?

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Speaker 3: It was. They're both highly influential musicians who have you know,

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Speaker 3: taken their love of music to new heights by playing

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Speaker 3: in all sorts of different formats and situations, and they're

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Speaker 3: really good at bringing people together with music, and so

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Speaker 3: we just thought let's have a and they're collaborative pals from.

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Speaker 1: Yeah, well they went to high school together. So my

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Speaker 1: thinking for this being a two fer was I wanted

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Speaker 1: them both on the podcast, but how fun would it

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Speaker 1: be to hear them tell stories about each other and

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Speaker 1: talk about childhood and also, since they're a bass player

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Speaker 1: and a drummer, play with them perfect past form. Ye,

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Speaker 1: it was pretty great episode.

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Speaker 3: Well, Christian gets there a little earlier, so you're going

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Speaker 3: to hear a duet first, and then Questlove gets there

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Speaker 3: and you're gonna hear them jam out too. Yep, don't

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Speaker 3: forget to like and subscribe to Nora Jones is playing

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Speaker 3: along if you want to hear more.

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Speaker 1: All right, I hope you have as much fun as

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Speaker 1: I did playing along with Questlove and Christian McBride.

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Speaker 5: My man don't love me treats me?

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Speaker 6: Ohso, I send my man he don't love me, he

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Speaker 6: treats me.

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Speaker 5: Oh so?

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Speaker 7: He's the lovest man.

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Speaker 5: Hello e scene.

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Speaker 6: He wears hot tring pants strips.

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Speaker 7: I really know.

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Speaker 5: He wears hard late paints stripes are really.

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Speaker 6: When he starts in loving me. He's so fine and mellow.

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Speaker 8: That would make you drink and gamble.

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Speaker 5: And make you stand out.

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Speaker 8: Ah, not all.

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Speaker 1: Love.

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Speaker 6: We'll make you drinking gambles and make you stare at

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Speaker 6: all God long. That would make you do all Let's see.

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Speaker 9: That.

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Speaker 8: You know.

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Speaker 10: What about about.

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Speaker 9: Bay?

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Speaker 6: No, if you treat me right, baby, I'll stay home

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Speaker 6: eh re day. If you treat me right, baby, I'll

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Speaker 6: stay home.

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Speaker 1: Day.

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Speaker 6: But if you saw mean to me, baby, you know

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Speaker 6: you're gonna drive me away.

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Speaker 5: That was just like a farce. It turns off and

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Speaker 5: it turns off.

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Speaker 6: Hello, was just like a farzy. It turns off and

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Speaker 6: it turns Sometimes when you think it's on, baby is

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Speaker 6: turned off and gone.

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Speaker 11: No Joe bringing the grits and gravy.

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Speaker 1: Oh my god, that's too early.

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Speaker 11: For that kind of song.

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Speaker 4: Before noon, That's what I'm saying.

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Speaker 1: Well, if you wake up at if you wake up

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Speaker 1: at seven usually then it's more like three in the afternoon.

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Speaker 11: Right, Well, I suppose.

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Speaker 1: Oh thanks for doing that with me. That was fun.

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Speaker 1: I love that Billie Holiday song.

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Speaker 11: That's thrill.

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Speaker 1: Is that is that old Billie Holiday song? Or did

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Speaker 1: she did she get it from somewhere else? That's hers?

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Speaker 4: God?

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Speaker 1: I love Billy Holiday.

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Speaker 4: Man.

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Speaker 1: I haven't sung that song in a really long time.

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Speaker 11: You could have fooled me.

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Speaker 1: That's from the old days, you know, the old days

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Speaker 1: of playing and singing in restaurants and just playing.

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Speaker 11: We'll see that.

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Speaker 10: Those gigs, you know, back in the day when you

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Speaker 10: were doing the you know, hotel lobby or restaurant gig,

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Speaker 10: whatever it is.

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Speaker 11: You know, I always tell musicians that's your shared time.

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Speaker 10: That's how you build, that's how you build your skills.

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Speaker 1: And semi paid practice totally.

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Speaker 10: What it is, Totally what it is. I mean, like

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Speaker 10: I used to play. I can't remember the name of it,

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Speaker 10: but Benny Green and I used to have this kind

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Speaker 10: of semi regular gig at some Chinese food restaurant over

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Speaker 10: on the East Side, and uh.

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Speaker 11: We were just shared tunes.

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Speaker 10: You know, nobody was really listening, kind of sort of

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Speaker 10: you know, so we just call songs and I'll be

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Speaker 10: learning the changes right there from the spot.

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Speaker 1: That's the best.

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Speaker 11: That's how you learned.

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Speaker 1: Yeah, I had a gig like that in Dallas. I

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Speaker 1: wish it was Chinese food. That sounds really good actually

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Speaker 1: right now.

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Speaker 10: If I remember correctly, Just like most jazz venues, we

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Speaker 10: couldn't pick off the regular menu.

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Speaker 11: They had a musician's menu.

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Speaker 1: I remember that I had a gig in Midtown right

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Speaker 1: around the corner here at that place. So did you

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Speaker 1: ever work, Yes, I never worked there, but a lot

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Speaker 1: of people did.

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Speaker 11: Yeah.

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Speaker 5: Yeah.

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Speaker 1: Actually was surprised he hired me because there were a

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Speaker 1: lot of really great piano players that play there. But

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Speaker 1: I think he liked my singing. And that guy was

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Speaker 1: really nice, actually, I really liked him. But they did

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Speaker 1: not let us order very nicely.

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Speaker 11: Right.

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Speaker 1: You go back to the kitchen and you could only

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Speaker 1: have like a few things and you had a set meal.

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Speaker 4: Time, right, yeah, exactly, that's right.

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Speaker 1: And it was like a four and a half hour gig, long.

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Speaker 11: Gig, long gig.

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Speaker 10: I remember when well, when I first moved to town,

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Speaker 10: most clubs were three sets a night. The Vanguard was nine,

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Speaker 10: eleven and one.

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Speaker 1: Oh it was three sets back oh yeah yeah, six

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Speaker 1: nights a week.

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Speaker 10: Bradley's was ten, twelve and two. That was hard because

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Speaker 10: you had an hour break in between these shows.

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Speaker 11: All your momentum yeah be gone.

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Speaker 1: Yeah, and if you're having a drink, it's or eating.

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Speaker 1: It just makes you tie.

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Speaker 11: Yeah.

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Speaker 10: Yeah, I'll tell you what so much. See this is

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Speaker 10: why when people began to know who you were, you

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Speaker 10: were already all your skills were totally strong already. I'm serious,

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Speaker 10: you weren't starting from scratch. You've been out there working, hustling.

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Speaker 1: I kind of feel like I could use a weekly

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Speaker 1: gig again, you know, like a weekly.

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Speaker 11: Not a bad idea our gig.

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Speaker 1: The stakes are low and the fun is high, you know, yeah,

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Speaker 1: just working it out.

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Speaker 11: I'm sure you could find something.

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Speaker 1: I love doing that.

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Speaker 11: You know.

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Speaker 1: That's what's great about living in.

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Speaker 10: A city, right right, right, You can hide in a

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Speaker 10: crowd exactly.

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Speaker 1: Man, tell me about your base.

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Speaker 11: This is many.

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Speaker 10: Yeah, yes, she's like you, little but mighty.

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Speaker 1: Did you bring her for me, because I'm I'm sure.

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Speaker 10: No, No, this has been my main base since January

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Speaker 10: of ninety six.

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Speaker 1: Really, oh man, So you have others that you use sometimes,

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Speaker 1: but this is your main This.

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Speaker 10: Is my girl I had. I had a bass that

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Speaker 10: was I used to think it was made by John

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Speaker 10: jewsk but a guy in Czechoslovakia told me that John

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Speaker 10: Jewsek that's a big.

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Speaker 11: Name in the bass world.

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Speaker 1: Oh, I know, because I dated a bass player. I'm

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Speaker 1: sorry for a long time and I will never forget

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Speaker 1: the bass saga of him getting a.

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Speaker 10: Jews Well, I found out that John Jewsk was not

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Speaker 10: a bass maker.

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Speaker 11: He was a base distributor.

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Speaker 1: So it was all a lot.

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Speaker 10: He was the middle man. Yeah. So I went to

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Speaker 10: Czechoslovakia to go kind of track him down.

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Speaker 5: Really, I want to, I want to.

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Speaker 10: Learn about the Jewsak family line. And I went to

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Speaker 10: this bass shop in Prague, and uh, it was so

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Speaker 10: funny because the guy said and he didn't really say

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Speaker 10: these exact words, but I was reading in between the lines.

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Speaker 10: He was like, oh, you dumb Americans. Yeah, you think

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Speaker 10: Jewsk was the guy. He was not the guy.

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Speaker 11: He was the distributor, you know. I was like, oh, oh, okay,

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Speaker 11: so who was the guy?

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Speaker 10: And then he gave me like a whole bunch of

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Speaker 10: check names that I couldn't spell.

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Speaker 1: You couldn't find.

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Speaker 11: Him, Yeah, I couldn't find him.

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Speaker 1: But so there was more than one guy basically, Oh yeah,

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Speaker 1: there were several guys.

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Speaker 11: Guys.

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Speaker 1: They were kind of the same community of making basis right, okay.

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Speaker 10: And so I had a Jewsak distributed base from nineteen

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Speaker 10: eighty nine until British Airways destroyed it.

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Speaker 5: Oh, no, of ninety five.

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Speaker 10: Yeah, that's right. I'll never forgive you for that. You know,

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Speaker 10: but yeah, I had my jews ak was was crushed,

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Speaker 10: fell out of the belly of the plane. You know,

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Speaker 10: it's like a foot drop, you.

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Speaker 1: Know, from on the ground.

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Speaker 10: But still yeah, yeah, I mean I had it had

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Speaker 10: a really good case. But I you know, I guess

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Speaker 10: the you know it was it was so far drop.

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Speaker 11: Uh. It just it didn't make it.

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Speaker 1: That's a bummer.

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Speaker 11: Yeah.

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Speaker 10: And so h David Gage, the guru, I know him,

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Speaker 10: I love him.

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Speaker 11: He tried to fix it.

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Speaker 10: He restored it, he did everything he could, but it

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Speaker 10: just didn't get that old sound back. And so while

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Speaker 10: I was waiting for him to fix it, he said, man,

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Speaker 10: somebody just came in my shop with an old base.

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Speaker 11: They want to get rid of it. You need to

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Speaker 11: come check this out. And that was Many.

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Speaker 1: That's it, he called it.

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Speaker 10: Yep, this is an old German base made in estimated

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Speaker 10: in nineteen ten.

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Speaker 1: That's beautiful.

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Speaker 11: Yeah, so she speaks, she's.

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Speaker 1: That's beautiful.

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Speaker 11: Yeah, so many she's been there.

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Speaker 1: That's great. I remember seeing on your maybe your Instagram

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Speaker 1: page once and you took a picture of a flight

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Speaker 1: attendant who was super sweet about your instrument.

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Speaker 11: I always try.

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Speaker 1: I was going to say, I think.

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Speaker 7: You do that.

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Speaker 1: Don't you shout out when they're really nice?

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Speaker 11: Yes?

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Speaker 1: Yeah, do you shout out when they suck about it

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Speaker 1: or you?

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Speaker 12: No?

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Speaker 10: I just go direct to uh. I just go direct

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Speaker 10: to customer service. You know, I've discovered the uh. My

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Speaker 10: friend Terry on Gully, his wife is she writes letters all.

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Speaker 1: The time, complaints, kind complaints, well worded, thoughtful and she

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Speaker 1: and he used.

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Speaker 10: To tell me, he said, man, you know, those complaint

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Speaker 10: letters go a long way.

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Speaker 1: They do like they really read them.

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Speaker 10: I don't know if they do now, but yeah, you know,

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Speaker 10: so fortunately I have not had too many bad instances

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Speaker 10: in quite some time.

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Speaker 1: Yeah, it can be tough trying to go on a

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Speaker 1: plane with a weird shaped instrument. They just don't know.

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Speaker 10: They just don't working musicians. I mean, I see flight

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Speaker 10: attendants giving trouble to just like guitar players. You know,

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Speaker 10: they got like a little soft gig bag that's not

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Speaker 10: gonna fit no overhead, of course it will.

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Speaker 1: Yeah, so it's a tough gig on both ends. I

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Speaker 1: think too.

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Speaker 11: Well. Absolutely, you know, you gotta have empathy.

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Speaker 1: You know, but sometimes people just stink about it.

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Speaker 11: You know what I feel bad about.

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Speaker 10: I go I go to the airport and before I

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Speaker 10: check in, you try to read the friendliest face.

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Speaker 9: Yeah, you know.

261
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Speaker 11: So.

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00:16:32,480 --> 00:16:35,360
Speaker 10: Like I'll be standing in line and I'll see like

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Speaker 10: three ticket agents and I see one about to become open,

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Speaker 10: but they don't look like they're a nice person. Like

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Speaker 10: I'll turn to the person behind me, like no, no, no, no,

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Speaker 10: you go ahead, but you're next. No go, I'm waiting

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Speaker 10: for the nice person.

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Speaker 1: Did you start out on upright base?

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Speaker 11: Nope?

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Speaker 10: Started out on the electric at what age? Because of

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Speaker 10: my dad nine I was nine, he played bass. He

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00:17:02,360 --> 00:17:03,760
Speaker 10: still does, he still does.

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Speaker 11: He is one of the workingst bass players in Philly.

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Speaker 1: That's amazing.

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Speaker 11: He's my dad.

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Speaker 10: His name is Lee Smith, and he's working more now

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Speaker 10: than he was when I was a kid.

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Speaker 11: Ain't that right? Clyde?

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Speaker 8: Hey are you?

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Speaker 1: I got some good stories about you before you got here.

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Speaker 1: I'm just kidding.

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Speaker 11: I'm just kidding.

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Speaker 1: We didn't get to it yet.

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Speaker 11: What's good man?

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Speaker 13: All right, I'm gonna get my dress on and played

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Speaker 13: traditional for the first time in what thirty years?

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Speaker 1: Traditional?

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Speaker 9: How so?

289
00:17:57,080 --> 00:18:00,920
Speaker 1: That's great. That's some technical thing that I don't know about.

290
00:18:01,600 --> 00:18:04,280
Speaker 1: You don't usually hold your taking exactly.

291
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Speaker 11: Yeah, all my idols play this way like what wow says?

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Speaker 9: That was twelve really?

293
00:18:11,960 --> 00:18:19,720
Speaker 11: Yeah? Whole episode us.

294
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Speaker 7: Good?

295
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Speaker 11: Go whoa?

296
00:18:54,000 --> 00:19:06,679
Speaker 6: I'm a change shown world?

297
00:19:06,080 --> 00:19:10,680
Speaker 5: Am I cheating so bad?

298
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Speaker 9: You know?

299
00:19:19,080 --> 00:19:26,400
Speaker 5: As I sing this song him, I've done.

300
00:19:29,440 --> 00:19:30,080
Speaker 9: So bad.

301
00:19:37,960 --> 00:19:38,399
Speaker 5: I'm not.

302
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Speaker 7: Best The messas.

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Speaker 14: Day seemed to be a day. You may be bad, You.

304
00:20:11,359 --> 00:20:13,000
Speaker 8: May be late.

305
00:20:14,359 --> 00:20:52,640
Speaker 15: Locord immasial name those who changed so bad?

306
00:21:15,080 --> 00:22:05,359
Speaker 16: Take another round, Take it another round.

307
00:22:13,920 --> 00:22:14,720
Speaker 5: I'm going.

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00:22:21,200 --> 00:22:23,480
Speaker 17: Now the best day?

309
00:22:28,040 --> 00:22:29,000
Speaker 5: Things are?

310
00:22:35,600 --> 00:22:37,000
Speaker 8: They seem to lea.

311
00:22:43,600 --> 00:22:48,200
Speaker 5: You maybe lie, you may be late?

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00:22:49,480 --> 00:22:50,359
Speaker 9: Just walk up?

313
00:22:50,960 --> 00:22:54,080
Speaker 8: How messes made?

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Speaker 5: Go tream so bad?

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Speaker 11: Oh Chris.

316
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Speaker 7: Brother?

317
00:23:38,520 --> 00:23:40,680
Speaker 11: Yeah? But can we just be normal for once and

318
00:23:40,760 --> 00:23:44,160
Speaker 11: not evert? No, we can't?

319
00:23:46,320 --> 00:23:46,840
Speaker 5: Or what you?

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00:23:46,960 --> 00:23:50,000
Speaker 11: What're you about to learn? You're about to be in

321
00:23:50,119 --> 00:23:52,680
Speaker 11: high school with us? This is This is a thirty

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00:23:52,760 --> 00:23:54,359
Speaker 11: year camaraderie.

323
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Speaker 10: Where uh.

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00:23:58,480 --> 00:24:01,000
Speaker 13: He and I are having a total inst conversation with

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00:24:01,040 --> 00:24:02,000
Speaker 13: each other based.

326
00:24:01,760 --> 00:24:03,240
Speaker 11: On like every reference.

327
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Speaker 5: I know.

328
00:24:05,200 --> 00:24:07,159
Speaker 1: I texted with you both for about ten minutes.

329
00:24:14,320 --> 00:24:26,400
Speaker 11: Are you going there? This might be a three?

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Speaker 7: I know?

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Speaker 5: Right?

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Speaker 2: All right?

333
00:24:27,880 --> 00:24:46,400
Speaker 18: Give how long before you committed this to your memory?

334
00:24:48,760 --> 00:24:50,240
Speaker 11: You gotta get that in this right right?

335
00:24:50,320 --> 00:24:53,240
Speaker 13: Right?

336
00:25:02,960 --> 00:25:03,200
Speaker 6: Oh?

337
00:25:03,320 --> 00:25:03,560
Speaker 11: Lord?

338
00:25:05,119 --> 00:25:05,520
Speaker 19: Ne mo.

339
00:25:13,640 --> 00:25:25,440
Speaker 20: St say what by spot steaks a great.

340
00:25:28,600 --> 00:25:59,040
Speaker 11: Crack break tight. That's been only long right now, he's

341
00:25:59,119 --> 00:25:59,960
Speaker 11: a question of you two.

342
00:26:00,400 --> 00:26:04,960
Speaker 13: Yeah, so when all right, watch me take the podcast over,

343
00:26:05,400 --> 00:26:09,720
Speaker 13: take it over. So when when you two play, have

344
00:26:09,840 --> 00:26:15,600
Speaker 13: you two played long enough where you're literally in a

345
00:26:15,760 --> 00:26:21,439
Speaker 13: linear state of mind where you know the song and

346
00:26:21,520 --> 00:26:26,080
Speaker 13: you are playing you Because I just realized I only

347
00:26:26,119 --> 00:26:29,720
Speaker 13: realize who I am when I'm not in roots world,

348
00:26:29,800 --> 00:26:31,399
Speaker 13: because when I'm in roots world, I'm more.

349
00:26:31,600 --> 00:26:32,440
Speaker 11: Like traffic cop.

350
00:26:32,760 --> 00:26:37,760
Speaker 13: Yeah, but I noticed that when I'm in jam session,

351
00:26:38,280 --> 00:26:43,159
Speaker 13: like literally in that song, I've referenced maybe twelve drummers

352
00:26:43,560 --> 00:26:50,199
Speaker 13: from Bill Withers drummer ye yeah, between Yatsen and you know,

353
00:26:50,560 --> 00:26:53,520
Speaker 13: Clyde jab over, I try to do Melvin, but I couldn't.

354
00:26:53,280 --> 00:26:55,359
Speaker 11: Bring myself to it. It might have been too slow

355
00:26:55,400 --> 00:26:56,280
Speaker 11: for Melvin.

356
00:26:56,040 --> 00:27:03,840
Speaker 13: Right right right, And so I've literally going through See

357
00:27:03,920 --> 00:27:07,520
Speaker 13: the thing is Melvin is is reverse Clyde. So all right,

358
00:27:07,520 --> 00:27:12,280
Speaker 13: I do funck you woman. So basically James and I,

359
00:27:12,960 --> 00:27:15,240
Speaker 13: Chris and I are connection. Of course, is is James

360
00:27:15,280 --> 00:27:20,800
Speaker 13: Brown And so with James's I would say top three drummers.

361
00:27:21,560 --> 00:27:29,960
Speaker 13: Clyde Stubblefield has the probably the best ghost note left hand. Ever,

362
00:27:30,520 --> 00:27:33,959
Speaker 13: so a lot of is like slowed down a little bit,

363
00:27:36,720 --> 00:27:40,199
Speaker 13: so like he plays he plays a snare like like

364
00:27:40,840 --> 00:27:44,480
Speaker 13: old Black Church people play the tambourine with a little like.

365
00:27:44,560 --> 00:27:48,840
Speaker 13: Of course, the the pace is this, but he'll add the.

366
00:27:51,440 --> 00:27:51,920
Speaker 11: You know what I mean.

367
00:27:56,000 --> 00:28:00,639
Speaker 13: And Adris Muhammad is also in under this umbrella or

368
00:28:00,680 --> 00:28:02,760
Speaker 13: his left hand and the ghost note.

369
00:28:04,119 --> 00:28:04,320
Speaker 8: Right.

370
00:28:05,840 --> 00:28:11,840
Speaker 13: And also I would say Steve Roon, formerly of the Heartbreakers,

371
00:28:11,840 --> 00:28:16,879
Speaker 13: and of course the average white man who's probably a

372
00:28:16,960 --> 00:28:23,840
Speaker 13: more nuanced bannaring party like Bernard Purty's trademarkets. Of course, yeah,

373
00:28:23,960 --> 00:28:29,800
Speaker 13: you know what I mean. So Steve Maroni takes Clyde

374
00:28:29,800 --> 00:28:36,840
Speaker 13: Subtlefield's left hand and uh it takes Bernard Purtty's right hand.

375
00:28:42,680 --> 00:28:45,880
Speaker 11: But also Adriz Muhammad does that a lot.

376
00:28:46,760 --> 00:28:52,680
Speaker 13: But with James Brown's other drummer, uh clatde uh Javo,

377
00:28:52,840 --> 00:28:58,800
Speaker 13: John Javo starks he's more he's more of a fluid guy,

378
00:28:59,480 --> 00:29:02,920
Speaker 13: So I say, John Zavos starts.

379
00:29:06,400 --> 00:29:10,840
Speaker 11: Like he's more about the pulse. So I'll say that even.

380
00:29:10,600 --> 00:29:16,480
Speaker 13: Though we credit Clyde Stubblefield with being like James Brown's

381
00:29:16,480 --> 00:29:20,760
Speaker 13: funkiest drummer, Clyde stubble field is more like boutique shopping,

382
00:29:21,080 --> 00:29:26,560
Speaker 13: whereas JABO is more like common every day right, meat

383
00:29:26,560 --> 00:29:29,520
Speaker 13: and potatoes drummers, you know what I mean.

384
00:29:31,000 --> 00:29:32,160
Speaker 11: Like he's more to swing.

385
00:29:36,040 --> 00:29:36,360
Speaker 8: M hm.

386
00:29:42,760 --> 00:29:46,360
Speaker 13: So that's and he's also heavy on the one that's

387
00:29:46,480 --> 00:29:54,040
Speaker 13: that's jab all day, so his emphasis is more on

388
00:29:54,080 --> 00:29:58,080
Speaker 13: the foot. Now, the thing is Melvin Parker.

389
00:29:59,560 --> 00:30:01,760
Speaker 11: You don't p right.

390
00:30:01,480 --> 00:30:04,000
Speaker 13: Melbourne Parker never hits on the one, so he hits

391
00:30:04,040 --> 00:30:08,480
Speaker 13: everything but the one, and so he's more like right,

392
00:30:08,960 --> 00:30:21,880
Speaker 13: ye ah, so that one that's missing, that's his enfloyance.

393
00:30:22,840 --> 00:30:25,120
Speaker 13: So he's more single pated drummer, you know what I mean.

394
00:30:26,720 --> 00:30:31,200
Speaker 13: But it's always my question to you is when you're

395
00:30:31,240 --> 00:30:34,920
Speaker 13: not playing your own material, are you do you morph

396
00:30:34,960 --> 00:30:38,200
Speaker 13: into another musician or like I find out I'm more

397
00:30:38,200 --> 00:30:41,720
Speaker 13: of a shape shifter than I am, Like I don't

398
00:30:41,760 --> 00:30:46,480
Speaker 13: think I've identified I've identified myself as a shape shifter

399
00:30:46,720 --> 00:30:49,440
Speaker 13: more than like, oh that's a mirror plan.

400
00:30:49,560 --> 00:30:50,760
Speaker 11: But you know, when I'm playing.

401
00:30:50,600 --> 00:30:53,040
Speaker 1: I think that's interesting because I feel like I know

402
00:30:53,160 --> 00:30:53,640
Speaker 1: when it's you.

403
00:30:54,560 --> 00:30:57,440
Speaker 11: Well, also I've made my presence known.

404
00:30:57,520 --> 00:30:59,920
Speaker 13: But also it's also like my style of drumming is

405
00:31:00,120 --> 00:31:03,680
Speaker 13: more like like right now in the culinary world. There's

406
00:31:03,800 --> 00:31:07,160
Speaker 13: there's a big giant worry that with words like kale

407
00:31:08,080 --> 00:31:11,320
Speaker 13: and plant based that we're gonna lose.

408
00:31:11,600 --> 00:31:14,000
Speaker 11: I mean, you know, like this twenty twenty is the.

409
00:31:14,000 --> 00:31:15,880
Speaker 5: Whole era of.

410
00:31:18,760 --> 00:31:23,600
Speaker 13: The fight between you know, traditionalists how it used to

411
00:31:23,640 --> 00:31:26,880
Speaker 13: be and this is how I was raised, versus the

412
00:31:27,000 --> 00:31:30,240
Speaker 13: disruptors who are like, no, this is this is the new,

413
00:31:30,280 --> 00:31:34,160
Speaker 13: this is how it's going to be. And there's you know,

414
00:31:36,040 --> 00:31:38,760
Speaker 13: I guess my stake in that claim is more about

415
00:31:38,800 --> 00:31:39,720
Speaker 13: the musicianship.

416
00:31:40,800 --> 00:31:44,400
Speaker 11: So you know, I never wanted to be.

417
00:31:46,080 --> 00:31:48,760
Speaker 13: What they would call like a you know, like a

418
00:31:48,800 --> 00:31:52,800
Speaker 13: gospel drummer gospel chops. So I always imagine that I'm

419
00:31:52,800 --> 00:31:57,800
Speaker 13: the drummer that works at a steel mill in Ohio

420
00:31:58,120 --> 00:32:01,760
Speaker 13: or Milwaukee or whatever. You know, his wife lets him

421
00:32:02,160 --> 00:32:04,440
Speaker 13: play with the guys at the local bar, but he's

422
00:32:04,480 --> 00:32:12,640
Speaker 13: like real sloppy, you know, like like I could, I

423
00:32:12,680 --> 00:32:15,600
Speaker 13: could perfect it, but.

424
00:32:15,200 --> 00:32:17,800
Speaker 11: For me, oh you have yeah.

425
00:32:18,200 --> 00:32:20,880
Speaker 13: I mean see the problem is when I'm doing it

426
00:32:20,920 --> 00:32:25,520
Speaker 13: in terms of hip hop, I also not only have

427
00:32:25,560 --> 00:32:27,160
Speaker 13: to be the sample, but I have to also be

428
00:32:27,200 --> 00:32:33,520
Speaker 13: the drum programming. So that's that's my my my big

429
00:32:33,640 --> 00:32:36,720
Speaker 13: risk with his next record, because I'm actually not gonna

430
00:32:36,760 --> 00:32:42,160
Speaker 13: play like a computer and I'm gonna play. I'm trying

431
00:32:42,200 --> 00:32:46,000
Speaker 13: to play like the sloppiest drunk four year old, like

432
00:32:46,080 --> 00:32:49,280
Speaker 13: how I used to play when I was a kid,

433
00:32:49,680 --> 00:32:55,920
Speaker 13: without the like my minus that. But do you do

434
00:32:55,960 --> 00:33:01,720
Speaker 13: you like for you, do you guys shape shift as well?

435
00:33:02,000 --> 00:33:05,280
Speaker 13: Or do you are you just too preoccupied with the

436
00:33:05,320 --> 00:33:06,080
Speaker 13: melody whatever?

437
00:33:06,120 --> 00:33:07,640
Speaker 11: Because when I'm drumming, it's so.

438
00:33:09,320 --> 00:33:11,360
Speaker 13: Second hint, Like it's like the back of my head

439
00:33:11,360 --> 00:33:15,320
Speaker 13: where if I think about drumming, then I'm fucking up.

440
00:33:15,360 --> 00:33:18,840
Speaker 13: So I'm thinking about like cereal, yeah, and wait, that'll

441
00:33:18,920 --> 00:33:20,760
Speaker 13: leave my while or two, Like I'm thinking of anything

442
00:33:20,760 --> 00:33:23,960
Speaker 13: else but drumming. Really, yeah, because when you start thinking

443
00:33:24,000 --> 00:33:24,920
Speaker 13: about it, that's where.

444
00:33:26,080 --> 00:33:26,320
Speaker 9: Yeah.

445
00:33:26,400 --> 00:33:29,520
Speaker 13: I remember once, uh, one of my dad's gigs when

446
00:33:29,520 --> 00:33:30,200
Speaker 13: I was eleven.

447
00:33:32,280 --> 00:33:34,600
Speaker 11: We were doing we were doing all the Wings.

448
00:33:34,320 --> 00:33:40,240
Speaker 13: Of Love and I was I was twelve years Yeah.

449
00:33:40,240 --> 00:33:42,400
Speaker 11: Did you know that Steve Roon's drumming on that? Yeah?

450
00:33:42,560 --> 00:33:47,640
Speaker 13: Yeah, yeah, I did not know that. So it's like

451
00:33:48,560 --> 00:33:50,920
Speaker 13: one in the morning, I'm twelve years old. We're in

452
00:33:50,920 --> 00:33:54,080
Speaker 13: the nightclub and this is like out in some some

453
00:33:54,200 --> 00:33:58,960
Speaker 13: club in uh like Darby, like in the in the

454
00:33:59,000 --> 00:34:02,400
Speaker 13: Outskirts and we're playing, you know, my dad's like, all right,

455
00:34:02,440 --> 00:34:04,280
Speaker 13: you know, you get on drums. The bar's empty, it's

456
00:34:04,320 --> 00:34:06,239
Speaker 13: like the last set. So he lets me sit in

457
00:34:06,520 --> 00:34:08,200
Speaker 13: and I did good. And then we got the on

458
00:34:08,480 --> 00:34:10,719
Speaker 13: Wings of Love and we got through the first verse,

459
00:34:13,760 --> 00:34:16,120
Speaker 13: and there's there's there's like you know, the drunk guy

460
00:34:16,239 --> 00:34:19,680
Speaker 13: most tavern on the Simpsons. Yes, he's looking at me,

461
00:34:19,680 --> 00:34:21,800
Speaker 13: and he's the only one that's like, wait a minute,

462
00:34:21,800 --> 00:34:24,120
Speaker 13: what's what's a twelve year old kid doing in this

463
00:34:24,239 --> 00:34:27,680
Speaker 13: nightclub at.

464
00:34:26,600 --> 00:34:28,359
Speaker 11: At two in the morning on a school night.

465
00:34:28,960 --> 00:34:32,080
Speaker 13: But he's real drunk and he's like, hey man, that

466
00:34:32,160 --> 00:34:35,520
Speaker 13: drummer is really good. And then I messed up that

467
00:34:36,320 --> 00:34:41,399
Speaker 13: just about So when I think about it, that's when

468
00:34:42,120 --> 00:34:44,719
Speaker 13: it's problematic. But it is it the same for you

469
00:34:44,840 --> 00:34:45,279
Speaker 13: at all?

470
00:34:45,480 --> 00:34:50,280
Speaker 1: Like I think thinking about it is always a problem.

471
00:34:50,320 --> 00:34:52,799
Speaker 1: Feeling it is better. But I'm always trying to be

472
00:34:53,480 --> 00:34:56,520
Speaker 1: myself because also as a singer, it's more obvious when

473
00:34:56,560 --> 00:35:00,279
Speaker 1: you're copying other people you love, you know, I just

474
00:35:00,320 --> 00:35:02,680
Speaker 1: try to embody the lyrics in my own way usually.

475
00:35:03,840 --> 00:35:07,640
Speaker 10: And we were talking earlier about that, the steady gig,

476
00:35:08,040 --> 00:35:10,600
Speaker 10: all those steady gigs you played, and you know, hotel

477
00:35:10,640 --> 00:35:13,400
Speaker 10: lobbies and things like that, and restaurants and bars.

478
00:35:13,480 --> 00:35:14,640
Speaker 11: That's it.

479
00:35:14,880 --> 00:35:17,880
Speaker 10: That's where we all got our training. You know, did

480
00:35:17,920 --> 00:35:19,520
Speaker 10: you ever paid the paper like that? I feel like

481
00:35:19,560 --> 00:35:23,800
Speaker 10: you came out the wound legend. I know, revision is history,

482
00:35:24,600 --> 00:35:29,840
Speaker 10: but I I mean, I've always been too pragmatic because,

483
00:35:29,880 --> 00:35:33,400
Speaker 10: like as a bass player, my my thing was do

484
00:35:33,520 --> 00:35:35,160
Speaker 10: whatever you have to do to keep the gig. I

485
00:35:35,239 --> 00:35:38,120
Speaker 10: was the best worried about, you know, individualism and trying

486
00:35:38,120 --> 00:35:41,200
Speaker 10: to find you know what, I'm just don't get fired.

487
00:35:41,520 --> 00:35:43,840
Speaker 10: That was always my number one thing. You play in

488
00:35:44,280 --> 00:35:48,480
Speaker 10: fight or flight? Well, I mean there's two ways to live.

489
00:35:48,560 --> 00:35:51,160
Speaker 13: Either gonna fight or flight or you're gonna live like, hey,

490
00:35:51,160 --> 00:35:54,120
Speaker 13: what can I do to you know? I never I

491
00:35:54,200 --> 00:35:56,160
Speaker 13: never thought that you would ever have that thought, like

492
00:35:56,280 --> 00:35:57,200
Speaker 13: I don't want to get fired?

493
00:35:57,400 --> 00:35:58,040
Speaker 11: Absolutely?

494
00:35:58,120 --> 00:36:02,399
Speaker 10: Have you ever got a fire Christmas close? Oh yeah, yeah, yeah,

495
00:36:02,920 --> 00:36:06,480
Speaker 10: but it wasn't you remember this well? You remember the

496
00:36:06,560 --> 00:36:11,000
Speaker 10: no amp days, the the make Base Great Again days

497
00:36:11,440 --> 00:36:13,719
Speaker 10: when all of these young cats were coming on the

498
00:36:13,719 --> 00:36:15,640
Speaker 10: scene not wanting to play with an amplifier.

499
00:36:15,680 --> 00:36:16,400
Speaker 1: Oh my gosh.

500
00:36:16,520 --> 00:36:19,520
Speaker 10: Yeah, you know, we were trying to muscle up and yeah,

501
00:36:19,640 --> 00:36:24,239
Speaker 10: exactly right, right, and uh oh when I first moved

502
00:36:24,280 --> 00:36:26,720
Speaker 10: to New York eighty nine, ninety ninety one.

503
00:36:27,000 --> 00:36:30,040
Speaker 1: Well, AM's just an extra thing to carry. What's that

504
00:36:30,160 --> 00:36:31,760
Speaker 1: as an extra thing? Yeah?

505
00:36:31,840 --> 00:36:32,520
Speaker 11: Yeah, yeah yeah.

506
00:36:32,560 --> 00:36:34,080
Speaker 10: So there was all these cats like, man, you know,

507
00:36:34,160 --> 00:36:37,120
Speaker 10: real bass players don't use an AMP. You got to

508
00:36:37,160 --> 00:36:39,520
Speaker 10: muscle up, raise your strings and you know, have the

509
00:36:39,560 --> 00:36:43,560
Speaker 10: microphone way out there and project right. So uh that

510
00:36:43,680 --> 00:36:47,440
Speaker 10: was that was courtesy of a particular sect.

511
00:36:48,360 --> 00:36:51,640
Speaker 11: But I got on body wear suits. Are they from

512
00:36:51,640 --> 00:36:52,200
Speaker 11: New Orleans?

513
00:36:53,760 --> 00:37:00,279
Speaker 10: See I'm trying to care nobody, but I want who

514
00:37:00,280 --> 00:37:05,520
Speaker 10: you're talking about name, no names, no names. But I

515
00:37:05,560 --> 00:37:08,759
Speaker 10: got on Bobby Watch his gig and he was like, say,

516
00:37:08,760 --> 00:37:11,400
Speaker 10: where's your AM. You know I don't use no amp.

517
00:37:12,040 --> 00:37:14,680
Speaker 10: I got a big sound. And he's like, I'm sure

518
00:37:14,680 --> 00:37:17,799
Speaker 10: you do buy one of them? Like, no, man, you

519
00:37:17,800 --> 00:37:20,200
Speaker 10: know amp man, that's that's some punk ship man.

520
00:37:20,320 --> 00:37:20,520
Speaker 11: You know.

521
00:37:20,760 --> 00:37:25,600
Speaker 10: He's like, oh it is huh say uh no, no, no, no,

522
00:37:25,719 --> 00:37:32,640
Speaker 10: wait wait wait I'm getting an AMP. And actually it

523
00:37:32,680 --> 00:37:35,880
Speaker 10: was it was Jeff Taine. Wats that saved my gig

524
00:37:36,000 --> 00:37:38,160
Speaker 10: with Bobby Watching because I was playing the vanguard with

525
00:37:38,239 --> 00:37:40,160
Speaker 10: Bobby and Bobby was pissed.

526
00:37:40,200 --> 00:37:41,920
Speaker 11: He was like, man, get an AMP. You know.

527
00:37:41,960 --> 00:37:44,760
Speaker 10: I was like, no, I was being a petulant eighteen

528
00:37:44,840 --> 00:37:48,960
Speaker 10: year old, you know. And Taine came down there one night,

529
00:37:49,520 --> 00:37:51,640
Speaker 10: and and this is when I learned, like, you know,

530
00:37:52,040 --> 00:37:54,400
Speaker 10: it's cool. So Tane was kind of part of that

531
00:37:54,560 --> 00:37:57,839
Speaker 10: whole crew. He had one foot in there and with us.

532
00:37:58,040 --> 00:38:00,520
Speaker 10: That's right, that's right. So I said, hey, man, can

533
00:38:00,600 --> 00:38:02,040
Speaker 10: you believe what he wants me to do? He wants

534
00:38:02,040 --> 00:38:03,440
Speaker 10: me to get an APP. And so Tane was like,

535
00:38:03,640 --> 00:38:07,319
Speaker 10: we'll get one. I was like, for real, He's like, man,

536
00:38:07,920 --> 00:38:09,440
Speaker 10: just because you have an app, don't mean you got

537
00:38:09,440 --> 00:38:09,920
Speaker 10: to crank it.

538
00:38:10,280 --> 00:38:12,120
Speaker 11: Just just get an app. You know.

539
00:38:12,200 --> 00:38:15,799
Speaker 10: I was like, for real, it's cool. You ain't gonna

540
00:38:15,800 --> 00:38:18,160
Speaker 10: be mad at me. There's something along those lines, right.

541
00:38:20,600 --> 00:38:24,080
Speaker 10: That sect was really powerful cool in the early nineties.

542
00:38:24,280 --> 00:38:25,879
Speaker 10: And Tane was like, man, you better get an AP

543
00:38:25,920 --> 00:38:26,600
Speaker 10: and keep your kick.

544
00:38:27,520 --> 00:38:28,200
Speaker 11: So wait a minute.

545
00:38:28,320 --> 00:38:31,000
Speaker 13: If now I can see if it's village varying guard,

546
00:38:31,320 --> 00:38:34,640
Speaker 13: but with that sect, say the same for oh, I

547
00:38:34,640 --> 00:38:37,640
Speaker 13: don't know, Carnegie Hall or Lincoln Center.

548
00:38:37,760 --> 00:38:40,320
Speaker 11: Yes, no AMP, under no circumstances.

549
00:38:40,360 --> 00:38:41,000
Speaker 1: Are you serious?

550
00:38:41,320 --> 00:38:41,600
Speaker 11: Yes?

551
00:38:41,719 --> 00:38:42,080
Speaker 4: Wait?

552
00:38:42,120 --> 00:38:42,920
Speaker 1: Was there a mic on?

553
00:38:43,239 --> 00:38:44,560
Speaker 11: Yeah? It was a mic. Oh.

554
00:38:45,080 --> 00:38:48,080
Speaker 1: The theory was I thought, I here, I was thinking

555
00:38:48,280 --> 00:38:52,000
Speaker 1: no amplification at all in a club. But well, you

556
00:38:52,040 --> 00:38:53,000
Speaker 1: mean there's a microphone.

557
00:38:53,120 --> 00:38:54,400
Speaker 11: Yes, there was a microphone.

558
00:38:54,440 --> 00:38:57,319
Speaker 1: So the theory was a pick up doesn't sound good.

559
00:38:57,480 --> 00:39:00,279
Speaker 10: The theory was the sound, the natural sound of the

560
00:39:00,320 --> 00:39:04,920
Speaker 10: acoustic base was destroyed in the seventies and and early eighties.

561
00:39:04,960 --> 00:39:10,200
Speaker 11: Now, I can't argue that you agree, uh two, And I.

562
00:39:10,120 --> 00:39:13,080
Speaker 10: Think Ron Carter was probably one of the only ones

563
00:39:13,120 --> 00:39:17,080
Speaker 10: that that made it out of that whole era, like unscathed.

564
00:39:17,160 --> 00:39:19,120
Speaker 10: Like even though he was using an amp and used

565
00:39:19,120 --> 00:39:22,520
Speaker 10: the d I, he still sounded nice and fatten and

566
00:39:22,520 --> 00:39:25,640
Speaker 10: and good, you know. But a lot of other people

567
00:39:25,680 --> 00:39:27,280
Speaker 10: had that real, real.

568
00:39:29,520 --> 00:39:30,880
Speaker 5: Sound, you know, and.

569
00:39:33,160 --> 00:39:33,839
Speaker 11: Playing like that.

570
00:39:34,080 --> 00:39:38,520
Speaker 10: Yeah, and so, but Ron was the only one that

571
00:39:38,560 --> 00:39:40,960
Speaker 10: everybody was like, Okay, that's.

572
00:39:40,719 --> 00:39:45,120
Speaker 1: Cool, its own thing kind of exactly.

573
00:39:45,239 --> 00:39:47,200
Speaker 10: And then so in the late eighties, when when the

574
00:39:47,239 --> 00:39:51,520
Speaker 10: sect was was was getting big, you know.

575
00:39:51,520 --> 00:39:55,000
Speaker 11: It was kind of like yeah, yeah, yeah, exactly.

576
00:39:55,040 --> 00:39:58,440
Speaker 10: So then it was like, well, everybody raised their strings,

577
00:39:58,560 --> 00:40:01,400
Speaker 10: unplugged the amps, We're going out natural to return the

578
00:40:01,440 --> 00:40:05,640
Speaker 10: base to his original glory, you know. And then Ray Brown,

579
00:40:05,840 --> 00:40:09,360
Speaker 10: Ron Carter, you know, mill Hitton, all the great bass legends.

580
00:40:09,360 --> 00:40:10,760
Speaker 10: They come here us playing we all.

581
00:40:10,640 --> 00:40:10,960
Speaker 11: Be like.

582
00:40:16,640 --> 00:40:18,640
Speaker 10: And that takes a toe on your hands and they'd

583
00:40:18,680 --> 00:40:24,880
Speaker 10: be like, what are you doings. Yeah, there's a I'm

584
00:40:24,880 --> 00:40:26,200
Speaker 10: gonna call him out because that's my man.

585
00:40:26,600 --> 00:40:29,879
Speaker 11: There's a YouTube clip go. I think it was when

586
00:40:29,920 --> 00:40:30,800
Speaker 11: Harry Conney Jr.

587
00:40:30,880 --> 00:40:33,640
Speaker 10: Was on some morning show and my brother Ben Wolf

588
00:40:33,760 --> 00:40:35,560
Speaker 10: was playing bass.

589
00:40:35,600 --> 00:40:37,480
Speaker 11: From a long camera angle.

590
00:40:37,520 --> 00:40:42,920
Speaker 10: You can see his strings are about that high, maybe three,

591
00:40:44,000 --> 00:40:50,400
Speaker 10: and he's playing like I'm very sure he had ten

592
00:40:50,480 --> 00:40:56,880
Speaker 10: to nighters at gut strings you know, high super high action.

593
00:40:58,120 --> 00:40:59,520
Speaker 10: And at some point I was just like, you know,

594
00:40:59,600 --> 00:41:02,640
Speaker 10: this is this is not right. It doesn't sound good,

595
00:41:03,440 --> 00:41:07,000
Speaker 10: you know. So Ray Brown changed all of that. So

596
00:41:07,239 --> 00:41:08,000
Speaker 10: this all right?

597
00:41:08,080 --> 00:41:13,560
Speaker 13: So you're answering the question for me because at in

598
00:41:13,640 --> 00:41:17,280
Speaker 13: my studio set up a thirty rock. What I'm trying

599
00:41:17,280 --> 00:41:23,000
Speaker 13: to do is get acquainted with all of our plugins.

600
00:41:23,640 --> 00:41:25,600
Speaker 13: Like I spend my lunch time just like, okay, let

601
00:41:25,600 --> 00:41:27,440
Speaker 13: me figure out a new sound or whatever. So you know,

602
00:41:27,880 --> 00:41:30,120
Speaker 13: when you get a pro tools system, then you know

603
00:41:30,120 --> 00:41:34,520
Speaker 13: there's over like seven hundred plugins or seven thousand plugins,

604
00:41:34,560 --> 00:41:38,440
Speaker 13: and of course there's different combinations of that stuff.

605
00:41:38,480 --> 00:41:39,279
Speaker 11: So you know, I'm trying to.

606
00:41:39,239 --> 00:41:41,040
Speaker 13: Think of figure out a new sound, and I keep

607
00:41:41,360 --> 00:41:42,600
Speaker 13: I kept seeing this.

608
00:41:42,680 --> 00:41:45,160
Speaker 11: There's a plug in called fat wood.

609
00:41:46,320 --> 00:41:51,520
Speaker 13: Right, which caught my attention because I need right.

610
00:41:52,440 --> 00:41:53,879
Speaker 11: I said, fat would that's right.

611
00:41:54,000 --> 00:41:57,640
Speaker 13: Let me check this out right, and I got to it,

612
00:41:57,800 --> 00:42:04,480
Speaker 13: and my engineer, Steve uh, Steve Vandell was like explaining

613
00:42:04,520 --> 00:42:07,399
Speaker 13: to me how in the jazz world like the wood

614
00:42:07,520 --> 00:42:10,800
Speaker 13: the natural wood sound, there's an argument over should we

615
00:42:12,280 --> 00:42:14,560
Speaker 13: And he said, you know, how like your your DI

616
00:42:15,000 --> 00:42:18,799
Speaker 13: versus microphone thing or whatever, and how I don't like

617
00:42:19,000 --> 00:42:22,319
Speaker 13: the microphone to the more than I like a d

618
00:42:22,440 --> 00:42:25,000
Speaker 13: I sound, but I need it for a specific reason.

619
00:42:25,560 --> 00:42:29,319
Speaker 13: So now I get that. You you you.

620
00:42:29,000 --> 00:42:32,520
Speaker 11: Your challenge was natural sound versus.

621
00:42:32,960 --> 00:42:36,759
Speaker 10: And to find a happy medium. And uh, I think,

622
00:42:36,760 --> 00:42:38,840
Speaker 10: I mean, like right now I'm not using any d I.

623
00:42:38,880 --> 00:42:40,040
Speaker 10: It's just all microphone.

624
00:42:42,400 --> 00:42:45,000
Speaker 1: Well I can't imagine using a d I in the

625
00:42:45,040 --> 00:42:47,400
Speaker 1: studio on an acoustic bass.

626
00:42:47,520 --> 00:42:50,359
Speaker 10: I can't either. But it depends on it depends on

627
00:42:50,400 --> 00:42:52,560
Speaker 10: the on the music, what kind of music you're doing.

628
00:42:52,840 --> 00:42:56,480
Speaker 10: Like when we did the Philadelphia experiment, that was I

629
00:42:56,520 --> 00:42:59,919
Speaker 10: think that was mostly d I, not very much micro

630
00:43:00,320 --> 00:43:02,280
Speaker 10: but for that music, it was perfect.

631
00:43:03,120 --> 00:43:03,640
Speaker 11: Yeah.

632
00:43:03,719 --> 00:43:10,759
Speaker 10: Yeah, see I got a story about her.

633
00:43:12,560 --> 00:43:12,919
Speaker 11: He said.

634
00:43:12,960 --> 00:43:17,520
Speaker 10: No, was like, wait, right, right, right right. It was

635
00:43:17,840 --> 00:43:19,840
Speaker 10: the first time I heard of you when you played

636
00:43:19,840 --> 00:43:20,360
Speaker 10: at Mcore.

637
00:43:20,960 --> 00:43:23,200
Speaker 1: Really yep, oh that was forever ago.

638
00:43:23,480 --> 00:43:28,680
Speaker 10: It was like it was like two thousand and uh.

639
00:43:28,719 --> 00:43:32,040
Speaker 10: My manager at the time, it's like, hey, we're gonna

640
00:43:32,040 --> 00:43:34,400
Speaker 10: go see this girl, Norah Jones. You should come, you know.

641
00:43:35,040 --> 00:43:39,640
Speaker 10: I think all of the people from Ted Curlin's office came.

642
00:43:40,480 --> 00:43:45,200
Speaker 10: They all came right and yeah, like this girl is

643
00:43:45,200 --> 00:43:48,600
Speaker 10: gonna be huge, She's gonna be huge. Yeah, yeah, And

644
00:43:48,640 --> 00:43:51,200
Speaker 10: I remember it was packed and I was in I

645
00:43:51,280 --> 00:43:52,920
Speaker 10: was in the black of the club.

646
00:43:53,719 --> 00:44:01,239
Speaker 11: I said it on purpose exactly. And uh. And then

647
00:44:01,280 --> 00:44:03,640
Speaker 11: you had your record come out yet.

648
00:44:03,520 --> 00:44:06,520
Speaker 1: I can't, no, no, but I had a long lead

649
00:44:06,600 --> 00:44:07,040
Speaker 1: up to it.

650
00:44:07,400 --> 00:44:08,359
Speaker 4: So the label was.

651
00:44:08,520 --> 00:44:10,560
Speaker 1: I had a weekly gig there. It was a Jewish

652
00:44:10,560 --> 00:44:14,400
Speaker 1: community center, yes, and it was singles night on Wednesdays.

653
00:44:14,920 --> 00:44:16,720
Speaker 11: And I had a.

654
00:44:16,080 --> 00:44:18,879
Speaker 1: Gig every Wednesday on Singles Night. And it started out

655
00:44:18,880 --> 00:44:19,680
Speaker 1: with nobody.

656
00:44:19,520 --> 00:44:20,439
Speaker 11: A regular gig there.

657
00:44:20,520 --> 00:44:23,319
Speaker 1: I had a regular gig there for a year and

658
00:44:23,880 --> 00:44:26,120
Speaker 1: it was a singles night and there weren't a ton

659
00:44:26,160 --> 00:44:28,719
Speaker 1: of people there for me and it was just singles,

660
00:44:28,800 --> 00:44:31,319
Speaker 1: and then it built up slowly and slowly. And then

661
00:44:31,400 --> 00:44:33,480
Speaker 1: right right before my record came out, I think we

662
00:44:33,520 --> 00:44:36,600
Speaker 1: had our last weekly or something and it was like bananas.

663
00:44:36,440 --> 00:44:38,799
Speaker 10: Man, and then and then you shout out like a

664
00:44:38,880 --> 00:44:41,040
Speaker 10: cannon man, and I was just like that her.

665
00:44:41,239 --> 00:44:42,640
Speaker 1: You came to the court, did you say.

666
00:44:42,560 --> 00:44:45,680
Speaker 11: Hi, No, there's too much, too much traffic in there.

667
00:44:45,920 --> 00:44:49,120
Speaker 13: Yeah, I was going to say the last the last

668
00:44:49,160 --> 00:44:53,200
Speaker 13: stages of your buzz before your debut came out. I

669
00:44:53,239 --> 00:44:57,640
Speaker 13: distinctly remember in a forty eight hour period, I can

670
00:44:57,680 --> 00:45:01,839
Speaker 13: claim that I saw you pre you and pre Ga,

671
00:45:01,920 --> 00:45:07,759
Speaker 13: gay You, pre You and pre Gaga, Stephanie uh at

672
00:45:08,040 --> 00:45:12,160
Speaker 13: sort of like piano bar gigs in New York area

673
00:45:12,360 --> 00:45:15,399
Speaker 13: within like a seventy one night. I think I saw

674
00:45:15,400 --> 00:45:17,319
Speaker 13: her on a Thursday night, and I saw you on

675
00:45:17,360 --> 00:45:18,160
Speaker 13: a Sunday night.

676
00:45:18,360 --> 00:45:18,640
Speaker 1: Wow.

677
00:45:18,920 --> 00:45:23,799
Speaker 13: And yeah, it's that's probably the only time where I

678
00:45:23,840 --> 00:45:29,040
Speaker 13: saw someone in there there sort of like incubated level before.

679
00:45:30,719 --> 00:45:30,920
Speaker 11: You know.

680
00:45:31,160 --> 00:45:36,560
Speaker 10: John Batiste was my student at the Aspen Summer Program. Yeah, yeah, yeah,

681
00:45:36,640 --> 00:45:37,839
Speaker 10: in two thousand and one.

682
00:45:38,360 --> 00:45:40,440
Speaker 1: Look at him now, I'm telling you right.

683
00:45:40,840 --> 00:45:42,840
Speaker 11: So when I see him now, I'm just like, you know,

684
00:45:43,320 --> 00:45:44,439
Speaker 11: you ain't famous.

685
00:45:44,120 --> 00:45:48,799
Speaker 1: To me, that's crazy.

686
00:45:49,440 --> 00:45:52,200
Speaker 10: But no, he and and and Diana crawl as well.

687
00:45:52,440 --> 00:45:54,440
Speaker 10: You know we kind of came up. She was together

688
00:45:54,680 --> 00:45:56,360
Speaker 10: at the no no no, but.

689
00:45:58,000 --> 00:45:58,560
Speaker 11: Yeah we can.

690
00:45:58,840 --> 00:46:02,520
Speaker 10: Yeah, like when she made her first album, well her

691
00:46:02,520 --> 00:46:06,520
Speaker 10: first album for g RP. It was ninety four, we

692
00:46:06,560 --> 00:46:10,879
Speaker 10: recorded that. I mean, you know, she was brand new,

693
00:46:11,320 --> 00:46:14,160
Speaker 10: you know she was she was doing like the the

694
00:46:14,200 --> 00:46:18,040
Speaker 10: bar and hotel circuit. Yeah, you know, and Timy Lapuma

695
00:46:18,200 --> 00:46:20,560
Speaker 10: heard her and the rest is history.

696
00:46:21,239 --> 00:46:23,040
Speaker 1: And you played on that early stuff with her or

697
00:46:23,120 --> 00:46:23,640
Speaker 1: later I.

698
00:46:23,640 --> 00:46:24,319
Speaker 11: Played on her.

699
00:46:25,800 --> 00:46:28,400
Speaker 10: I think I've played on almost all of her records

700
00:46:28,440 --> 00:46:32,520
Speaker 10: except her second and maybe one other in between there.

701
00:46:32,640 --> 00:46:37,000
Speaker 13: Okay, yeah, so you so you were produced by Tommy Lapuma.

702
00:46:37,120 --> 00:46:41,280
Speaker 13: That was my That was like my third dad. Okay

703
00:46:41,840 --> 00:46:45,840
Speaker 13: this on this album? Were you acoustic or electric? All acoustic?

704
00:46:46,640 --> 00:46:49,040
Speaker 13: Always always ever done anything electric with him?

705
00:46:49,120 --> 00:46:50,439
Speaker 11: Big time. Yeah.

706
00:46:51,000 --> 00:46:53,879
Speaker 13: It's like for me, if there's ever producer that has

707
00:46:53,920 --> 00:46:55,719
Speaker 13: such a sin got replaced.

708
00:46:55,920 --> 00:46:59,960
Speaker 11: I was, how'd you know Marcus Miller?

709
00:47:00,200 --> 00:47:00,520
Speaker 1: Okay?

710
00:47:02,640 --> 00:47:04,200
Speaker 10: I was like, well, why don't you just get Marcus.

711
00:47:04,200 --> 00:47:06,080
Speaker 10: We's gotta break my heart when the record comes out.

712
00:47:06,200 --> 00:47:07,840
Speaker 10: I was like, damn wait.

713
00:47:07,840 --> 00:47:10,239
Speaker 13: But it was cool later on Wait, what is that

714
00:47:10,320 --> 00:47:12,960
Speaker 13: like when you find out that you heartbreaking?

715
00:47:13,800 --> 00:47:15,640
Speaker 11: Is that a common thing before? You know?

716
00:47:16,360 --> 00:47:18,600
Speaker 10: I don't think it is now. I don't think that

717
00:47:18,719 --> 00:47:21,239
Speaker 10: happens much anymore. I can't be sure, but I don't

718
00:47:21,239 --> 00:47:26,080
Speaker 10: think that happens much. On Kenny Kirkland's first and only

719
00:47:26,320 --> 00:47:30,360
Speaker 10: solo album, Delfiel Marsalaz produced it, and I remember he

720
00:47:30,400 --> 00:47:32,520
Speaker 10: called me in and he said, hey man, we got

721
00:47:32,520 --> 00:47:35,920
Speaker 10: this track. We got like four bass parts on that.

722
00:47:36,000 --> 00:47:39,759
Speaker 10: We got Seannette Maffit, we got Robert Hurst. I think

723
00:47:39,800 --> 00:47:42,520
Speaker 10: maybe no what in Originalville, but it was just Hurst

724
00:47:42,560 --> 00:47:46,120
Speaker 10: and Seanette is like, put your bass part down because

725
00:47:46,120 --> 00:47:48,919
Speaker 10: we can't figure out which one we like. So I'm

726
00:47:48,960 --> 00:47:52,760
Speaker 10: pretty sure on one of those songs on Kenny Kirkland's record,

727
00:47:52,920 --> 00:47:56,880
Speaker 10: there's like three bass players on one and he just

728
00:47:56,960 --> 00:48:00,680
Speaker 10: kind of you know, I got four bars, four bars.

729
00:48:01,040 --> 00:48:02,920
Speaker 1: I've almost done that. I don't think I've ever done that.

730
00:48:03,040 --> 00:48:03,279
Speaker 11: Really.

731
00:48:03,480 --> 00:48:06,160
Speaker 1: No, Well, I saw both. I saw you play when

732
00:48:06,160 --> 00:48:08,800
Speaker 1: I was in college down in Texas. I saw the roots.

733
00:48:08,840 --> 00:48:09,960
Speaker 4: Really yeah.

734
00:48:10,040 --> 00:48:13,200
Speaker 13: Wow, I thought I thought the first time we saw

735
00:48:13,239 --> 00:48:15,480
Speaker 13: each other was when you were sitting in the front

736
00:48:15,560 --> 00:48:16,600
Speaker 13: ro of.

737
00:48:16,760 --> 00:48:17,680
Speaker 11: Wait, you're from Denton.

738
00:48:17,680 --> 00:48:20,160
Speaker 1: Text, well, from Dallas, but I went to college in Denton.

739
00:48:20,520 --> 00:48:23,880
Speaker 13: Yeah, okay, I'm only learning about that. I'm doing the

740
00:48:23,920 --> 00:48:26,520
Speaker 13: Slide doc right now. And I didn't know that he

741
00:48:26,560 --> 00:48:27,560
Speaker 13: was born in Denton, Texas.

742
00:48:27,600 --> 00:48:28,640
Speaker 1: I actually didn't know that either.

743
00:48:29,200 --> 00:48:31,520
Speaker 13: No, I didn't know that he was born in I'm

744
00:48:31,560 --> 00:48:38,000
Speaker 13: in the there's a there's a really crazy lost concert

745
00:48:38,080 --> 00:48:41,239
Speaker 13: that we just found which is supposed to be like

746
00:48:42,640 --> 00:48:44,680
Speaker 13: this is this is in seventy two, so I'll say

747
00:48:44,680 --> 00:48:49,520
Speaker 13: this maybe like three months before Larry quit and the

748
00:48:49,600 --> 00:48:54,560
Speaker 13: first Okay, so of course, uh and in prime self

749
00:48:54,600 --> 00:48:59,400
Speaker 13: saboteur mode, you know, Slide used time as a means

750
00:48:59,400 --> 00:49:02,200
Speaker 13: to protest, always famous for being late to shows and whatnot.

751
00:49:02,800 --> 00:49:06,640
Speaker 13: So uh, you know, this is like his homecoming show.

752
00:49:07,800 --> 00:49:10,319
Speaker 13: You know, he went away for two years after his

753
00:49:10,520 --> 00:49:14,040
Speaker 13: triumphant Woodstock thing and you know, greatest Hits album was

754
00:49:14,040 --> 00:49:18,200
Speaker 13: was he was literally like the biggest star in the world,

755
00:49:18,400 --> 00:49:21,799
Speaker 13: and so you know, they planning this homecoming thing in Denton,

756
00:49:21,840 --> 00:49:26,759
Speaker 13: Texas and all you when when the they recorded live

757
00:49:26,840 --> 00:49:28,759
Speaker 13: and you know, wanted to preserve it on tape, and

758
00:49:29,160 --> 00:49:32,680
Speaker 13: so all of a sudden, you here it just starts

759
00:49:32,680 --> 00:49:33,320
Speaker 13: with booze.

760
00:49:33,520 --> 00:49:39,239
Speaker 11: So obviously he was late, right, right, so he I believe.

761
00:49:41,040 --> 00:49:44,319
Speaker 13: One of the band members told me that they were

762
00:49:44,400 --> 00:49:48,719
Speaker 13: waiting for about sort of north of ninety minutes, so

763
00:49:48,760 --> 00:49:53,160
Speaker 13: maybe like one hundred minutes yeh. And but he's also

764
00:49:54,160 --> 00:49:57,279
Speaker 13: he keeps getting away with it because he's also very charismatic,

765
00:49:57,400 --> 00:50:02,120
Speaker 13: charming guy. And literally when he walks on stage, he

766
00:50:02,320 --> 00:50:05,440
Speaker 13: you know, he does this, and you know, and he

767
00:50:05,520 --> 00:50:09,480
Speaker 13: does the look, guys, I'm sorry, but look, I can

768
00:50:09,520 --> 00:50:11,960
Speaker 13: either solve the problem and start playing now, or you

769
00:50:12,000 --> 00:50:13,280
Speaker 13: guys can just continue booing.

770
00:50:13,400 --> 00:50:14,279
Speaker 11: What would you like to do?

771
00:50:14,360 --> 00:50:19,560
Speaker 13: Like, He's really very logical, right and the second may

772
00:50:19,640 --> 00:50:23,440
Speaker 13: hit it was like they forgot everything.

773
00:50:23,680 --> 00:50:25,560
Speaker 11: Yeah, and so that's.

774
00:50:25,400 --> 00:50:27,680
Speaker 1: Exciting in Texas, man, I can't wait to see that.

775
00:50:28,000 --> 00:50:31,959
Speaker 11: Yeah. Yeah, it's it's a lot that I'm learning right now.

776
00:51:00,080 --> 00:51:03,439
Speaker 5: He la a line gun, you might drive him back.

777
00:51:05,120 --> 00:51:09,080
Speaker 5: All the voices tell me to gone. I know who

778
00:51:09,280 --> 00:51:15,520
Speaker 5: he had. If I try to escape, which way, shaid

779
00:51:15,560 --> 00:51:18,880
Speaker 5: I come pull the red tail.

780
00:51:19,080 --> 00:51:22,120
Speaker 8: All of my lips, no mom past.

781
00:51:23,800 --> 00:51:39,600
Speaker 5: Set all the lies A long should stood with me.

782
00:51:42,719 --> 00:51:56,960
Speaker 5: I'll pretend your everything and need take the bullet.

783
00:51:56,960 --> 00:51:59,120
Speaker 7: Out that gun I bear.

784
00:51:59,280 --> 00:52:03,240
Speaker 2: You must everything.

785
00:52:02,840 --> 00:52:05,800
Speaker 5: You want to know swallow be.

786
00:52:08,080 --> 00:52:12,919
Speaker 6: If I try to escape, you will play the part.

787
00:52:15,000 --> 00:52:18,719
Speaker 5: If you dis at bit, I hold you my.

788
00:52:20,640 --> 00:52:30,480
Speaker 6: S all moss up long sul.

789
00:52:36,000 --> 00:53:53,000
Speaker 17: Now, I'll pretend that out five s oh lash was

790
00:53:53,200 --> 00:53:56,400
Speaker 17: of moum shuck.

791
00:53:57,360 --> 00:54:00,880
Speaker 20: Shmaz.

792
00:54:03,719 --> 00:54:06,279
Speaker 7: I'll pretend you have this singing.

793
00:54:07,920 --> 00:55:28,560
Speaker 11: And so you saw they came to U.

794
00:55:29,000 --> 00:55:31,040
Speaker 1: N t no that you guys were playing in Dallas.

795
00:55:31,040 --> 00:55:32,360
Speaker 1: We went down to Dallas to see you.

796
00:55:34,200 --> 00:55:36,360
Speaker 11: Was it in that bowling alley?

797
00:55:37,000 --> 00:55:37,160
Speaker 10: Uh?

798
00:55:37,320 --> 00:55:38,160
Speaker 1: No, it wasn't.

799
00:55:38,320 --> 00:55:39,920
Speaker 11: There's there's like a in Dallas.

800
00:55:39,920 --> 00:55:43,800
Speaker 13: There was something bowl and it was like a bowling alley,

801
00:55:44,160 --> 00:55:48,239
Speaker 13: pool hall and kind of a house of bluesy what.

802
00:55:48,400 --> 00:55:48,799
Speaker 1: Is a theater?

803
00:55:48,960 --> 00:55:49,240
Speaker 7: Right?

804
00:55:49,520 --> 00:55:52,240
Speaker 1: Yeah, No, it wasn't there. It was a place where

805
00:55:52,280 --> 00:55:55,160
Speaker 1: there was a balcony surrounding the stage. I can't remember

806
00:55:55,160 --> 00:55:57,839
Speaker 1: where it was, okay. And then I tried to go

807
00:55:57,920 --> 00:56:01,560
Speaker 1: see you play with Josh Redmon and Brian Blade Caravan

808
00:56:01,600 --> 00:56:04,440
Speaker 1: of Dreams. But I was told later by Chris Thomas

809
00:56:04,800 --> 00:56:05,799
Speaker 1: that it was actually him.

810
00:56:05,840 --> 00:56:07,239
Speaker 11: I was out of the vand but you were.

811
00:56:07,280 --> 00:56:12,520
Speaker 1: You weren't there, and I think my memory got, you know, sideways,

812
00:56:12,520 --> 00:56:13,200
Speaker 1: But Chris was.

813
00:56:13,120 --> 00:56:18,399
Speaker 11: Like, that was me. Christian Chris, No I.

814
00:56:18,360 --> 00:56:19,200
Speaker 9: Knew who you were.

815
00:56:19,840 --> 00:56:21,920
Speaker 1: No, no, no, I don't think I got to see

816
00:56:21,920 --> 00:56:24,799
Speaker 1: you till later, like maybe after I moved to New York.

817
00:56:25,760 --> 00:56:29,080
Speaker 11: Yeah I didn't, I don't don't. Don't play in Texas much?

818
00:56:29,719 --> 00:56:31,839
Speaker 1: Oh yeah is that true?

819
00:56:31,719 --> 00:56:33,239
Speaker 11: Where's your like?

820
00:56:33,360 --> 00:56:36,640
Speaker 10: How is if I do go to Texas, it's probably Houston,

821
00:56:36,880 --> 00:56:37,840
Speaker 10: Houston or Austin.

822
00:56:38,719 --> 00:56:41,160
Speaker 1: No Dallas for you, huh not really?

823
00:56:41,800 --> 00:56:42,920
Speaker 11: So where's your jazz?

824
00:56:43,840 --> 00:56:49,480
Speaker 13: Where's your like every American and your American art does it?

825
00:56:49,600 --> 00:56:52,759
Speaker 10: Kind of all the Amtrak so Boston, between Boston and

826
00:56:52,840 --> 00:57:02,239
Speaker 10: d C, Rochester, Buffalo, Toronto, Detroit, Chicago, Indianapolis has gotten

827
00:57:02,239 --> 00:57:09,359
Speaker 10: a little better. Saint Louis not much in the South Man,

828
00:57:09,719 --> 00:57:10,839
Speaker 10: not not a whole lot.

829
00:57:11,440 --> 00:57:14,560
Speaker 1: That's interesting becausecause Denton was a big old jazz school.

830
00:57:14,640 --> 00:57:16,720
Speaker 1: So well exactly we have people come through to the

831
00:57:16,720 --> 00:57:17,600
Speaker 1: college a lot.

832
00:57:17,680 --> 00:57:19,480
Speaker 11: Right, Yeah, I've done like master classes.

833
00:57:19,600 --> 00:57:19,840
Speaker 5: Yeah.

834
00:57:20,640 --> 00:57:22,080
Speaker 11: So the place where it was, of course in.

835
00:57:22,200 --> 00:57:24,439
Speaker 10: La of course, you know, Seattle, all the way down

836
00:57:24,440 --> 00:57:26,560
Speaker 10: to San Diego, Phoenix, Denver.

837
00:57:27,000 --> 00:57:29,439
Speaker 1: Yeah, I think the only place there was a jazz

838
00:57:29,480 --> 00:57:31,920
Speaker 1: club in Dallas called Sambuca, but it was very small

839
00:57:32,320 --> 00:57:34,640
Speaker 1: and then there was a chain. Yeah, it was a chain.

840
00:57:34,720 --> 00:57:38,000
Speaker 1: But then there was a Caravan of Dreams in Fort Worth,

841
00:57:38,000 --> 00:57:39,640
Speaker 1: which is like the club that was the one that

842
00:57:39,720 --> 00:57:42,320
Speaker 1: was the only real place that people came of.

843
00:57:43,360 --> 00:57:45,600
Speaker 13: Yeah, so you're trying to tell me the place where

844
00:57:45,880 --> 00:57:46,640
Speaker 13: it was invented.

845
00:57:47,360 --> 00:57:51,880
Speaker 10: It's almost like, well, in New York the same thing. Yeah,

846
00:57:51,920 --> 00:57:53,800
Speaker 10: I mean New Orleans is so insular. They're like, we

847
00:57:53,840 --> 00:57:55,280
Speaker 10: don't need no Northerners come down here.

848
00:57:55,280 --> 00:57:55,720
Speaker 11: We got to go.

849
00:57:55,720 --> 00:57:57,400
Speaker 1: Oh yeah, there's not a lot of out of town

850
00:57:57,520 --> 00:58:03,440
Speaker 1: right gota. Yeah. And then you got the festivals in Europe.

851
00:58:03,280 --> 00:58:06,840
Speaker 11: Yes, which are you tired of Europe? All right?

852
00:58:06,920 --> 00:58:11,560
Speaker 13: So for me, like okay, for you is most of

853
00:58:11,600 --> 00:58:14,080
Speaker 13: your summers and for both of you when you're touring,

854
00:58:15,320 --> 00:58:18,520
Speaker 13: are most of your summers outside of the United States? Like,

855
00:58:18,840 --> 00:58:20,919
Speaker 13: have you been in the United States for a good

856
00:58:21,040 --> 00:58:24,560
Speaker 13: two months stretch without.

857
00:58:23,840 --> 00:58:24,560
Speaker 1: Going to Europe?

858
00:58:24,640 --> 00:58:24,960
Speaker 11: Yeah?

859
00:58:25,040 --> 00:58:27,400
Speaker 1: I mean I don't tour as much as I used to,

860
00:58:27,440 --> 00:58:29,640
Speaker 1: but I did last summer just States, and this summer

861
00:58:29,680 --> 00:58:32,640
Speaker 1: I'm just doing a month in Europe. And I was

862
00:58:32,680 --> 00:58:34,760
Speaker 1: excited to do some of the same places I've done

863
00:58:35,000 --> 00:58:37,240
Speaker 1: a lot, and then I realized, oh, this is just

864
00:58:37,280 --> 00:58:40,560
Speaker 1: what there is for me. It's like all the same festivals,

865
00:58:40,960 --> 00:58:44,120
Speaker 1: a lot of the same places, which I do love, sure,

866
00:58:44,200 --> 00:58:47,480
Speaker 1: but it's like, yeah, it gets a little like, wait,

867
00:58:47,680 --> 00:58:49,040
Speaker 1: did I just go back in time?

868
00:58:49,200 --> 00:58:52,760
Speaker 10: Yeah? Yeah, I mean the summer o itenerary tends to

869
00:58:52,800 --> 00:58:54,960
Speaker 10: look the same. Yeah, I mean, I don't think I've

870
00:58:55,000 --> 00:58:59,520
Speaker 10: seen the July seventeenth in the United States since we graduate.

871
00:58:59,640 --> 00:59:02,440
Speaker 10: Well I didn't see it then, so yeah, probably nineteen

872
00:59:02,480 --> 00:59:02,919
Speaker 10: eighty eight.

873
00:59:03,480 --> 00:59:05,760
Speaker 1: So you're always in Europe every summer pretty much. Well,

874
00:59:05,800 --> 00:59:07,280
Speaker 1: maybe i'll see you this summer. Are you going to

875
00:59:07,320 --> 00:59:08,040
Speaker 1: be there this summer?

876
00:59:08,760 --> 00:59:09,520
Speaker 11: Not for long?

877
00:59:09,760 --> 00:59:13,000
Speaker 10: I'm actually this is I'm only doing two gigs in

878
00:59:13,040 --> 00:59:16,520
Speaker 10: Europe in July. I actually get to stay home.

879
00:59:16,800 --> 00:59:18,760
Speaker 1: Stay home and work or stay home and hay.

880
00:59:18,840 --> 00:59:20,800
Speaker 10: Oh I'm going to stay home and hay yeah, I'm

881
00:59:20,800 --> 00:59:25,520
Speaker 10: going to watch Law and Order. My ass off. It

882
00:59:25,560 --> 00:59:27,200
Speaker 10: would be marathon and like crazy.

883
00:59:27,520 --> 00:59:33,080
Speaker 13: Oh man, Wow, this is this year mark the first

884
00:59:33,160 --> 00:59:38,560
Speaker 13: year that we're finally doing our first round of arena

885
00:59:38,600 --> 00:59:41,400
Speaker 13: tours really, because the thing is is that, you know,

886
00:59:41,480 --> 00:59:44,760
Speaker 13: we've played big numbers in New York City. Yeah, and

887
00:59:44,960 --> 00:59:48,280
Speaker 13: MSG really isn't that big.

888
00:59:48,160 --> 00:59:50,760
Speaker 1: No, isn't it like nine or ten thousand?

889
00:59:51,040 --> 00:59:53,080
Speaker 11: It's like maybe twelve thirteen.

890
00:59:52,720 --> 00:59:54,600
Speaker 1: But you think of it as like thirty and.

891
00:59:54,640 --> 00:59:57,760
Speaker 13: Yeah, you would think like forty some whatever, and we

892
00:59:57,960 --> 01:00:02,880
Speaker 13: just never you know, it's always like, okay, when when

893
01:00:02,880 --> 01:00:05,760
Speaker 13: do we when do we play our cards to see

894
01:00:05,800 --> 01:00:07,520
Speaker 13: if we can actually do arenas or not?

895
01:00:07,680 --> 01:00:12,640
Speaker 11: So wow, But after the.

896
01:00:11,200 --> 01:00:13,040
Speaker 13: The thing that we did at the Grammys this year

897
01:00:13,080 --> 01:00:17,520
Speaker 13: where we gathered everyone in the history of hip hop

898
01:00:17,560 --> 01:00:19,880
Speaker 13: to do like this mega twelve minute thing.

899
01:00:20,360 --> 01:00:26,680
Speaker 11: Great, yeah, it was fun to watch. You look, dude,

900
01:00:27,080 --> 01:00:30,680
Speaker 11: I should have a separate podcast on d gigs.

901
01:00:31,040 --> 01:00:32,720
Speaker 4: What you can talk about it.

902
01:00:32,960 --> 01:00:35,000
Speaker 11: I've come close to suicide.

903
01:00:34,480 --> 01:00:38,560
Speaker 1: And time musical director gigs. Oh yeah, you're were you're

904
01:00:38,600 --> 01:00:40,360
Speaker 1: running the show and trying to organize it all.

905
01:00:41,040 --> 01:00:44,000
Speaker 13: I'll guarantee you know the story and basically say that

906
01:00:44,040 --> 01:00:45,200
Speaker 13: when I landed.

907
01:00:44,840 --> 01:00:48,160
Speaker 11: In New York, my tooth fell out.

908
01:00:48,680 --> 01:00:51,240
Speaker 13: So there's there's this there's this rock and roll Dennis

909
01:00:51,320 --> 01:00:54,840
Speaker 13: that Lenny Kravitz put the whole community onto in which

910
01:00:54,920 --> 01:00:56,680
Speaker 13: this guy does twenty four hour work.

911
01:00:56,920 --> 01:00:58,200
Speaker 11: Like he even comes to your house.

912
01:00:58,880 --> 01:01:01,800
Speaker 13: That's a little weird, Like yeah, like you leave them

913
01:01:01,840 --> 01:01:04,440
Speaker 13: keys whatever, you take these pills, you're asleep, you wake

914
01:01:04,520 --> 01:01:05,040
Speaker 13: up in the morning.

915
01:01:05,080 --> 01:01:05,840
Speaker 11: He already operated.

916
01:01:05,960 --> 01:01:09,160
Speaker 1: Right Wait, wait, back up, back up, Yeah, are you

917
01:01:09,240 --> 01:01:09,680
Speaker 1: kidding me?

918
01:01:09,960 --> 01:01:11,720
Speaker 11: I don't do that. I'm not I'm not that rich.

919
01:01:12,120 --> 01:01:13,000
Speaker 11: But yes you can.

920
01:01:13,040 --> 01:01:15,320
Speaker 13: Actually this guy, he's the rock and roll Dennis, he

921
01:01:15,320 --> 01:01:17,960
Speaker 13: goes on tour. He could if you have a phoba,

922
01:01:18,280 --> 01:01:19,640
Speaker 13: you know, I've got time, we got to be home,

923
01:01:20,160 --> 01:01:21,680
Speaker 13: He'll hook you up, come to the crib.

924
01:01:21,760 --> 01:01:24,640
Speaker 11: And he's in New York. So he's on a twenty

925
01:01:24,640 --> 01:01:25,280
Speaker 11: four hour call.

926
01:01:25,360 --> 01:01:29,920
Speaker 13: And when I landed, the amount of stress that seven

927
01:01:29,960 --> 01:01:34,520
Speaker 13: weeks was because it's somewhere in between, like on Standby,

928
01:01:34,640 --> 01:01:35,160
Speaker 13: there was a.

929
01:01:35,080 --> 01:01:38,280
Speaker 4: Life coach, because you a life coach.

930
01:01:38,400 --> 01:01:41,560
Speaker 13: So we also experienced this and then the rock and

931
01:01:41,640 --> 01:01:42,960
Speaker 13: roll So in the rock and Roll Hall of Fame,

932
01:01:43,000 --> 01:01:45,680
Speaker 13: it's sort of the same thing where you have to

933
01:01:45,720 --> 01:01:48,440
Speaker 13: reunite people that haven't played with each other for a

934
01:01:48,480 --> 01:01:48,919
Speaker 13: long time.

935
01:01:49,000 --> 01:01:50,640
Speaker 1: Oh and there's a lot of history there.

936
01:01:50,640 --> 01:01:51,840
Speaker 11: Yeah, a lot of bad history.

937
01:01:52,480 --> 01:01:53,280
Speaker 1: Was there a therapist?

938
01:01:53,960 --> 01:01:55,840
Speaker 13: Yeah, that's why I had to have this person there

939
01:01:55,880 --> 01:01:59,240
Speaker 13: like literally there to talk. So there was there's two

940
01:01:59,280 --> 01:02:02,400
Speaker 13: situations where where you know, you go back in two

941
01:02:02,480 --> 01:02:05,840
Speaker 13: thousand and seven, you took three thousand dollars out of

942
01:02:05,840 --> 01:02:09,040
Speaker 13: my bag and did it whatever like that. So there

943
01:02:09,080 --> 01:02:12,200
Speaker 13: was that, but then there was mostly like, well, how

944
01:02:12,240 --> 01:02:15,960
Speaker 13: many bars is da da da getting? And you know

945
01:02:16,160 --> 01:02:18,280
Speaker 13: how much explosions is da da da getting.

946
01:02:18,800 --> 01:02:21,160
Speaker 11: I used to think that wasn't real, dude.

947
01:02:21,200 --> 01:02:24,760
Speaker 13: It was like if you ever seen I don't know

948
01:02:24,800 --> 01:02:27,080
Speaker 13: if you watch thirty Rock, but if you ever watch

949
01:02:27,480 --> 01:02:32,680
Speaker 13: the Source Awards episode of thirty Rock, which alone is

950
01:02:32,680 --> 01:02:34,680
Speaker 13: a setup and a joke and a fund's line at

951
01:02:34,680 --> 01:02:35,160
Speaker 13: the same time.

952
01:02:36,000 --> 01:02:37,320
Speaker 11: It literally.

953
01:02:38,680 --> 01:02:43,160
Speaker 13: It was it almost went Murphy's Law, and then at

954
01:02:43,160 --> 01:02:46,920
Speaker 13: the last minute it was the it was the biggest

955
01:02:47,560 --> 01:02:52,320
Speaker 13: hal Mary with seconds on the clock left, tossed the

956
01:02:52,360 --> 01:02:54,720
Speaker 13: ball up and just praise someone on the other end

957
01:02:54,800 --> 01:02:58,400
Speaker 13: catches it and they caught it. I'll put it this way.

958
01:02:59,080 --> 01:03:03,560
Speaker 13: The last act loozy Bert, I didn't even know he

959
01:03:03,680 --> 01:03:05,680
Speaker 13: was on stage. And that's only because of the way

960
01:03:05,720 --> 01:03:09,919
Speaker 13: that the show was built. I couldn't see what was happening.

961
01:03:09,560 --> 01:03:13,000
Speaker 11: Around the corner. But do you remember how like after

962
01:03:13,040 --> 01:03:14,440
Speaker 11: Princeton Purple Rain, and he.

963
01:03:14,440 --> 01:03:17,600
Speaker 13: Stormed off stage like I've ruined everything.

964
01:03:17,600 --> 01:03:20,080
Speaker 11: I fucked up. That's what I did. Like I was

965
01:03:20,120 --> 01:03:21,320
Speaker 11: having a panic attack.

966
01:03:21,680 --> 01:03:23,880
Speaker 13: I was about to cry wow, And I stormed off

967
01:03:23,880 --> 01:03:26,040
Speaker 13: stage and I was like, oh man, I've ruined it.

968
01:03:26,120 --> 01:03:26,600
Speaker 7: I ruined it.

969
01:03:26,640 --> 01:03:29,960
Speaker 13: And then my band's like congratulating each other. I'm like,

970
01:03:30,000 --> 01:03:30,640
Speaker 13: what are y'all doing?

971
01:03:30,840 --> 01:03:33,160
Speaker 11: She's like, you see what did I said? Wait? He

972
01:03:33,240 --> 01:03:33,520
Speaker 11: was there.

973
01:03:34,160 --> 01:03:37,160
Speaker 13: Yeah, he came up last minute and literally they had

974
01:03:37,160 --> 01:03:39,480
Speaker 13: to show me on Twitter what had happened.

975
01:03:39,640 --> 01:03:41,360
Speaker 4: You didn't even know and they were like, how.

976
01:03:41,200 --> 01:03:43,040
Speaker 11: Did you not know? And you literally on stage?

977
01:03:43,080 --> 01:03:46,400
Speaker 13: But I swear to God like see after after a point,

978
01:03:46,440 --> 01:03:48,520
Speaker 13: I just blanked out because I started going to my

979
01:03:48,560 --> 01:03:49,840
Speaker 13: head like I fucked this up.

980
01:03:50,240 --> 01:03:52,920
Speaker 11: Everyone's going to cancel me. I'm be trending on Twitter.

981
01:03:53,200 --> 01:03:55,840
Speaker 13: He messed up the Hip Hop thirty thing and literally

982
01:03:57,280 --> 01:04:00,480
Speaker 13: my last because there was even acts that dropped out

983
01:04:00,720 --> 01:04:06,520
Speaker 13: ten minutes before because they lost one our headliner. Uh

984
01:04:06,960 --> 01:04:10,240
Speaker 13: thought he might win a particular award, and you know

985
01:04:10,360 --> 01:04:11,439
Speaker 13: when it went to someone else.

986
01:04:11,680 --> 01:04:14,360
Speaker 11: Man, fuck the Grammy. I'm like, yo, you cap And.

987
01:04:15,960 --> 01:04:18,440
Speaker 13: It was every type of stress and that's how my

988
01:04:18,480 --> 01:04:22,560
Speaker 13: tooth fell out. So just in terms of like MDM, man,

989
01:04:22,880 --> 01:04:26,160
Speaker 13: it's hard. You can't be no one's friend. Sam Moore

990
01:04:26,360 --> 01:04:29,000
Speaker 13: got got mad at me one time. Sam Moore, Yeah,

991
01:04:29,080 --> 01:04:31,400
Speaker 13: Sam and Dave Yeah, Oh he's more famous for that.

992
01:04:32,640 --> 01:04:35,000
Speaker 10: So we're at the White House and it was the

993
01:04:35,040 --> 01:04:37,960
Speaker 10: big Ray Charles tribute and I'm kind of wearing what

994
01:04:38,000 --> 01:04:39,200
Speaker 10: I have on exactly right.

995
01:04:39,120 --> 01:04:40,640
Speaker 1: Now, a T shirt. Y.

996
01:04:40,680 --> 01:04:42,840
Speaker 10: Yeah, I had a black T shirt on and a

997
01:04:42,880 --> 01:04:46,520
Speaker 10: black sports jacket. So I got the big band and uh,

998
01:04:48,240 --> 01:04:51,280
Speaker 10: a lot of you know, Demi Levado was there, Usher,

999
01:04:52,760 --> 01:04:56,720
Speaker 10: Jolanta Adams, all these people, so I wasn't paying attention.

1000
01:04:57,120 --> 01:04:58,600
Speaker 10: I had a James Brown T shirt on.

1001
01:04:58,880 --> 01:05:03,600
Speaker 11: Oh no, oh no, but my jacket was, you know,

1002
01:05:03,720 --> 01:05:04,640
Speaker 11: kind of clothes like this.

1003
01:05:04,760 --> 01:05:08,400
Speaker 10: And so Sam Moore comes in and, uh, you know,

1004
01:05:08,440 --> 01:05:10,480
Speaker 10: mister Moore, you know, good morning, it's great to see you.

1005
01:05:10,520 --> 01:05:13,280
Speaker 10: I'm so honored to work with you. He's like, who

1006
01:05:13,360 --> 01:05:16,000
Speaker 10: is that? He looks at my shirt as soon as

1007
01:05:16,000 --> 01:05:22,760
Speaker 10: he saw it. Oh, it was too late to change

1008
01:05:22,800 --> 01:05:25,880
Speaker 10: my clothes. He's like, James Brown, what's their history? Why

1009
01:05:26,000 --> 01:05:29,040
Speaker 10: y'all look at James Brown. I was like, well, mister Moore,

1010
01:05:29,080 --> 01:05:31,800
Speaker 10: I can I can I can go change my shirt?

1011
01:05:32,240 --> 01:05:33,640
Speaker 11: No, no, no, it's too late. Now.

1012
01:05:34,000 --> 01:05:35,920
Speaker 10: Why you got a James Brown shirt on? It's like

1013
01:05:36,920 --> 01:05:42,480
Speaker 10: it's the only clean one I have. Yeah, I've been

1014
01:05:42,520 --> 01:05:44,360
Speaker 10: on the road for the last fight didn't get to

1015
01:05:44,400 --> 01:05:48,280
Speaker 10: do laundry, you know. He's like, and for the next

1016
01:05:48,280 --> 01:05:50,840
Speaker 10: fifteen minutes he wouldn't he wouldn't sing the song. He

1017
01:05:50,920 --> 01:05:53,440
Speaker 10: was just I can't believe you wearing a chance Brown.

1018
01:05:53,760 --> 01:05:56,720
Speaker 11: Over it, could not thinking on one of them card games.

1019
01:05:56,760 --> 01:06:02,680
Speaker 10: So later on I texted Alan the story, what's the

1020
01:06:02,680 --> 01:06:08,320
Speaker 10: deal and so Allan Lee's friend Alan, and.

1021
01:06:08,200 --> 01:06:11,520
Speaker 11: So he's like there was there was no direct story

1022
01:06:11,560 --> 01:06:12,240
Speaker 11: that he knew of.

1023
01:06:12,400 --> 01:06:15,040
Speaker 10: It was just sort of like an overall He's like, man,

1024
01:06:15,120 --> 01:06:17,640
Speaker 10: none of James Brown's Pierce from the sixties liked him.

1025
01:06:18,560 --> 01:06:22,440
Speaker 13: There's either a woman card game right right right? The

1026
01:06:22,480 --> 01:06:25,479
Speaker 13: answery I got to cut you. I felt so bad.

1027
01:06:25,520 --> 01:06:27,720
Speaker 13: I was like, man, I should run my room real quick.

1028
01:06:29,280 --> 01:06:29,760
Speaker 19: Seriously.

1029
01:06:30,000 --> 01:06:31,800
Speaker 10: I was like, let's take a forty five minute break.

1030
01:06:31,800 --> 01:06:33,560
Speaker 10: I'm gonna go back to the hotel and change my shirt.

1031
01:06:33,640 --> 01:06:38,160
Speaker 10: I did not, but the damage, oh my. He finally

1032
01:06:38,200 --> 01:06:39,840
Speaker 10: got over it the day of the gig.

1033
01:06:42,760 --> 01:06:46,920
Speaker 11: I remember once we did you ever play River Deep

1034
01:06:47,000 --> 01:06:49,680
Speaker 11: Mountain High? Sure? And that turnaround is one of the

1035
01:06:49,720 --> 01:07:00,520
Speaker 11: hardest things, you know, right right? So that turnaround is hard, yes,

1036
01:07:00,520 --> 01:07:01,400
Speaker 11: it is, yes.

1037
01:07:01,400 --> 01:07:04,840
Speaker 13: And we used to do this annual gig out in

1038
01:07:04,880 --> 01:07:09,600
Speaker 13: the Hampton's where the former owner of the Apollo Theater

1039
01:07:10,280 --> 01:07:13,320
Speaker 13: does one of those fancy spancy like ten twenty thousand

1040
01:07:13,400 --> 01:07:16,280
Speaker 13: play thing and you know, like an occasional pal McCartney

1041
01:07:16,320 --> 01:07:18,439
Speaker 13: shows up or whatever. You know, it's like a fun

1042
01:07:18,480 --> 01:07:20,080
Speaker 13: time and like the Roots have been in the house

1043
01:07:20,120 --> 01:07:23,200
Speaker 13: band for this thing for like like maybe the last

1044
01:07:23,200 --> 01:07:26,200
Speaker 13: ten years. And but the thing is it is also

1045
01:07:27,520 --> 01:07:30,400
Speaker 13: I think one of the downfalls of being on the

1046
01:07:30,440 --> 01:07:33,840
Speaker 13: Tonight Show is a lot of people just believe in

1047
01:07:33,840 --> 01:07:36,160
Speaker 13: the smoke and mirrors of it all of like, oh,

1048
01:07:36,160 --> 01:07:39,320
Speaker 13: the Roots could do anything. Just no, no, they could

1049
01:07:39,320 --> 01:07:42,800
Speaker 13: do it. And so you know, they'll come in the door,

1050
01:07:42,880 --> 01:07:45,120
Speaker 13: they'll come in the gate, like, Okay, you're gonna play

1051
01:07:45,160 --> 01:07:48,000
Speaker 13: these three songs with McCartney and three songs with Sting

1052
01:07:48,320 --> 01:07:50,520
Speaker 13: and these three songs, so you know, we already got

1053
01:07:50,640 --> 01:07:52,480
Speaker 13: like eighteen songs.

1054
01:07:52,680 --> 01:07:55,560
Speaker 11: But then always the last minutes like Banjovi wants to

1055
01:07:55,560 --> 01:07:56,360
Speaker 11: do that, do you know what?

1056
01:07:56,480 --> 01:07:58,240
Speaker 13: Meanwhile you're playing the song and I got to put

1057
01:07:58,280 --> 01:08:00,880
Speaker 13: on my computer and learn living on a prayer that way, like,

1058
01:08:01,400 --> 01:08:09,160
Speaker 13: and so Darlene Love wanted to do River Deep, Mountain High.

1059
01:08:07,400 --> 01:08:11,440
Speaker 11: And this is all I know I messed up.

1060
01:08:11,640 --> 01:08:14,480
Speaker 13: Okay, so I messed up that turnaround, right, But at

1061
01:08:14,600 --> 01:08:17,360
Speaker 13: least I was smart enough to just sixteen it. I

1062
01:08:17,360 --> 01:08:25,680
Speaker 13: didn't know the count, so I just.

1063
01:08:25,600 --> 01:08:26,000
Speaker 7: Right right.

1064
01:08:26,240 --> 01:08:27,479
Speaker 11: I cheated it that way.

1065
01:08:27,439 --> 01:08:30,479
Speaker 13: Yeah, man, when I tell you, oh boy, like we

1066
01:08:30,520 --> 01:08:37,080
Speaker 13: didn't even meet yet. But because she wasn't accustomed to

1067
01:08:37,120 --> 01:08:38,760
Speaker 13: doing it like the way she normally does.

1068
01:08:38,680 --> 01:08:43,519
Speaker 11: It, all I remember was I took responsibility. I was like,

1069
01:08:43,560 --> 01:08:44,200
Speaker 11: my bad whatever.

1070
01:08:44,360 --> 01:08:48,880
Speaker 13: She turned around and said, I'm going to fucking kill you.

1071
01:08:51,640 --> 01:08:51,880
Speaker 11: Yeah.

1072
01:08:53,400 --> 01:08:58,280
Speaker 13: Yeah, I will say that dealing with your heroes or

1073
01:08:58,320 --> 01:08:59,920
Speaker 13: your peers.

1074
01:09:00,160 --> 01:09:03,960
Speaker 11: In the MD position is the fastest way. You just

1075
01:09:03,960 --> 01:09:05,760
Speaker 11: gotta You just got bull's eye on your chest.

1076
01:09:06,240 --> 01:09:07,800
Speaker 1: You make enemies, they gonna get you.

1077
01:09:07,840 --> 01:09:12,160
Speaker 13: Now, somebody's gonna get you. Okay, without naming a name.

1078
01:09:12,520 --> 01:09:13,479
Speaker 13: Has an idol ever?

1079
01:09:13,800 --> 01:09:14,120
Speaker 11: Wait?

1080
01:09:14,360 --> 01:09:15,360
Speaker 4: Do you know way?

1081
01:09:15,439 --> 01:09:15,559
Speaker 19: No?

1082
01:09:15,560 --> 01:09:18,080
Speaker 1: No, no, no, has an idol ever been mean?

1083
01:09:18,280 --> 01:09:20,280
Speaker 11: Disappointed you?

1084
01:09:20,280 --> 01:09:20,479
Speaker 1: No?

1085
01:09:21,240 --> 01:09:23,160
Speaker 11: Wow? Don't you lived at charm Life?

1086
01:09:23,479 --> 01:09:28,160
Speaker 1: I'm serious one time they kind of annoyed me. But

1087
01:09:28,400 --> 01:09:30,479
Speaker 1: I'm not going to name a name. Oh yeah yeah,

1088
01:09:31,880 --> 01:09:33,960
Speaker 1: Like I was like, oh they're kind of annoying, but

1089
01:09:34,120 --> 01:09:37,320
Speaker 1: like still love them. I'm not even gonna say if

1090
01:09:37,320 --> 01:09:38,120
Speaker 1: it's a man or woman.

1091
01:09:38,720 --> 01:09:40,040
Speaker 11: Well you already know my answer.

1092
01:09:40,240 --> 01:09:44,639
Speaker 1: Yeah, you've had some disappointments. I strangely haven't. I actually

1093
01:09:44,680 --> 01:09:46,720
Speaker 1: am surprised. I've never had a disappointment.

1094
01:09:47,560 --> 01:09:50,400
Speaker 11: But wait, was that instance your last interaction with that person?

1095
01:09:50,600 --> 01:09:54,400
Speaker 1: No, it wasn't. It was just like, okay, I'm not

1096
01:09:54,400 --> 01:09:55,519
Speaker 1: gonna get too close there.

1097
01:09:55,720 --> 01:10:02,800
Speaker 10: Maybe yeah, I feel bad well about James Brown. No,

1098
01:10:02,840 --> 01:10:06,960
Speaker 10: it was fine. It ended on a very high note.

1099
01:10:07,040 --> 01:10:07,880
Speaker 11: So it was good.

1100
01:10:10,000 --> 01:10:13,200
Speaker 1: Go back, who were you just James Brown? That was

1101
01:10:13,280 --> 01:10:14,679
Speaker 1: tricky and it ended on a high note.

1102
01:10:15,400 --> 01:10:17,280
Speaker 11: Yeah, that was that was below tricky.

1103
01:10:17,439 --> 01:10:21,080
Speaker 13: Really, I'm almost saying that Chris has undersold his love

1104
01:10:21,439 --> 01:10:22,360
Speaker 13: for James Brown.

1105
01:10:22,479 --> 01:10:23,240
Speaker 1: I think I did it.

1106
01:10:24,400 --> 01:10:28,080
Speaker 13: No, but it's it's beyond you know, it's beyond me

1107
01:10:28,200 --> 01:10:30,920
Speaker 13: any anytime a person comes to me and like, hey,

1108
01:10:30,960 --> 01:10:31,960
Speaker 13: you know this is James Brown.

1109
01:10:31,960 --> 01:10:33,000
Speaker 5: Probably no, no, no, no, no, no no.

1110
01:10:33,160 --> 01:10:34,840
Speaker 13: It's almost like I got to ask my dad first.

1111
01:10:34,840 --> 01:10:38,360
Speaker 13: I'm like, did you ask Christian McBride first? Like it

1112
01:10:38,400 --> 01:10:40,679
Speaker 13: goes beyond the DNA of James?

1113
01:10:40,760 --> 01:10:42,800
Speaker 11: Is you know heavy? And Chris tho.

1114
01:10:43,240 --> 01:10:47,120
Speaker 10: Well, you know, so that's a perfect segue into how

1115
01:10:47,280 --> 01:10:51,599
Speaker 10: we met in high school, because you know, we both

1116
01:10:51,680 --> 01:10:54,840
Speaker 10: grew up in Philly. We went to Creative and Performing Arts,

1117
01:10:54,840 --> 01:10:57,840
Speaker 10: which is the same high school where the late great.

1118
01:10:58,120 --> 01:11:00,880
Speaker 10: It still feels weird sayings late You just said that,

1119
01:11:02,320 --> 01:11:06,160
Speaker 10: the late Great Joe D. Francesco, k Rosewinkle Boys, the

1120
01:11:06,200 --> 01:11:07,439
Speaker 10: man Amel LaRue.

1121
01:11:08,000 --> 01:11:09,280
Speaker 1: I didn't know Kurt went there too.

1122
01:11:09,360 --> 01:11:09,439
Speaker 9: Ye.

1123
01:11:11,320 --> 01:11:17,720
Speaker 13: Yeah, Kirk was like he like it was like a

1124
01:11:17,800 --> 01:11:22,080
Speaker 13: game and him and Joey were the crips and Kirk

1125
01:11:22,160 --> 01:11:25,760
Speaker 13: was the bloods and I was on whatever side was

1126
01:11:25,800 --> 01:11:30,200
Speaker 13: winning at the time. Well, this is my first time

1127
01:11:30,240 --> 01:11:32,400
Speaker 13: that I've been in that situation where like I'm with

1128
01:11:32,520 --> 01:11:36,880
Speaker 13: Pere's my age playing and so they're like traditional jazz,

1129
01:11:36,920 --> 01:11:38,560
Speaker 13: so in order for me to get their respect, I

1130
01:11:38,640 --> 01:11:41,240
Speaker 13: better speak their language. But then he's like trying to

1131
01:11:41,320 --> 01:11:45,200
Speaker 13: unteach me everything they're teaching me by like this Captain

1132
01:11:45,240 --> 01:11:49,840
Speaker 13: B part and this is for example, amazing and so.

1133
01:11:50,080 --> 01:11:53,120
Speaker 10: But but the the thing where I felt really alone

1134
01:11:53,200 --> 01:11:55,880
Speaker 10: was I was also hardcoreing R and B and funk.

1135
01:11:56,160 --> 01:11:59,400
Speaker 10: So I mean Joey could play it, but that he

1136
01:11:59,439 --> 01:12:04,240
Speaker 10: didn't know that thing exactly, you know, uh, and Kurt didn't,

1137
01:12:04,600 --> 01:12:06,439
Speaker 10: you know, So like I was by myself when it

1138
01:12:06,520 --> 01:12:09,800
Speaker 10: came to you know, Motown and Stacks and James brown

1139
01:12:09,800 --> 01:12:10,840
Speaker 10: Earth want to fire all that.

1140
01:12:11,400 --> 01:12:13,519
Speaker 11: So when then he comes to school and.

1141
01:12:16,760 --> 01:12:20,080
Speaker 10: Winkle's guitar, I thought you were playing this but not

1142
01:12:20,080 --> 01:12:22,240
Speaker 10: not this bass, but you were playing the bass.

1143
01:12:23,600 --> 01:12:25,880
Speaker 11: You was messing around. I came in, I came in.

1144
01:12:25,840 --> 01:12:28,599
Speaker 10: The music room and there's this new this new dude

1145
01:12:28,760 --> 01:12:31,040
Speaker 10: in the music program and he's kind of like.

1146
01:12:38,880 --> 01:12:41,759
Speaker 11: And I just kind of stood there.

1147
01:12:41,600 --> 01:12:46,040
Speaker 10: Like, oh, really, we got a James brown Head in

1148
01:12:46,120 --> 01:12:52,160
Speaker 10: school now, and uh I mean instant bond, instant. And

1149
01:12:52,280 --> 01:12:55,160
Speaker 10: my mother was so happy because she was like, thank God,

1150
01:12:55,240 --> 01:12:58,400
Speaker 10: you got somebody who can talk to Funk. You know,

1151
01:12:58,479 --> 01:13:00,519
Speaker 10: you got somebody you can hang with now talking about

1152
01:13:01,439 --> 01:13:02,559
Speaker 10: instead of his old people.

1153
01:13:02,920 --> 01:13:06,360
Speaker 4: Exactly are you?

1154
01:13:06,520 --> 01:13:08,360
Speaker 1: Were you in a younger grade? Is that why you

1155
01:13:08,400 --> 01:13:08,880
Speaker 1: came along?

1156
01:13:08,960 --> 01:13:09,200
Speaker 7: Later?

1157
01:13:12,520 --> 01:13:14,840
Speaker 13: For the first eight years of my life, I went

1158
01:13:14,880 --> 01:13:18,639
Speaker 13: to the private version of that school, performing art school,

1159
01:13:19,080 --> 01:13:23,040
Speaker 13: and then members a period where I don't know if

1160
01:13:23,040 --> 01:13:27,200
Speaker 13: you know this, this educator named Marva Collins. Okay, I'll

1161
01:13:27,200 --> 01:13:29,560
Speaker 13: tell you what. When you listen to songs in the

1162
01:13:29,640 --> 01:13:31,920
Speaker 13: Key of Life by Stevie Wonder, when you listen to

1163
01:13:32,040 --> 01:13:34,400
Speaker 13: the last two minutes of black Man where the teacher

1164
01:13:34,840 --> 01:13:39,360
Speaker 13: who's like the little kids are yelling back at him.

1165
01:13:39,439 --> 01:13:41,400
Speaker 13: Just listening to the last two minutes of black Man.

1166
01:13:41,600 --> 01:13:44,320
Speaker 13: That's more of a Collins school in Chicago. And she

1167
01:13:44,439 --> 01:13:49,000
Speaker 13: was a woman who Kribeini Green projects the good time.

1168
01:13:49,120 --> 01:13:51,519
Speaker 13: Projects like these were like, you know, the worst kids

1169
01:13:51,520 --> 01:13:54,280
Speaker 13: were the worst GPA on earth, and she just decided

1170
01:13:54,320 --> 01:13:58,720
Speaker 13: one day, I'm gonna turn you all into mental level

1171
01:13:59,000 --> 01:14:03,479
Speaker 13: Ivy League students, and so one by one, everyone who's

1172
01:14:03,520 --> 01:14:08,320
Speaker 13: ever been in her class wound up going to doctors, uh,

1173
01:14:08,560 --> 01:14:12,720
Speaker 13: nurses like that sort of thing. And so that's like

1174
01:14:13,040 --> 01:14:17,439
Speaker 13: every seventies parent was like. So I went to a

1175
01:14:17,479 --> 01:14:22,519
Speaker 13: lot of schools that were like private schools that were

1176
01:14:22,600 --> 01:14:25,920
Speaker 13: guaranteed that your kid was going to be in Harvard

1177
01:14:26,000 --> 01:14:29,400
Speaker 13: or whatever like at the end of their their school tenure.

1178
01:14:29,479 --> 01:14:32,760
Speaker 11: And then the last two years.

1179
01:14:34,000 --> 01:14:38,120
Speaker 13: I happened to see uh on on Channel ten on

1180
01:14:39,040 --> 01:14:43,680
Speaker 13: on CBS, I saw this this fourteen year old kid

1181
01:14:43,960 --> 01:14:48,520
Speaker 13: right dreams Yo don't even yo da that don't tape.

1182
01:14:49,040 --> 01:14:51,479
Speaker 11: No, but it's on YouTube. I hate you right now, man.

1183
01:14:53,920 --> 01:14:57,120
Speaker 13: Yes, Dreams is sort of like it's a made for

1184
01:14:57,240 --> 01:15:00,639
Speaker 13: TV movie about about capital about school.

1185
01:15:00,720 --> 01:15:04,240
Speaker 11: This is before I went there, but I saw Joey.

1186
01:15:05,400 --> 01:15:09,840
Speaker 13: Playing on like this this clip, and I was just

1187
01:15:10,120 --> 01:15:14,800
Speaker 13: mind blown that a thirteen fourteen year old could play

1188
01:15:14,840 --> 01:15:17,360
Speaker 13: like an adult because I only grew up. You know,

1189
01:15:17,439 --> 01:15:21,400
Speaker 13: my dad was an oldies duops singer, so I only

1190
01:15:21,560 --> 01:15:24,720
Speaker 13: hung with old musicians, which is why I played the

1191
01:15:24,720 --> 01:15:27,559
Speaker 13: way I played now, because literally it was like me

1192
01:15:27,640 --> 01:15:30,599
Speaker 13: at five and a bunch of thirty year olds and

1193
01:15:30,640 --> 01:15:34,439
Speaker 13: I never interacted with kids my own age whatever, So

1194
01:15:34,520 --> 01:15:37,439
Speaker 13: that's you know, I just told my mom, like, I

1195
01:15:37,479 --> 01:15:39,240
Speaker 13: want to play with kids my own age. Like I

1196
01:15:39,280 --> 01:15:42,000
Speaker 13: grew up thinking like, oh damn, I'm the only kid

1197
01:15:42,479 --> 01:15:44,599
Speaker 13: that knows how to play like this, and I came

1198
01:15:44,640 --> 01:15:47,280
Speaker 13: in for the rudest awakening.

1199
01:15:47,479 --> 01:15:49,080
Speaker 1: That is kind of interesting, dude.

1200
01:15:49,080 --> 01:15:52,879
Speaker 13: The first day of school, Miles Davis is at school,

1201
01:15:53,000 --> 01:15:57,240
Speaker 13: like giving him first two weeks of school.

1202
01:15:57,439 --> 01:15:58,080
Speaker 11: Yeah, something like.

1203
01:15:58,640 --> 01:16:01,160
Speaker 10: There used to be a morning talk show in Philly,

1204
01:16:01,400 --> 01:16:05,080
Speaker 10: uh hosted by a guy named Bill Boggs. It's called

1205
01:16:05,120 --> 01:16:09,280
Speaker 10: Tie Him Out, and they had uh right, and they

1206
01:16:09,280 --> 01:16:12,960
Speaker 10: had Miles Davis as a guest. And so I found

1207
01:16:13,040 --> 01:16:18,840
Speaker 10: this out later that uh they felt that because I

1208
01:16:18,840 --> 01:16:20,920
Speaker 10: saw an interview with Bill Boggs. It was interesting. He

1209
01:16:20,960 --> 01:16:24,519
Speaker 10: said he remembers that episode. Well, because the producers didn't

1210
01:16:24,560 --> 01:16:29,040
Speaker 10: think Miles Davis's name was big enough to carry an

1211
01:16:29,080 --> 01:16:31,760
Speaker 10: hour of a of a of an interview. Can you

1212
01:16:31,800 --> 01:16:35,960
Speaker 10: imagine the absurdity of that. So it was Remember Maurice

1213
01:16:36,000 --> 01:16:38,800
Speaker 10: Hines was also against that day. So that was the

1214
01:16:38,840 --> 01:16:43,599
Speaker 10: reason they said, well, you know, we need a Miles

1215
01:16:43,640 --> 01:16:46,559
Speaker 10: can't do it by himself, you know. And also to

1216
01:16:46,560 --> 01:16:49,479
Speaker 10: to kind of make it cute. See, they decided they

1217
01:16:49,479 --> 01:16:54,000
Speaker 10: would get some kids to play for Miles and so

1218
01:16:54,160 --> 01:16:58,040
Speaker 10: and then Miles look at right now, well that's that's

1219
01:16:58,040 --> 01:17:02,000
Speaker 10: what everybody said, right and so, uh so they had

1220
01:17:02,080 --> 01:17:06,320
Speaker 10: me Joey Stacy Dozier playing drums. She she played drums

1221
01:17:06,320 --> 01:17:08,320
Speaker 10: in a high school band before I mayor got there.

1222
01:17:09,000 --> 01:17:13,000
Speaker 10: And they invited four uh young trumpet players from the

1223
01:17:13,000 --> 01:17:16,360
Speaker 10: Philly school system to play and Miles would you know,

1224
01:17:17,000 --> 01:17:19,320
Speaker 10: give them advice on live television.

1225
01:17:20,920 --> 01:17:23,080
Speaker 4: Foolish decision on YouTube?

1226
01:17:23,400 --> 01:17:26,960
Speaker 11: Yes, yeah, and I can't watch it, Yeah, it's watching.

1227
01:17:29,240 --> 01:17:34,839
Speaker 10: That sounds it was a really ridiculous idea, and you know, Miles,

1228
01:17:35,360 --> 01:17:39,200
Speaker 10: Miles apparently not. They first of all, they needed the

1229
01:17:39,439 --> 01:17:43,160
Speaker 10: the second seven second delay because Miles dropped a few

1230
01:17:43,240 --> 01:17:43,920
Speaker 10: f bombs on.

1231
01:17:43,920 --> 01:17:45,519
Speaker 4: And this morning television morning.

1232
01:17:45,600 --> 01:17:47,519
Speaker 10: Yeah, you know, like all the parents and you know

1233
01:17:47,560 --> 01:17:53,679
Speaker 10: that moms sitting you know, and uh, Bill Box asked Miles.

1234
01:17:53,920 --> 01:17:56,040
Speaker 11: He said, uh, you.

1235
01:17:56,000 --> 01:17:59,320
Speaker 10: Know, Miles, you know you you went into seclusion for

1236
01:17:59,360 --> 01:18:02,800
Speaker 10: a few years. Know what was it that that to

1237
01:18:02,840 --> 01:18:06,200
Speaker 10: come back? Seriously, Miles, Miles, he waited for a second.

1238
01:18:06,240 --> 01:18:11,280
Speaker 19: He said, one day, Dizzy Glass, we came over and

1239
01:18:11,320 --> 01:18:19,240
Speaker 19: he said, man, what the fuck are you doing?

1240
01:18:21,439 --> 01:18:24,400
Speaker 11: God bless Bill Box. He's just sitting there like mm hmmm.

1241
01:18:27,560 --> 01:18:29,559
Speaker 1: Trying to just act like it's totally regular.

1242
01:18:31,640 --> 01:18:36,120
Speaker 11: Get up off your ass so like. And there was

1243
01:18:36,120 --> 01:18:38,600
Speaker 11: another time Miles was trying to remember somebody's name that.

1244
01:18:39,000 --> 01:18:40,120
Speaker 19: Yeah it was me and.

1245
01:18:42,280 --> 01:18:47,559
Speaker 11: Oh ship I forgot. Damn Miles, this is this is

1246
01:18:47,600 --> 01:18:48,479
Speaker 11: my TV.

1247
01:18:48,800 --> 01:18:49,480
Speaker 9: Dude.

1248
01:18:49,680 --> 01:18:53,320
Speaker 11: This is my second week of school in a in.

1249
01:18:53,280 --> 01:18:59,160
Speaker 13: A public school, discovering that people born the same year

1250
01:18:59,240 --> 01:19:03,200
Speaker 13: as me can play like me and better than me.

1251
01:19:04,240 --> 01:19:08,919
Speaker 13: So the bubble I was in was instantly like Bursted

1252
01:19:09,360 --> 01:19:11,640
Speaker 13: and I had so much catching up to do.

1253
01:19:11,720 --> 01:19:12,439
Speaker 11: Man, just.

1254
01:19:13,880 --> 01:19:17,639
Speaker 10: I kept begging him to join the All City Jazz Man.

1255
01:19:17,720 --> 01:19:19,720
Speaker 10: I got him to come with me A couple of times.

1256
01:19:20,400 --> 01:19:23,040
Speaker 10: I was like, dude, come on, He's like no, no, no, no,

1257
01:19:23,040 --> 01:19:29,120
Speaker 10: no sit down. Play so playing like, come on, bro,

1258
01:19:29,200 --> 01:19:32,600
Speaker 10: you got this, bros. And then little John Roberts was

1259
01:19:32,680 --> 01:19:33,400
Speaker 10: up there too.

1260
01:19:33,439 --> 01:19:36,639
Speaker 13: And he was literally little John Roberts like I looked

1261
01:19:36,680 --> 01:19:39,280
Speaker 13: at him like a little running because he was younger

1262
01:19:39,280 --> 01:19:39,639
Speaker 13: than us.

1263
01:19:39,920 --> 01:19:44,000
Speaker 11: He's like in eighth grade, right, eighth or ninth. He

1264
01:19:44,040 --> 01:19:45,320
Speaker 11: looked like he was in seventh grade.

1265
01:19:45,400 --> 01:19:48,240
Speaker 10: Yeah, yeah, he was two years behind us, I think, yeah,

1266
01:19:48,479 --> 01:19:51,120
Speaker 10: but uh yeah, we we did have some good drummers.

1267
01:19:51,240 --> 01:19:54,000
Speaker 11: I mean, you know who's got more pocket than him?

1268
01:19:54,600 --> 01:19:58,320
Speaker 1: I know, but you guys played together in and on

1269
01:19:58,320 --> 01:20:02,320
Speaker 1: some school. Yeah school, but you were more in the

1270
01:20:02,479 --> 01:20:06,000
Speaker 1: jazz zone and you didn't go deep into the jazz

1271
01:20:06,000 --> 01:20:08,800
Speaker 1: zone to them.

1272
01:20:09,479 --> 01:20:14,120
Speaker 11: So my story is really it was like come on.

1273
01:20:14,600 --> 01:20:18,800
Speaker 11: But the thing is is that I the the part

1274
01:20:18,840 --> 01:20:19,519
Speaker 11: I always leave out.

1275
01:20:19,560 --> 01:20:23,400
Speaker 13: The story was like my dad was like a Joe

1276
01:20:23,560 --> 01:20:31,040
Speaker 13: Jackson backstage mom. Really, oh the worst. So he wanted me.

1277
01:20:31,240 --> 01:20:35,640
Speaker 13: My dad was like a dog. He was like, you

1278
01:20:35,720 --> 01:20:42,000
Speaker 13: got two options, three options, Curtis Juilliard or a job.

1279
01:20:42,800 --> 01:20:47,559
Speaker 11: Curtis Juilliard or job. And I to this day.

1280
01:20:47,439 --> 01:20:51,920
Speaker 13: People don't believe me when I tell them my dad

1281
01:20:51,960 --> 01:20:57,840
Speaker 13: didn't find out about the roots until our second album because.

1282
01:20:58,040 --> 01:20:59,200
Speaker 1: He was too much pressure.

1283
01:20:59,200 --> 01:21:02,880
Speaker 13: The amount of sneak I had to do. Yeah, she knew,

1284
01:21:03,320 --> 01:21:06,400
Speaker 13: but she had the amount of sneaking I had to do.

1285
01:21:07,320 --> 01:21:10,679
Speaker 13: Was like, I can't let these guys know I listened

1286
01:21:10,680 --> 01:21:14,800
Speaker 13: to hip hop that way and can't let kurk Rosenwinkle

1287
01:21:14,960 --> 01:21:18,720
Speaker 13: know that. Yes, you're trying to undo because the thing

1288
01:21:18,840 --> 01:21:22,360
Speaker 13: was is Kirk was like, jazz needs to go forward.

1289
01:21:22,400 --> 01:21:25,080
Speaker 13: And the first time that Kirk even planned the seed

1290
01:21:25,120 --> 01:21:29,479
Speaker 13: to me that this particular god figure in jazz might

1291
01:21:29,520 --> 01:21:33,000
Speaker 13: be a step backwards and not forward.

1292
01:21:33,439 --> 01:21:34,880
Speaker 11: Was he planned that seed to me?

1293
01:21:35,160 --> 01:21:37,599
Speaker 13: So he's like, yo, man, all the betpop stuff from

1294
01:21:37,600 --> 01:21:39,360
Speaker 13: before you that's dead man, that's dead.

1295
01:21:39,400 --> 01:21:40,000
Speaker 11: We got to move.

1296
01:21:40,280 --> 01:21:42,800
Speaker 13: And he's trying to like tell me about like you know,

1297
01:21:43,000 --> 01:21:45,960
Speaker 13: Embase and you know, like all these like crazy jazz

1298
01:21:46,080 --> 01:21:48,679
Speaker 13: ensembles and everything that I'm like a lot of am

1299
01:21:48,720 --> 01:21:52,360
Speaker 13: on guard whatever. So I'm doing my avant guard stuff

1300
01:21:52,400 --> 01:21:55,400
Speaker 13: with Rosawinkle, but when these guys are around, I'm like, okay,

1301
01:21:55,920 --> 01:21:58,479
Speaker 13: all right, so good Larry Jung's Unity record.

1302
01:21:58,560 --> 01:21:59,439
Speaker 11: Study that up and.

1303
01:21:59,360 --> 01:22:02,120
Speaker 1: Down and then that sounds like a lot of conflict.

1304
01:22:02,320 --> 01:22:04,240
Speaker 11: It was. I was on whatever side was winning.

1305
01:22:04,320 --> 01:22:09,000
Speaker 13: But then but then because of public enemy, finally making

1306
01:22:09,120 --> 01:22:13,800
Speaker 13: sense of my dad's boring record collection. You know, I

1307
01:22:13,840 --> 01:22:16,080
Speaker 13: have someone upstairs that I'm like trying to build the

1308
01:22:16,120 --> 01:22:16,680
Speaker 13: future with.

1309
01:22:17,120 --> 01:22:19,280
Speaker 11: And you know it's also in the name of impressing

1310
01:22:19,320 --> 01:22:21,599
Speaker 11: a girl, always.

1311
01:22:22,680 --> 01:22:22,760
Speaker 8: That.

1312
01:22:23,560 --> 01:22:24,400
Speaker 11: But I got the career.

1313
01:22:26,920 --> 01:22:30,680
Speaker 5: Hey, whatever is.

1314
01:22:35,720 --> 01:22:35,920
Speaker 9: Man?

1315
01:22:36,600 --> 01:22:42,840
Speaker 11: So yeah, pretty much I decided. So you went to Juilliard? Yes,

1316
01:22:43,520 --> 01:22:46,519
Speaker 11: And I was like, all right, well right, you did

1317
01:22:46,560 --> 01:22:46,840
Speaker 11: the same.

1318
01:22:46,880 --> 01:22:49,320
Speaker 13: You did the Miles thing, right, studying sounds like I'm

1319
01:22:49,320 --> 01:22:50,840
Speaker 13: gonna do the same. So I did my I did

1320
01:22:50,880 --> 01:22:54,479
Speaker 13: my New School audition, my Curtis audition, and my Juilliard audition.

1321
01:22:54,800 --> 01:22:59,760
Speaker 13: One particular, uh weekend, Tarik went with me and coming

1322
01:22:59,800 --> 01:23:03,720
Speaker 13: back on the train, this is like, this is like

1323
01:23:03,880 --> 01:23:07,640
Speaker 13: either somewhere in between a great poopone commercial or the

1324
01:23:07,720 --> 01:23:10,760
Speaker 13: last scene and Dumber and Dumber, the world's most beautiful

1325
01:23:10,800 --> 01:23:16,160
Speaker 13: girl walks up in slow motion and says, aren't you now?

1326
01:23:16,240 --> 01:23:17,320
Speaker 11: Side note? Side note?

1327
01:23:17,680 --> 01:23:20,760
Speaker 13: Yes, I was the drummer. Boys and Men had let

1328
01:23:20,760 --> 01:23:24,200
Speaker 13: me drum in their Motown Films video. Ah, so she

1329
01:23:24,360 --> 01:23:28,760
Speaker 13: got it mixed. She says, aren't you the drummer? And

1330
01:23:28,920 --> 01:23:33,679
Speaker 13: the Spike Lee Levi's commercial so like busking just started

1331
01:23:33,680 --> 01:23:35,680
Speaker 13: to become a thing in America where you know, there

1332
01:23:35,720 --> 01:23:38,519
Speaker 13: was a kid that was playing bucket drums and Spike

1333
01:23:38,600 --> 01:23:40,639
Speaker 13: Leader put him in a commercial whatever. He had similar

1334
01:23:40,640 --> 01:23:43,960
Speaker 13: hair to mine. He had like twisting braids, and so

1335
01:23:44,000 --> 01:23:46,000
Speaker 13: she came out. It was like great poopone. He's like,

1336
01:23:46,360 --> 01:23:50,000
Speaker 13: aren't you that drummer in the Spike Lee Levi's commercial.

1337
01:23:50,520 --> 01:23:53,240
Speaker 13: And my dumb ass was like, no, that's not me.

1338
01:23:54,200 --> 01:23:59,040
Speaker 13: And she was like, oh, oh okay, and she walks

1339
01:23:59,080 --> 01:24:04,120
Speaker 13: away and treek like you. I was like, because it

1340
01:24:04,160 --> 01:24:06,160
Speaker 13: wasn't me, Joe, you knew she was talking about You

1341
01:24:06,200 --> 01:24:08,439
Speaker 13: knew she was talking about Motel Philly, Like Tarik would

1342
01:24:08,520 --> 01:24:12,120
Speaker 13: use me as his magnet, like wear the shirt. You

1343
01:24:12,160 --> 01:24:13,800
Speaker 13: got the shirt on now, now go back and put

1344
01:24:13,840 --> 01:24:15,200
Speaker 13: your outfit on, Like I don't have to wear that

1345
01:24:15,240 --> 01:24:19,880
Speaker 13: outfit every weekend, right. So he spends the night at

1346
01:24:19,880 --> 01:24:23,920
Speaker 13: the crib and we're watching Soul Train and commercial comes

1347
01:24:23,960 --> 01:24:28,000
Speaker 13: on and it's the Spike Lee Levi's commercial and it

1348
01:24:28,080 --> 01:24:29,639
Speaker 13: was the it was our Eureka moment.

1349
01:24:29,680 --> 01:24:30,559
Speaker 11: We looked the commercial.

1350
01:24:31,040 --> 01:24:32,640
Speaker 13: We thought about that girl that I could have got

1351
01:24:32,680 --> 01:24:35,200
Speaker 13: her number but didn't, and we looked at each other, like.

1352
01:24:37,040 --> 01:24:40,360
Speaker 11: Yo, why don't we do that? Yeah? Yeah, and cut

1353
01:24:40,400 --> 01:24:43,800
Speaker 11: to running in the kitchen sneaking the you know, the

1354
01:24:43,920 --> 01:24:47,720
Speaker 11: chilling bucket out or whatever you know. You mean that

1355
01:24:47,760 --> 01:24:55,080
Speaker 11: red bucket, the red chitling bucket. Every household has one.

1356
01:24:55,280 --> 01:24:58,440
Speaker 10: I remember, never forget the first time I'd smelled chiplings

1357
01:24:59,400 --> 01:25:01,400
Speaker 10: my grandma. It was cooking child. I was coming. I

1358
01:25:01,439 --> 01:25:04,599
Speaker 10: smelled them two blocks away. I was coming down Urban Street,

1359
01:25:04,600 --> 01:25:07,040
Speaker 10: and I was like, I really pray to God, that's

1360
01:25:07,080 --> 01:25:11,160
Speaker 10: not coming from our house. There's a line of people front.

1361
01:25:11,200 --> 01:25:12,960
Speaker 10: I'm like, oh, no.

1362
01:25:13,240 --> 01:25:15,599
Speaker 11: There is no black household. Yeah, it doesn't.

1363
01:25:15,880 --> 01:25:19,080
Speaker 13: Even if you don't eat shitlands, you still have that

1364
01:25:19,240 --> 01:25:21,839
Speaker 13: red bucket that you used for other.

1365
01:25:21,680 --> 01:25:26,839
Speaker 10: Stuff, along with the government corn flakes and the cheese

1366
01:25:26,840 --> 01:25:27,640
Speaker 10: and the milk.

1367
01:25:27,520 --> 01:25:32,160
Speaker 13: Son all that all right, the government milk, Yes, I

1368
01:25:32,200 --> 01:25:35,639
Speaker 13: still stand to it this day. And the corn flakes

1369
01:25:35,640 --> 01:25:38,759
Speaker 13: were killing yes, yes, I can't believe we're talking about.

1370
01:25:38,520 --> 01:25:42,000
Speaker 11: This and that shop. Oh come on, man, dude.

1371
01:25:42,080 --> 01:25:45,160
Speaker 13: I would have to wake up when my parents weren't

1372
01:25:45,200 --> 01:25:50,040
Speaker 13: tour Yeah, I would have to wake up, Uh, staying.

1373
01:25:49,760 --> 01:25:50,679
Speaker 11: At my grandmom's house.

1374
01:25:50,760 --> 01:25:51,680
Speaker 1: What your mom toured to?

1375
01:25:52,120 --> 01:25:52,360
Speaker 11: Yeah?

1376
01:25:52,640 --> 01:25:55,040
Speaker 13: Both my mom and dad were My father was famous

1377
01:25:55,040 --> 01:25:56,040
Speaker 13: in the fifties.

1378
01:25:56,040 --> 01:25:57,559
Speaker 11: He had a group called Inges in the Hearts.

1379
01:25:57,640 --> 01:26:00,200
Speaker 13: They were on like Chess records, and then by the

1380
01:26:00,240 --> 01:26:03,120
Speaker 13: time I was born, there was a a nostalgia wave

1381
01:26:03,160 --> 01:26:06,120
Speaker 13: where they would do these oldies shows at you know

1382
01:26:06,280 --> 01:26:10,400
Speaker 13: the Mason Square Guard and you know Bowser from Shanta Presents,

1383
01:26:10,479 --> 01:26:12,559
Speaker 13: you know, Harvey and the Moon Blows and all that stuff.

1384
01:26:12,800 --> 01:26:15,800
Speaker 13: So anyway, they got off that circuit and then just

1385
01:26:15,840 --> 01:26:20,559
Speaker 13: had a nightclub act. And so when I couldn't tour

1386
01:26:20,640 --> 01:26:24,080
Speaker 13: with them, I stayed my grandmom's house. Now in order

1387
01:26:24,080 --> 01:26:27,479
Speaker 13: for me to watch soul trade at twelve, I would

1388
01:26:27,479 --> 01:26:30,680
Speaker 13: have to do whatever chores were necessary. And on the

1389
01:26:30,720 --> 01:26:35,280
Speaker 13: first of the month, that's when the new cheese supply comes.

1390
01:26:36,080 --> 01:26:42,000
Speaker 13: And since I'm Filma's grandson, you know, it's like it

1391
01:26:42,040 --> 01:26:44,920
Speaker 13: takes a village period where now not only do I

1392
01:26:44,960 --> 01:26:48,280
Speaker 13: have to get cheese and stuff for my grandmom, but

1393
01:26:48,320 --> 01:26:51,360
Speaker 13: I got to do too for miss Gussie, Missus Evans,

1394
01:26:51,640 --> 01:26:52,720
Speaker 13: missus Fields.

1395
01:26:52,360 --> 01:26:55,200
Speaker 11: Across the street, got get the whole neighborhood right.

1396
01:26:55,160 --> 01:26:56,800
Speaker 13: So I got to get up at seven in the

1397
01:26:56,840 --> 01:26:59,240
Speaker 13: morning and stand in the cheese line.

1398
01:26:59,280 --> 01:27:02,639
Speaker 11: Where did you grandmother lived? She was in Southwest Philly,

1399
01:27:02,720 --> 01:27:04,400
Speaker 11: like a forty ninth and King Sex.

1400
01:27:04,479 --> 01:27:07,000
Speaker 13: Oh yeah, okay, so I would have to stand in

1401
01:27:07,040 --> 01:27:10,200
Speaker 13: that line and do about four trips, not to mention

1402
01:27:10,280 --> 01:27:13,320
Speaker 13: the ridicule the neighborhood kids like you and the cheese line.

1403
01:27:13,360 --> 01:27:19,880
Speaker 11: Yeah, they later that day told that this Jesus going

1404
01:27:19,920 --> 01:27:20,920
Speaker 11: to your grandma's house.

1405
01:27:21,439 --> 01:27:25,400
Speaker 10: Motherfucker, Like yeah, hey, you know's how they doing.

1406
01:27:25,560 --> 01:27:27,040
Speaker 11: So I couldn't. Yeah, I couldn't.

1407
01:27:27,320 --> 01:27:27,559
Speaker 9: Uh.

1408
01:27:28,960 --> 01:27:32,439
Speaker 13: I couldn't even watch Soul Train until all that was done.

1409
01:27:32,720 --> 01:27:35,280
Speaker 13: So every first of the month I hated it. But yes,

1410
01:27:35,320 --> 01:27:39,720
Speaker 13: we took that chitp lim bucket on South Street. And

1411
01:27:39,760 --> 01:27:43,200
Speaker 13: the thing is is that if we if we don't

1412
01:27:43,240 --> 01:27:46,840
Speaker 13: make one hundred and twenty dollars in four hours, we're

1413
01:27:46,880 --> 01:27:48,800
Speaker 13: not doing it again. It would just be like, hey,

1414
01:27:48,840 --> 01:27:50,160
Speaker 13: you may that time we went on South Street and

1415
01:27:50,160 --> 01:27:52,559
Speaker 13: pay for money or whatever. But we made like one

1416
01:27:52,640 --> 01:27:56,240
Speaker 13: hundred bucks in the first like hour, and we looked like, yo,

1417
01:27:56,280 --> 01:27:58,920
Speaker 13: we're rich because we was thinking, like yo, we get trizzy.

1418
01:28:02,080 --> 01:28:05,000
Speaker 13: A transpass is you know, like a monthly ticket that

1419
01:28:05,400 --> 01:28:08,360
Speaker 13: yeah New York has that here, right, Like yeah, a

1420
01:28:08,400 --> 01:28:09,360
Speaker 13: train ticket for a month.

1421
01:28:09,439 --> 01:28:11,040
Speaker 11: It's like, yo, you can get it. Trisy and then

1422
01:28:11,680 --> 01:28:14,000
Speaker 11: date night, see the movie.

1423
01:28:13,760 --> 01:28:17,760
Speaker 13: Before five pm movies on three bucks, go to wah wah,

1424
01:28:18,240 --> 01:28:20,920
Speaker 13: get a quarter pound of turkey cheez like. We were

1425
01:28:21,000 --> 01:28:23,479
Speaker 13: like rich, like, yeah, we gotta do it again. But

1426
01:28:23,520 --> 01:28:26,040
Speaker 13: the next week we did it. I still was in

1427
01:28:26,080 --> 01:28:30,880
Speaker 13: Settlement music school and the bass player there, Josh Aprams,

1428
01:28:31,040 --> 01:28:33,240
Speaker 13: was like, yo, y'all going to do it again?

1429
01:28:33,400 --> 01:28:36,920
Speaker 11: I said yeah. He's like, well can I join? Yeah? Sure? Cool.

1430
01:28:37,280 --> 01:28:39,040
Speaker 13: So he picks me up in the station wagon and

1431
01:28:39,080 --> 01:28:41,480
Speaker 13: he has his upright in the back and I'm bringing.

1432
01:28:41,160 --> 01:28:44,439
Speaker 11: The bucket and he's like, wait, we got the station wagon.

1433
01:28:44,880 --> 01:28:46,760
Speaker 11: I was like, huh, I get the drums. He's like

1434
01:28:46,800 --> 01:28:47,400
Speaker 11: at the drums.

1435
01:28:47,400 --> 01:28:50,639
Speaker 13: I was like, oh man, my dad, man, he's so

1436
01:28:50,680 --> 01:28:53,240
Speaker 13: it was the most covert operation.

1437
01:28:52,840 --> 01:28:54,519
Speaker 1: Where like you had to sneak them out.

1438
01:28:55,200 --> 01:28:55,680
Speaker 11: And this is.

1439
01:28:55,640 --> 01:28:57,720
Speaker 13: Why like when people ask like why don't want to

1440
01:28:57,720 --> 01:28:59,960
Speaker 13: play on a regular drum set, Like literally I was like, look,

1441
01:29:00,000 --> 01:29:03,360
Speaker 13: we're just gonna get the kick drum drum and one

1442
01:29:03,520 --> 01:29:06,800
Speaker 13: ride right sneak it out and literally I'm you know,

1443
01:29:06,840 --> 01:29:09,799
Speaker 13: he's listening to sports talk upstairs, and you know, anytime

1444
01:29:09,800 --> 01:29:12,479
Speaker 13: the water runs, like we're running outside whatever parked down

1445
01:29:12,479 --> 01:29:16,479
Speaker 13: the plot and that entire summer of ninety two, like

1446
01:29:16,560 --> 01:29:20,120
Speaker 13: I snuck and we got our independent record out, and

1447
01:29:20,240 --> 01:29:23,320
Speaker 13: a year later when we finally signed to Geffen, Uh,

1448
01:29:23,920 --> 01:29:25,320
Speaker 13: I was going to break the news to him, but

1449
01:29:25,400 --> 01:29:28,960
Speaker 13: already he put a Philadelphia inquiry, which is like our New.

1450
01:29:28,880 --> 01:29:32,720
Speaker 11: York Times we were on the cover. He's like, what's this.

1451
01:29:33,320 --> 01:29:35,479
Speaker 13: I was like, oh, yeah, yeah, you know, I mean too,

1452
01:29:35,479 --> 01:29:36,920
Speaker 13: we got a project, so you know.

1453
01:29:39,200 --> 01:29:39,880
Speaker 11: So well.

1454
01:29:39,920 --> 01:29:43,639
Speaker 10: I remember like when we were still at Kappa, uh

1455
01:29:43,720 --> 01:29:47,599
Speaker 10: Tyreek came downstairs. He was he was an art major, right,

1456
01:29:47,600 --> 01:29:49,640
Speaker 10: so I didn't even know he had any sort of

1457
01:29:49,840 --> 01:29:52,519
Speaker 10: you know that he could he could freestyle like that.

1458
01:29:52,640 --> 01:30:00,200
Speaker 11: He's like, yo, play uh to the bone, right, So.

1459
01:30:00,280 --> 01:30:02,360
Speaker 13: We would call the rap reference like, oh, play the

1460
01:30:02,360 --> 01:30:04,360
Speaker 13: Gidea by three times dupe, and then I've had to

1461
01:30:05,080 --> 01:30:07,679
Speaker 13: play to him play James Brown stelling to the boat.

1462
01:30:07,720 --> 01:30:10,880
Speaker 11: So I was the middle man between all the hip hoppers,

1463
01:30:11,040 --> 01:30:12,240
Speaker 11: right and him.

1464
01:30:12,640 --> 01:30:15,040
Speaker 13: But knowing that allowed me to sit with the cool

1465
01:30:15,120 --> 01:30:16,599
Speaker 13: kids in the lunch room.

1466
01:30:17,320 --> 01:30:19,880
Speaker 1: I feel like that says a lot about your personality

1467
01:30:19,920 --> 01:30:23,040
Speaker 1: and your strengths, just this whole like dynamic of you

1468
01:30:23,160 --> 01:30:24,799
Speaker 1: bridging all these different things.

1469
01:30:25,120 --> 01:30:29,320
Speaker 11: Yeah, I mean he he plays well in the playground.

1470
01:30:28,760 --> 01:30:29,800
Speaker 4: With everybody, you do.

1471
01:30:30,120 --> 01:30:33,439
Speaker 11: You know, yeah, I played just to get bye, thank you.

1472
01:30:33,560 --> 01:30:34,040
Speaker 4: But it's no.

1473
01:30:34,040 --> 01:30:36,519
Speaker 1: Longer stressful, is it?

1474
01:30:36,560 --> 01:30:39,120
Speaker 11: Is it stressful? Probably?

1475
01:30:39,240 --> 01:30:41,200
Speaker 1: I mean, I mean, I guess being the MD for

1476
01:30:41,240 --> 01:30:42,600
Speaker 1: everything is always stressful.

1477
01:30:43,080 --> 01:30:49,880
Speaker 13: It's you know, for me, I'm I'm learning now, Uh okay,

1478
01:30:49,920 --> 01:30:55,040
Speaker 13: this is not even, this is not even. I just

1479
01:30:55,040 --> 01:30:56,760
Speaker 13: gotta come out and say it and not try to

1480
01:30:57,880 --> 01:31:02,360
Speaker 13: diminish the humble braggingness of it all. But occasionally I

1481
01:31:02,439 --> 01:31:09,000
Speaker 13: might call a famous former world leader and ask for

1482
01:31:09,080 --> 01:31:12,400
Speaker 13: advice on how to be diplomatic and talk to people,

1483
01:31:12,400 --> 01:31:15,720
Speaker 13: because that's one that's one thing I'm I'm I was

1484
01:31:15,840 --> 01:31:20,320
Speaker 13: a reluctant leader. But clearly I'll be stuck in that

1485
01:31:20,400 --> 01:31:22,880
Speaker 13: place if I don't get over the fact that I

1486
01:31:23,000 --> 01:31:25,439
Speaker 13: have to, Like, you can't be everyone's friend.

1487
01:31:25,880 --> 01:31:28,120
Speaker 1: You have to get over it and.

1488
01:31:27,560 --> 01:31:31,840
Speaker 13: Manage people's expectations and all these things. So yeah, yeah,

1489
01:31:31,920 --> 01:31:33,559
Speaker 13: and that that comes with being a band leader.

1490
01:31:33,920 --> 01:31:36,000
Speaker 1: I wonder which world leader you're talking about.

1491
01:31:36,200 --> 01:31:37,040
Speaker 11: I don't know.

1492
01:31:40,960 --> 01:31:44,000
Speaker 1: You guys want to play tune and then we'll can

1493
01:31:44,040 --> 01:31:47,640
Speaker 1: we do this Chris Christopherson time, so I can say

1494
01:31:47,680 --> 01:31:49,600
Speaker 1: it's kind of weird. I was just with him a

1495
01:31:49,600 --> 01:31:52,080
Speaker 1: couple of weeks ago, and I was just revisiting this

1496
01:31:52,160 --> 01:31:55,360
Speaker 1: album that I love called Borderlord, and I just feel

1497
01:31:55,360 --> 01:31:58,400
Speaker 1: like with your groove on it, it would be pretty awesome.

1498
01:31:58,800 --> 01:32:02,360
Speaker 11: Follow you might give me my note again. Take it easy.

1499
01:32:07,000 --> 01:32:09,720
Speaker 1: Hm hmm, wait, I'm in the wrong key.

1500
01:32:10,520 --> 01:32:23,640
Speaker 9: Sorry.

1501
01:32:34,240 --> 01:32:36,280
Speaker 5: Darkness had us covered.

1502
01:32:36,520 --> 01:32:37,840
Speaker 7: When we spend.

1503
01:32:37,640 --> 01:32:41,120
Speaker 6: From Mansoda in morning.

1504
01:32:46,479 --> 01:32:46,799
Speaker 5: Back.

1505
01:32:47,000 --> 01:32:50,840
Speaker 6: His eyes was feeding and the street was sick and

1506
01:32:51,080 --> 01:33:01,080
Speaker 6: shiny as snake. Each of us was a hring to

1507
01:33:01,880 --> 01:33:04,559
Speaker 6: half forgotten echo hanging.

1508
01:33:04,720 --> 01:33:08,320
Speaker 5: No, he's the brain.

1509
01:33:11,000 --> 01:33:15,120
Speaker 6: Time in time and thinking of the time we never

1510
01:33:15,720 --> 01:33:26,519
Speaker 6: had the time to say, loosing a rising. Cops live

1511
01:33:26,640 --> 01:33:36,120
Speaker 6: in high and loving heart. They evy yesterday behind turning

1512
01:33:36,479 --> 01:33:42,600
Speaker 6: every bridging costs. It's putting down before your off, burning.

1513
01:33:42,680 --> 01:33:44,760
Speaker 5: Like the devil, just in.

1514
01:33:44,960 --> 01:33:56,080
Speaker 6: Time, breaking many times before they by taking any coming

1515
01:33:56,439 --> 01:34:09,240
Speaker 6: you can't find, putting like you're ready, tagging.

1516
01:34:06,280 --> 01:34:09,680
Speaker 5: It off tail. It's on.

1517
01:34:12,360 --> 01:34:19,160
Speaker 12: Understanding when you're heading for the board, load you.

1518
01:34:19,479 --> 01:34:38,320
Speaker 5: Bound cross you looking women and time you stop.

1519
01:34:39,479 --> 01:34:48,000
Speaker 6: Waiting there catch you when you fall getting back enough,

1520
01:34:48,720 --> 01:34:52,559
Speaker 6: let him keep you back up. You'll just be fun

1521
01:34:53,080 --> 01:35:00,880
Speaker 6: ll back the gifts loam looking let it ta before.

1522
01:35:00,680 --> 01:35:07,920
Speaker 5: They Brandy taking any come you can't find.

1523
01:35:10,240 --> 01:35:18,960
Speaker 17: Bunny reculate, I'll tell you no, take it easy.

1524
01:35:19,200 --> 01:35:20,040
Speaker 5: Well, it's all.

1525
01:35:22,240 --> 01:35:29,000
Speaker 12: Understand when you didn't fold the boat or load you

1526
01:35:29,400 --> 01:35:31,360
Speaker 12: down across last.

1527
01:36:07,720 --> 01:36:15,880
Speaker 6: Wagging at a time for in mind taking covered, you

1528
01:36:16,120 --> 01:36:22,760
Speaker 6: can find they like you ready out of town.

1529
01:36:24,800 --> 01:36:25,840
Speaker 5: I'm tag.

1530
01:36:28,800 --> 01:36:29,559
Speaker 7: Till the too.

1531
01:36:31,920 --> 01:36:40,400
Speaker 6: Understanding when you're heading for the board load you're bound across.

1532
01:36:54,400 --> 01:36:55,240
Speaker 8: Mm hmmm.

1533
01:36:59,680 --> 01:37:00,000
Speaker 9: Mm hmm.

1534
01:37:13,360 --> 01:37:13,760
Speaker 1: Thank you.

1535
01:37:16,760 --> 01:37:21,799
Speaker 10: Norman Lear Production, right exactly. That was fun, like roberta

1536
01:37:21,880 --> 01:37:25,360
Speaker 10: flat Ron Carter and uh Ray Lucas.

1537
01:37:28,560 --> 01:37:29,840
Speaker 1: Thanks for doing that. I love that.

1538
01:37:30,120 --> 01:37:32,280
Speaker 11: Thank you. Oh that was cool.

1539
01:37:32,720 --> 01:37:35,360
Speaker 1: We're not done yet. We still got two more songs.

1540
01:37:36,240 --> 01:37:40,120
Speaker 1: Oh that was great. Thanks. I love that song because

1541
01:37:40,160 --> 01:37:42,400
Speaker 1: his words are just always so good. And then I

1542
01:37:42,520 --> 01:37:45,720
Speaker 1: like how it kind of changes keys. What key is

1543
01:37:45,800 --> 01:37:46,680
Speaker 1: this in in the end?

1544
01:37:47,960 --> 01:37:52,439
Speaker 11: Down D? Yeah, that's the James Brown Keys. Did you

1545
01:37:52,520 --> 01:37:52,720
Speaker 11: know that?

1546
01:37:52,840 --> 01:37:52,960
Speaker 9: Oh?

1547
01:37:53,040 --> 01:37:53,519
Speaker 1: No, I didn't.

1548
01:37:53,960 --> 01:37:55,880
Speaker 11: Everything's in D just about.

1549
01:37:55,840 --> 01:37:59,240
Speaker 4: I didn't know. It makes sense that, Stevie.

1550
01:38:00,800 --> 01:38:06,360
Speaker 1: But right right, do you guys have any any good

1551
01:38:06,680 --> 01:38:10,679
Speaker 1: stories about each other from high school that are worth telling?

1552
01:38:11,040 --> 01:38:15,400
Speaker 10: My favorite one is uh so, I'm gonna reveal it now.

1553
01:38:15,800 --> 01:38:17,320
Speaker 10: You already know because I told you in the text.

1554
01:38:18,080 --> 01:38:21,680
Speaker 10: So we used to produce this big show every year

1555
01:38:22,320 --> 01:38:25,760
Speaker 10: called it called Sentimental Journey, and it was like the

1556
01:38:25,840 --> 01:38:28,880
Speaker 10: whole school, you know, like the dancers, the singers, the actors.

1557
01:38:28,920 --> 01:38:31,919
Speaker 10: We all get together and put together this big Broadway

1558
01:38:32,040 --> 01:38:36,040
Speaker 10: type show. And we were, of course the house band,

1559
01:38:36,720 --> 01:38:39,200
Speaker 10: and uh, I mean what a house band? Me, you,

1560
01:38:39,439 --> 01:38:42,720
Speaker 10: Kurt and Joey and a couple of horn players and uh.

1561
01:38:43,200 --> 01:38:47,519
Speaker 10: So we had this big overture and at the end

1562
01:38:47,640 --> 01:38:50,120
Speaker 10: of the overture we had to play New York, New York,

1563
01:38:50,360 --> 01:38:52,600
Speaker 10: and so we had to play a real corny so

1564
01:38:52,760 --> 01:38:57,920
Speaker 10: we had to like that. So yeah, right exactly. So

1565
01:38:58,000 --> 01:39:01,920
Speaker 10: we get to the to the concert, me and him conspiring,

1566
01:39:02,040 --> 01:39:03,479
Speaker 10: We're like, you know, it's in D.

1567
01:39:04,840 --> 01:39:11,280
Speaker 13: Wait now, Chris, you've set up that anytime we've got

1568
01:39:11,360 --> 01:39:15,160
Speaker 13: sent to the principal's office, when any when anything ever

1569
01:39:15,600 --> 01:39:18,400
Speaker 13: was like, at least in D for a good eight

1570
01:39:19,280 --> 01:39:21,880
Speaker 13: to sixteen bars, it could be girsh wainning, it could

1571
01:39:21,880 --> 01:39:24,760
Speaker 13: be whatever. We will find a way to code talk

1572
01:39:24,840 --> 01:39:28,880
Speaker 13: to each other in a way, and eventually he caught

1573
01:39:28,920 --> 01:39:31,600
Speaker 13: on to any reference it could be like.

1574
01:39:38,600 --> 01:39:40,559
Speaker 11: And then you know, and then already.

1575
01:39:40,640 --> 01:39:43,120
Speaker 13: You know, the kids are all like, you know, starting

1576
01:39:43,120 --> 01:39:45,280
Speaker 13: to dance and all that stuff and get out of here.

1577
01:39:45,640 --> 01:39:49,519
Speaker 11: So it was it was our last chance to go rogue.

1578
01:39:49,640 --> 01:39:51,439
Speaker 10: And it was like, were you with us when we

1579
01:39:51,560 --> 01:39:54,800
Speaker 10: went to see the fill off your orchestra rehearse because

1580
01:39:55,040 --> 01:39:57,360
Speaker 10: they will have those open rehearsals, and so they were

1581
01:39:57,360 --> 01:40:00,360
Speaker 10: playing to Ride a Spring. Yes there's one you know,

1582
01:40:01,479 --> 01:40:03,759
Speaker 10: So there's one part in that piece for the timpany

1583
01:40:03,840 --> 01:40:08,200
Speaker 10: plays boom bean boom bean boom bean boom, just for

1584
01:40:08,280 --> 01:40:11,000
Speaker 10: those two bars. Remember Stacey knows you did.

1585
01:40:11,280 --> 01:40:13,160
Speaker 11: The boom boom boom.

1586
01:40:13,600 --> 01:40:14,679
Speaker 7: She go oh.

1587
01:40:20,160 --> 01:40:26,200
Speaker 11: In the middle of the Academy of Music. So we

1588
01:40:26,560 --> 01:40:28,320
Speaker 11: we get no place.

1589
01:40:28,920 --> 01:40:32,519
Speaker 13: Yeah, we we get there that night and we we

1590
01:40:32,920 --> 01:40:36,679
Speaker 13: had a look like hey, we're seniors, yes, and there's

1591
01:40:36,720 --> 01:40:38,240
Speaker 13: only three weeks of school left.

1592
01:40:38,560 --> 01:40:39,880
Speaker 11: What are you gonna do to us? And what's he

1593
01:40:39,920 --> 01:40:42,000
Speaker 11: going to send us to the principal's office here in

1594
01:40:42,080 --> 01:40:42,559
Speaker 11: front of our.

1595
01:40:42,520 --> 01:40:45,599
Speaker 13: Parents at the show? Go go to the build up

1596
01:40:45,640 --> 01:40:48,120
Speaker 13: for New York, New York. So we went and the

1597
01:40:48,200 --> 01:40:52,320
Speaker 13: rehearsal was right, So that's rehearsal.

1598
01:40:53,360 --> 01:40:53,559
Speaker 3: Man.

1599
01:40:54,920 --> 01:40:57,519
Speaker 10: We get to the concert and so so me and

1600
01:40:57,640 --> 01:40:59,400
Speaker 10: him we come he said, hey, man, you know we

1601
01:40:59,560 --> 01:41:02,240
Speaker 10: should do that, and so then we pulled Joey and

1602
01:41:02,400 --> 01:41:05,680
Speaker 10: kurt In on it too. So uh so here's how

1603
01:41:05,760 --> 01:41:09,400
Speaker 10: the concert went. You know, all the parents to what

1604
01:41:09,960 --> 01:41:24,920
Speaker 10: God spread and yo, the Kurt is going, it's only

1605
01:41:24,960 --> 01:41:27,479
Speaker 10: for Joey's playing the organ patch.

1606
01:41:27,360 --> 01:41:33,240
Speaker 11: On his keyboard. He screamed the look or mister rozers.

1607
01:41:33,600 --> 01:41:37,479
Speaker 11: He was so angry. Really, he was as red as

1608
01:41:37,520 --> 01:41:38,600
Speaker 11: that exit.

1609
01:41:39,800 --> 01:41:40,000
Speaker 5: Could.

1610
01:41:40,120 --> 01:41:41,840
Speaker 1: He should have been proud at your music.

1611
01:41:42,160 --> 01:41:44,960
Speaker 11: Proud now, yeah, everyone's proud of it.

1612
01:41:45,520 --> 01:41:48,320
Speaker 10: He's glad we did it now, right, So I have

1613
01:41:48,600 --> 01:41:51,760
Speaker 10: I found So I had this on VHS for for

1614
01:41:52,000 --> 01:41:54,479
Speaker 10: like the last thirty five years or whatever it is.

1615
01:41:54,880 --> 01:41:57,800
Speaker 10: My dad shot it, right, Yes he did, Yes, he did. God,

1616
01:41:58,080 --> 01:42:00,720
Speaker 10: And so I finally got digitized.

1617
01:42:01,120 --> 01:42:05,080
Speaker 13: So sooner or later, ah God, Yeah, I was about

1618
01:42:05,120 --> 01:42:08,000
Speaker 13: to say there there is there, there is.

1619
01:42:08,160 --> 01:42:10,200
Speaker 10: A Remember I went rogue on y'all when I did

1620
01:42:10,240 --> 01:42:12,240
Speaker 10: my James Brown routine because I was always supposed to

1621
01:42:12,240 --> 01:42:12,960
Speaker 10: sing two songs.

1622
01:42:13,560 --> 01:42:17,680
Speaker 4: We we always going rogue, Yeah, we had.

1623
01:42:18,560 --> 01:42:21,280
Speaker 11: And we added some sort of ad live and you said,

1624
01:42:22,000 --> 01:42:25,519
Speaker 11: la diva was she? She was like, what is he doing?

1625
01:42:27,479 --> 01:42:28,320
Speaker 11: Get him off the state?

1626
01:42:28,600 --> 01:42:28,640
Speaker 1: No?

1627
01:42:29,040 --> 01:42:31,479
Speaker 11: No, no, the audience is screaming exactly.

1628
01:42:31,640 --> 01:42:34,599
Speaker 13: He came out and fulled James Brown regalia, the wig

1629
01:42:34,920 --> 01:42:35,960
Speaker 13: and the whole nine.

1630
01:42:36,360 --> 01:42:39,479
Speaker 10: Yes, that's when I could. I can still That's when

1631
01:42:39,479 --> 01:42:41,479
Speaker 10: I could get up from a split. I can still

1632
01:42:41,560 --> 01:42:42,040
Speaker 10: do a split.

1633
01:42:46,320 --> 01:42:47,080
Speaker 1: I want to see that.

1634
01:42:48,080 --> 01:42:50,800
Speaker 11: Yeah, I'm sure you do see that. That's our version

1635
01:42:50,840 --> 01:42:55,280
Speaker 11: of Carlo Carlow. You know I still have that m

1636
01:42:55,360 --> 01:42:55,680
Speaker 11: P three.

1637
01:42:56,120 --> 01:42:56,960
Speaker 5: I can't believe you.

1638
01:42:57,000 --> 01:43:01,840
Speaker 13: Know that, Yo, the amount of people we were on tour,

1639
01:43:02,720 --> 01:43:07,360
Speaker 13: this is like, this is really when like pre social media,

1640
01:43:08,600 --> 01:43:13,280
Speaker 13: when like AOL chat was you know, welcome you got.

1641
01:43:13,400 --> 01:43:16,599
Speaker 13: You know, is there any more satisfying feeling than when

1642
01:43:16,680 --> 01:43:20,480
Speaker 13: you plugged your hotel telephone man side the mode.

1643
01:43:20,640 --> 01:43:27,200
Speaker 11: And it goes through. Welcome you got was a great

1644
01:43:27,240 --> 01:43:28,280
Speaker 11: feeling that was like different.

1645
01:43:29,240 --> 01:43:31,240
Speaker 10: Remember when they had, for a short period you could

1646
01:43:31,240 --> 01:43:33,760
Speaker 10: download a celebrity to say that for you.

1647
01:43:34,960 --> 01:43:35,879
Speaker 11: Yes, I had, David.

1648
01:43:39,120 --> 01:43:41,360
Speaker 5: You used to I am me on right right.

1649
01:43:41,840 --> 01:43:45,519
Speaker 13: We were all pals and you sent me one of

1650
01:43:45,600 --> 01:43:48,360
Speaker 13: my very first MB three's I had of Carlos.

1651
01:43:48,479 --> 01:43:50,080
Speaker 4: I did, yes, and.

1652
01:43:51,720 --> 01:43:52,919
Speaker 1: You were you surprised?

1653
01:43:53,160 --> 01:43:55,400
Speaker 11: Yeah, I played everyone like you know what she sent me?

1654
01:43:55,760 --> 01:43:59,280
Speaker 13: You know, it's weird that's such a weird time period

1655
01:43:59,280 --> 01:44:03,080
Speaker 13: because now there's at least five other singers that did.

1656
01:44:04,680 --> 01:44:06,719
Speaker 11: Their version of going against type.

1657
01:44:07,800 --> 01:44:12,639
Speaker 13: Mariah is another person where she made the best album

1658
01:44:12,720 --> 01:44:15,600
Speaker 13: of her career, but just as a joke, because she

1659
01:44:15,760 --> 01:44:20,080
Speaker 13: was like obsessed with America's obsession with Whole and Courtney Love.

1660
01:44:20,880 --> 01:44:23,320
Speaker 13: So during lunch breaks or dinner breaks, she would just

1661
01:44:23,400 --> 01:44:25,720
Speaker 13: tell her band, like, you know, just play some like

1662
01:44:26,720 --> 01:44:31,479
Speaker 13: ragged you know, grun song whatever, this 's us. But

1663
01:44:32,360 --> 01:44:35,360
Speaker 13: I was listening to it, and I'm like, like, I

1664
01:44:35,400 --> 01:44:37,599
Speaker 13: don't want to insult her, but I'm like, not for nothing,

1665
01:44:37,680 --> 01:44:40,760
Speaker 13: but you know, this is your best record.

1666
01:44:40,520 --> 01:44:41,160
Speaker 4: Right Wait?

1667
01:44:41,320 --> 01:44:42,280
Speaker 1: Is this something that's out?

1668
01:44:43,200 --> 01:44:48,240
Speaker 13: So she wants she's figuring out what to do with it.

1669
01:44:48,360 --> 01:44:50,200
Speaker 13: She did this like right when she was doing the

1670
01:44:50,240 --> 01:44:54,800
Speaker 13: Butterfly record. Now, if you look throughout history, a lot

1671
01:44:54,920 --> 01:44:59,800
Speaker 13: of the great musical decisions in music were always after thoughts,

1672
01:45:00,080 --> 01:45:02,880
Speaker 13: never planned out. Like the Eisley Brothers tells the story

1673
01:45:02,920 --> 01:45:04,799
Speaker 13: of that they had ten minutes left in the session

1674
01:45:05,120 --> 01:45:06,640
Speaker 13: and they were like, let's do that church all on

1675
01:45:06,680 --> 01:45:10,360
Speaker 13: real quick, and it was shout, you know, tequila, till

1676
01:45:10,560 --> 01:45:13,000
Speaker 13: three minutes to do Like literally, there's a history of

1677
01:45:13,120 --> 01:45:15,080
Speaker 13: like just last minute songs.

1678
01:45:15,160 --> 01:45:18,800
Speaker 11: So she she just made like fifteen songs of just

1679
01:45:19,000 --> 01:45:23,400
Speaker 11: like you know, I hate my life and YO and

1680
01:45:23,479 --> 01:45:23,680
Speaker 11: all this.

1681
01:45:24,320 --> 01:45:30,240
Speaker 13: But it's like it's the I still maintain it's Mariah

1682
01:45:30,280 --> 01:45:34,519
Speaker 13: Carey's best moment singing ever because she's not being Mariah

1683
01:45:34,560 --> 01:45:36,479
Speaker 13: carry she's being free in herself.

1684
01:45:36,640 --> 01:45:39,840
Speaker 1: And so there's a freedom in doing something that's not

1685
01:45:40,040 --> 01:45:40,360
Speaker 1: your thing.

1686
01:45:40,560 --> 01:45:43,800
Speaker 11: We just think it's so how many other just like

1687
01:45:44,439 --> 01:45:46,040
Speaker 11: let's fuck around and you got that.

1688
01:45:46,960 --> 01:45:48,960
Speaker 1: I do a lot of bands that aren't under the name,

1689
01:45:49,080 --> 01:45:52,439
Speaker 1: but that one's the furthest from my thing probably ell Mass.

1690
01:45:52,520 --> 01:45:55,600
Speaker 11: So the world's never just you've never released Carlo for

1691
01:45:55,640 --> 01:45:55,920
Speaker 11: the world.

1692
01:45:55,960 --> 01:45:57,560
Speaker 1: Oh no, it's been released. We released it.

1693
01:45:57,720 --> 01:45:58,519
Speaker 11: Did you clean it up?

1694
01:45:58,800 --> 01:46:02,479
Speaker 1: No, we released it. We released it then. What yeah,

1695
01:46:02,560 --> 01:46:05,360
Speaker 1: back then we're back in the like two thousand and

1696
01:46:05,439 --> 01:46:09,000
Speaker 1: four or five or six or something. But we released

1697
01:46:09,040 --> 01:46:11,760
Speaker 1: it without any of our names on it because it

1698
01:46:11,880 --> 01:46:14,080
Speaker 1: was a tricky thing. At that time. My second album

1699
01:46:14,240 --> 01:46:16,680
Speaker 1: was still pretty big, and I didn't want it to

1700
01:46:16,760 --> 01:46:19,000
Speaker 1: be like remember when Garth Brooks put out Life of

1701
01:46:19,120 --> 01:46:21,560
Speaker 1: Chris Gaines. Yes, yeah, I didn't want it to be

1702
01:46:21,640 --> 01:46:24,200
Speaker 1: a joke because it wasn't a joke. It was really fun.

1703
01:46:25,479 --> 01:46:27,400
Speaker 1: But it was funny, but.

1704
01:46:27,640 --> 01:46:29,400
Speaker 11: I didn't want to ever do it in concert.

1705
01:46:29,960 --> 01:46:31,840
Speaker 1: We did a bunch of gigs at the Delancey down

1706
01:46:31,880 --> 01:46:32,719
Speaker 1: on the Lower East.

1707
01:46:32,520 --> 01:46:36,599
Speaker 11: Side at the time, but you but where were people's

1708
01:46:36,640 --> 01:46:37,320
Speaker 11: reactions to this.

1709
01:46:37,640 --> 01:46:42,160
Speaker 1: We wore wigs and crazy makeup, so which was also

1710
01:46:42,240 --> 01:46:43,840
Speaker 1: part of the fun for me. I got to be

1711
01:46:43,920 --> 01:46:46,439
Speaker 1: a character, you know, and part of it was hiding

1712
01:46:46,520 --> 01:46:48,400
Speaker 1: myself from the audience, but part of it was just

1713
01:46:48,560 --> 01:46:51,120
Speaker 1: the fun of doing that. Like I can't imagine putting

1714
01:46:51,160 --> 01:46:53,720
Speaker 1: on a wig and crazy blade runner makeup to do

1715
01:46:53,760 --> 01:46:55,719
Speaker 1: a Nora Jones show because I feel like people would

1716
01:46:55,760 --> 01:46:58,719
Speaker 1: think I'm trying too hard to be somebody else.

1717
01:46:59,479 --> 01:47:01,200
Speaker 4: But never, but that's in my bones.

1718
01:47:01,400 --> 01:47:03,920
Speaker 11: I love dressing up, but never for an encore. Once

1719
01:47:04,000 --> 01:47:06,920
Speaker 11: you're like dude and just go into it and the

1720
01:47:07,000 --> 01:47:08,800
Speaker 11: audience is like, wait, what the hell is going on here?

1721
01:47:08,880 --> 01:47:12,360
Speaker 1: Oh yeah, Carlo, No, I feel like I couldn't do

1722
01:47:12,360 --> 01:47:15,640
Speaker 1: it without them, without that band, that's yeah, But we

1723
01:47:15,800 --> 01:47:19,479
Speaker 1: kind of we kind of parted ways eventually and the

1724
01:47:19,640 --> 01:47:22,120
Speaker 1: album was released, but none of our names were on it,

1725
01:47:22,200 --> 01:47:24,400
Speaker 1: so it's not like anybody knew about it. A couple

1726
01:47:24,439 --> 01:47:26,560
Speaker 1: of people knew it was me, but it wasn't a

1727
01:47:26,600 --> 01:47:27,040
Speaker 1: big deal.

1728
01:47:28,080 --> 01:47:30,160
Speaker 11: Well this also proves that I do know how to

1729
01:47:30,320 --> 01:47:30,559
Speaker 11: keep a.

1730
01:47:30,560 --> 01:47:33,840
Speaker 1: Secret, because well now I wish it wasn't a secret

1731
01:47:33,920 --> 01:47:37,320
Speaker 1: because in hindsight, like it's I love it, but at

1732
01:47:37,360 --> 01:47:39,840
Speaker 1: the time, it just felt like people would pick it

1733
01:47:39,880 --> 01:47:41,400
Speaker 1: apart too much, and that's not what it.

1734
01:47:41,520 --> 01:47:43,760
Speaker 11: Was for I was like, man, she's cool as.

1735
01:47:46,080 --> 01:47:47,840
Speaker 1: Maybe we'll get them on the podcast and we'll do

1736
01:47:47,960 --> 01:47:48,720
Speaker 1: a repeat of it.

1737
01:47:49,200 --> 01:47:52,720
Speaker 10: You gotta show you know how I knew you were

1738
01:47:52,800 --> 01:47:56,240
Speaker 10: cool because you were tight with Brian Blade. Uh huh,

1739
01:47:57,080 --> 01:47:59,960
Speaker 10: and uh, you know when you when I knew it,

1740
01:48:00,200 --> 01:48:02,840
Speaker 10: he had been working with you. He's one of those

1741
01:48:02,920 --> 01:48:06,679
Speaker 10: kind of people that you know, if he can't mess

1742
01:48:06,720 --> 01:48:08,960
Speaker 10: with you, he ain't gonna he's not gonna play with you,

1743
01:48:10,960 --> 01:48:14,679
Speaker 10: right right, It won't even be mean r gonna.

1744
01:48:14,439 --> 01:48:15,600
Speaker 11: Ghost you, right, I know.

1745
01:48:15,800 --> 01:48:17,439
Speaker 1: He's definitely the coolest.

1746
01:48:17,680 --> 01:48:22,160
Speaker 10: Oh yeah yeah, and so, uh that's how we that's

1747
01:48:22,200 --> 01:48:25,400
Speaker 10: how we connected through Brian recently.

1748
01:48:25,720 --> 01:48:27,160
Speaker 4: Yeah yeah, yeah.

1749
01:48:27,200 --> 01:48:30,200
Speaker 1: But I mean I've I feel like I've known you forever,

1750
01:48:30,360 --> 01:48:34,160
Speaker 1: but I haven't. I know, we only played together once exactly,

1751
01:48:34,320 --> 01:48:40,600
Speaker 1: and not that for Jazz House Kids Foundation. Yeah, and

1752
01:48:41,120 --> 01:48:43,360
Speaker 1: I had a dog bit me on the nose that morning,

1753
01:48:43,439 --> 01:48:45,880
Speaker 1: so I was all scared to show my nose.

1754
01:48:46,000 --> 01:48:50,880
Speaker 11: Yeah, but you killed it. It healed, all right, So

1755
01:48:50,960 --> 01:48:51,960
Speaker 11: what's the next joint?

1756
01:48:52,280 --> 01:48:52,559
Speaker 7: Okay?

1757
01:48:52,600 --> 01:48:56,080
Speaker 1: So, so I wanted to try the Stangelo song?

1758
01:48:56,600 --> 01:48:57,759
Speaker 11: Okay, what do you think.

1759
01:49:00,560 --> 01:49:01,360
Speaker 1: You'll play Electric?

1760
01:49:02,160 --> 01:49:02,400
Speaker 11: Sure?

1761
01:49:02,520 --> 01:49:02,960
Speaker 5: I don't know.

1762
01:49:03,080 --> 01:49:05,200
Speaker 1: I just thought you should play it on something, okay.

1763
01:49:06,840 --> 01:49:07,200
Speaker 11: Yeah. Yeah.

1764
01:49:07,479 --> 01:49:09,599
Speaker 1: And also if for this it can be sloppy, it's

1765
01:49:09,640 --> 01:49:10,160
Speaker 1: no big deal.

1766
01:49:10,479 --> 01:49:11,040
Speaker 11: That's all I know.

1767
01:49:11,760 --> 01:49:13,760
Speaker 1: That's all I know. You said you wanted to be

1768
01:49:13,880 --> 01:49:16,680
Speaker 1: some more sloppy. I'm your girl, But actually.

1769
01:49:16,439 --> 01:49:18,240
Speaker 13: I want to challenge myself to see if I can

1770
01:49:18,280 --> 01:49:20,960
Speaker 13: play it unlike the record version.

1771
01:49:21,080 --> 01:49:23,760
Speaker 11: So this will be fun. We started it.

1772
01:49:23,840 --> 01:49:27,200
Speaker 13: We started, so it's weird that we're here. We actually

1773
01:49:27,280 --> 01:49:32,320
Speaker 13: started Black Messiah in this very room.

1774
01:49:32,880 --> 01:49:35,680
Speaker 4: Really that took fourteen years to make, really.

1775
01:49:35,920 --> 01:49:40,680
Speaker 13: Like Voodoo took five, but Black Messiah was pretty much

1776
01:49:40,760 --> 01:49:48,360
Speaker 13: started two thousand and two long. He's like molasses man.

1777
01:49:48,520 --> 01:49:51,760
Speaker 13: So but we didn't we didn't do that here. I

1778
01:49:51,800 --> 01:49:56,639
Speaker 13: think we did betray my heart at Electric Lady. But yeah,

1779
01:49:56,880 --> 01:49:59,760
Speaker 13: just coming back to this room, I remember is this

1780
01:50:00,240 --> 01:50:02,240
Speaker 13: primarily most jazz albums.

1781
01:50:01,960 --> 01:50:05,360
Speaker 11: Are recorded in this particular room that if you got

1782
01:50:05,400 --> 01:50:08,560
Speaker 11: a nice budget. Yeah, the Crisscross records used to be

1783
01:50:08,640 --> 01:50:14,320
Speaker 11: made upstairs. What yeah at see your sound. Yeah, but

1784
01:50:16,240 --> 01:50:18,280
Speaker 11: there's a few records I made upstairs.

1785
01:50:18,720 --> 01:50:25,080
Speaker 1: Really. Yeah, I've done a bunch here. But you guys

1786
01:50:25,160 --> 01:50:25,720
Speaker 1: both worked with.

1787
01:50:25,760 --> 01:50:32,320
Speaker 10: Di'angelo on Yeah, so pretty much thanks to him, I

1788
01:50:32,400 --> 01:50:35,839
Speaker 10: got a piece a little tiny lickings.

1789
01:50:39,760 --> 01:50:43,280
Speaker 13: Yeah at Electric Lady, I'll say that, you know, probably

1790
01:50:43,680 --> 01:50:48,120
Speaker 13: some of my most adventurous escape moments, like my chance

1791
01:50:48,240 --> 01:50:51,240
Speaker 13: to not be a route and just to figure out

1792
01:50:51,439 --> 01:50:55,080
Speaker 13: what else is out there? Like his projects allowed me

1793
01:50:55,160 --> 01:50:57,320
Speaker 13: to do that, and then subsequently, once that record came

1794
01:50:57,360 --> 01:51:00,960
Speaker 13: out and anything else I worked on, like or Erica

1795
01:51:01,280 --> 01:51:04,720
Speaker 13: or Blow or that sort of thing. Like that's kind

1796
01:51:04,760 --> 01:51:09,160
Speaker 13: of how the what they call the soul quarian era

1797
01:51:10,320 --> 01:51:10,920
Speaker 13: like started.

1798
01:51:11,040 --> 01:51:13,560
Speaker 1: But yeah, man, that's how you go.

1799
01:51:15,360 --> 01:51:16,800
Speaker 11: I got a what if? What?

1800
01:51:17,680 --> 01:51:21,840
Speaker 10: So there's two what if Speaking of D'Angelo, you probably noticed,

1801
01:51:21,960 --> 01:51:26,800
Speaker 10: D'Angelo told me that he initially had well, he was

1802
01:51:26,840 --> 01:51:29,960
Speaker 10: going to go to VCU in Richmond, where he's from,

1803
01:51:30,520 --> 01:51:32,920
Speaker 10: to study jazz piano with Elis Marcellus.

1804
01:51:33,600 --> 01:51:34,040
Speaker 11: Oh god.

1805
01:51:34,520 --> 01:51:37,120
Speaker 10: The year he graduated high school was the year Ellis

1806
01:51:37,400 --> 01:51:40,080
Speaker 10: retired from VCU, so he was like, well, if I

1807
01:51:40,120 --> 01:51:42,240
Speaker 10: can't study with him, I'm not going to study jazz.

1808
01:51:43,640 --> 01:51:47,240
Speaker 10: I always wonder Alice Marcella stayed one more year.

1809
01:51:47,920 --> 01:51:48,639
Speaker 1: That's interesting.

1810
01:51:49,439 --> 01:51:51,840
Speaker 11: Who knows D'Angelo might have been the piano player in

1811
01:51:52,160 --> 01:52:00,439
Speaker 11: Roy Hargrove's quintest Elice Man give me nightmares. Look at you.

1812
01:52:01,280 --> 01:52:04,519
Speaker 11: You look like a rock drummer playing all that rock.

1813
01:52:05,240 --> 01:52:06,439
Speaker 11: Why is that snare so tight?

1814
01:52:07,080 --> 01:52:07,280
Speaker 5: Oh?

1815
01:52:07,560 --> 01:52:11,519
Speaker 13: Really man? He he roasted me, man like on the news,

1816
01:52:11,720 --> 01:52:13,600
Speaker 13: Why is that snare so tight? He said, why is

1817
01:52:13,640 --> 01:52:14,400
Speaker 13: that snare so tight?

1818
01:52:14,560 --> 01:52:19,080
Speaker 11: After he played with James Black and and all them cats? Nah? Man,

1819
01:52:19,120 --> 01:52:21,280
Speaker 11: he heartbreaking?

1820
01:52:21,439 --> 01:52:24,599
Speaker 10: Oh and another thing, when here's what if this came

1821
01:52:24,680 --> 01:52:29,639
Speaker 10: back to Harnum In two thousand and one, I started

1822
01:52:29,680 --> 01:52:31,720
Speaker 10: touring with Sting and so there was a bunch of

1823
01:52:32,080 --> 01:52:34,920
Speaker 10: different drummers in there. My new catch a was first.

1824
01:52:35,640 --> 01:52:39,560
Speaker 10: Then Aba Boreo Jur came in for a spell, and

1825
01:52:39,720 --> 01:52:42,000
Speaker 10: Vinnie call you came in. So it's like a bunch

1826
01:52:42,040 --> 01:52:44,880
Speaker 10: of different cats coming in. And so Sting said, uh.

1827
01:52:45,520 --> 01:52:48,080
Speaker 11: Hey, got I got a string of gigs who you

1828
01:52:48,200 --> 01:52:49,040
Speaker 11: like playing with? Who can you?

1829
01:52:49,280 --> 01:52:51,400
Speaker 10: Who can you recommend. I said, you need to get

1830
01:52:51,439 --> 01:52:54,719
Speaker 10: my man a mirror. He's like, oh, I'm not familiar.

1831
01:52:54,800 --> 01:52:57,639
Speaker 10: So I gave him the Philly Experiment and I gave

1832
01:52:57,720 --> 01:52:59,880
Speaker 10: him a couple of Roots records. He was like, oh,

1833
01:53:00,080 --> 01:53:03,680
Speaker 10: oh that that guy. Yes, yes, So I gave him

1834
01:53:03,920 --> 01:53:07,160
Speaker 10: the recordings. Never heard nothing. I said, well, okay, okay,

1835
01:53:07,200 --> 01:53:09,479
Speaker 10: I ain't gonna you know, I ain't gonna pray you Sting,

1836
01:53:09,640 --> 01:53:10,320
Speaker 10: you know who you want.

1837
01:53:11,800 --> 01:53:12,800
Speaker 11: Fast forward.

1838
01:53:14,040 --> 01:53:18,200
Speaker 10: Ten, maybe even fifteen years later, you finally you finally

1839
01:53:18,200 --> 01:53:18,800
Speaker 10: played with him.

1840
01:53:19,040 --> 01:53:21,200
Speaker 11: Here's Sting's house band for almost like all.

1841
01:53:21,120 --> 01:53:25,200
Speaker 10: Of thee Yeah, and then I see him somewhere. He's like,

1842
01:53:26,720 --> 01:53:32,439
Speaker 10: oh man, you know Questlove right, He's amazing. I was like, man,

1843
01:53:34,600 --> 01:53:36,160
Speaker 10: I'm not going to tell you what I said on

1844
01:53:36,560 --> 01:53:38,960
Speaker 10: the microphone. I was like, you remember what a long

1845
01:53:39,000 --> 01:53:41,920
Speaker 10: time ago you asked me about drummers. That's who I

1846
01:53:42,080 --> 01:53:49,760
Speaker 10: was talking about. Oh, like, can you imagine had we

1847
01:53:49,840 --> 01:53:52,679
Speaker 10: played in these things band together that aren't crazy? Every

1848
01:53:52,720 --> 01:53:54,559
Speaker 10: breath you take would have sounded a lot different.

1849
01:53:54,720 --> 01:53:56,400
Speaker 1: It would have sounded like a James Brown's.

1850
01:53:59,120 --> 01:53:59,680
Speaker 11: We'd put it in.

1851
01:54:00,720 --> 01:54:04,880
Speaker 13: He's so he's so triggered by Stuart's playing again this

1852
01:54:04,960 --> 01:54:07,400
Speaker 13: is Oh gosh, yes, this is me being a shape

1853
01:54:07,439 --> 01:54:09,519
Speaker 13: shifter that when I played with him.

1854
01:54:09,800 --> 01:54:12,679
Speaker 11: Yeah, he instantly knew and he stopped the song. Yeah,

1855
01:54:12,920 --> 01:54:15,240
Speaker 11: he says he can't. Don't do that exactly. You can't

1856
01:54:15,320 --> 01:54:16,559
Speaker 11: what he says.

1857
01:54:17,040 --> 01:54:19,800
Speaker 13: I know you you worship the police, but don't play

1858
01:54:19,840 --> 01:54:22,000
Speaker 13: none of that. Don't play like Stuart. It triggers me,

1859
01:54:22,360 --> 01:54:23,040
Speaker 13: like you don't know.

1860
01:54:24,000 --> 01:54:27,599
Speaker 11: He's very true, so I had to undo. I didn't

1861
01:54:27,640 --> 01:54:30,440
Speaker 11: know how to play like anything. But you know my regular.

1862
01:54:31,880 --> 01:54:36,680
Speaker 10: Yeah right, like all of you know stuarts. Had we

1863
01:54:36,800 --> 01:54:39,840
Speaker 10: played these things band, everything she does is magic. Every

1864
01:54:39,840 --> 01:54:40,960
Speaker 10: little thing she does is magic.

1865
01:54:41,000 --> 01:54:51,560
Speaker 4: Would have been halftime, right, that's great.

1866
01:54:52,680 --> 01:54:53,720
Speaker 5: Are give me a g.

1867
01:55:04,560 --> 01:55:07,080
Speaker 11: Wait? Is this this is notated in like a real

1868
01:55:07,200 --> 01:55:10,280
Speaker 11: or a fake book? What betrayed my heart?

1869
01:55:10,480 --> 01:55:10,520
Speaker 9: No?

1870
01:55:10,760 --> 01:55:10,800
Speaker 1: No?

1871
01:55:11,360 --> 01:55:13,000
Speaker 11: Oh? I was like, wow he really made it.

1872
01:55:13,840 --> 01:55:16,920
Speaker 1: Oh you thought I ticked it out from a fake book.

1873
01:55:17,040 --> 01:55:17,200
Speaker 9: Yeah.

1874
01:55:17,200 --> 01:55:19,280
Speaker 11: I was like so proud, like whoa, no, no, no,

1875
01:55:19,360 --> 01:55:23,080
Speaker 11: we just made some little No. I just don't understand.

1876
01:55:23,120 --> 01:55:26,760
Speaker 11: I literally was something I had to do with. Literally,

1877
01:55:26,960 --> 01:55:27,680
Speaker 11: isn't a fake book?

1878
01:55:27,680 --> 01:55:29,000
Speaker 5: Where maybe maybe it is?

1879
01:55:29,480 --> 01:55:29,960
Speaker 7: Maybe it is.

1880
01:55:30,480 --> 01:55:31,920
Speaker 1: Honestly, this is a great song.

1881
01:55:32,360 --> 01:55:32,640
Speaker 11: Thank you.

1882
01:55:32,960 --> 01:56:14,960
Speaker 7: Yeah asday my sake.

1883
01:56:15,600 --> 01:56:24,160
Speaker 6: It's sight em nine mistake between Surren's birth must surprise

1884
01:56:24,320 --> 01:56:24,800
Speaker 6: and fall.

1885
01:56:26,640 --> 01:56:28,560
Speaker 7: I'll be there to see.

1886
01:56:29,000 --> 01:56:35,960
Speaker 5: You through just as long as it is turned. I

1887
01:56:36,040 --> 01:56:38,839
Speaker 5: will live live your sight.

1888
01:56:40,520 --> 01:56:44,240
Speaker 6: And if you should ever faith, then my love is nsen.

1889
01:56:44,400 --> 01:56:44,600
Speaker 10: See.

1890
01:56:45,080 --> 01:56:51,360
Speaker 6: I will never betray your heart. I will never betray

1891
01:56:52,000 --> 01:56:57,360
Speaker 6: your heart. I will never be chase her.

1892
01:57:08,160 --> 01:57:13,840
Speaker 5: Like a grez that blows engine. I will whisper to

1893
01:57:14,080 --> 01:57:15,000
Speaker 5: keep you.

1894
01:57:15,160 --> 01:57:22,320
Speaker 6: Could this I swear in with all MISTI I take

1895
01:57:22,520 --> 01:57:29,560
Speaker 6: nothing in place, sup. When you're freezing down down there,

1896
01:57:31,240 --> 01:57:31,960
Speaker 6: you must love.

1897
01:57:32,360 --> 01:57:37,040
Speaker 1: You can't depend on me. You don't never have to

1898
01:57:37,200 --> 01:57:39,280
Speaker 1: fear that my love is nice.

1899
01:57:39,320 --> 01:57:45,280
Speaker 6: Since I will never betray in my heart, I will

1900
01:57:45,400 --> 01:57:47,840
Speaker 6: never betray in my heart.

1901
01:57:50,240 --> 01:57:52,920
Speaker 5: I will never betray my phone.

1902
01:58:03,360 --> 01:58:04,600
Speaker 14: Through the storm home to.

1903
01:58:04,680 --> 01:58:08,680
Speaker 6: The rain, I come running to ease your pain, like

1904
01:58:08,800 --> 01:58:10,800
Speaker 6: the rails a constant train.

1905
01:58:11,480 --> 01:58:13,000
Speaker 5: Like a blood in my veins.

1906
01:58:13,280 --> 01:58:18,880
Speaker 21: I will never betray your heart. I will never betray

1907
01:58:19,160 --> 01:58:24,640
Speaker 21: me your car. I will never betray no harm.

1908
02:01:12,760 --> 02:01:14,480
Speaker 11: See, that's the fun part of the danger. We don't

1909
02:01:14,480 --> 02:01:15,040
Speaker 11: know where it's going.

1910
02:01:15,240 --> 02:01:17,000
Speaker 1: That was so danger experience.

1911
02:01:17,880 --> 02:01:18,720
Speaker 11: That was awesome.

1912
02:01:19,120 --> 02:01:21,240
Speaker 1: I think it was great. That was fun. That is

1913
02:01:21,320 --> 02:01:25,560
Speaker 1: a hard asked to play, but it's so good and

1914
02:01:25,680 --> 02:01:27,080
Speaker 1: the lyrics are so beautiful.

1915
02:01:28,040 --> 02:01:30,960
Speaker 11: This is the first time I've heard them in the

1916
02:01:31,120 --> 02:01:38,040
Speaker 11: English language. I'm playing, I'm playing I Love You Man.

1917
02:01:38,200 --> 02:01:40,040
Speaker 1: It's a great song, though, and it's hard to play.

1918
02:01:42,080 --> 02:01:43,800
Speaker 11: I'm sitting in a photo of this right now.

1919
02:01:45,160 --> 02:01:52,480
Speaker 1: Tell him I love him, you love it. I don't

1920
02:01:52,520 --> 02:01:56,120
Speaker 1: even know where one is in that song. No, I

1921
02:01:56,160 --> 02:01:58,480
Speaker 1: don't need I don't if I think about it, I

1922
02:01:58,560 --> 02:01:59,320
Speaker 1: don't know where it is.

1923
02:02:01,000 --> 02:02:01,280
Speaker 5: Music.

1924
02:02:03,640 --> 02:02:05,680
Speaker 1: Thanks you guys have been super generous with your time.

1925
02:02:06,000 --> 02:02:09,080
Speaker 11: Thank you, Nora. I appreciate this. Any any chance to

1926
02:02:09,160 --> 02:02:14,000
Speaker 11: play with my brother and yeah, I agree, yes, no joke,

1927
02:02:14,200 --> 02:02:14,880
Speaker 11: no joke.

1928
02:02:15,000 --> 02:02:17,480
Speaker 1: Honestly, I would have loved to do this with either

1929
02:02:17,520 --> 02:02:19,200
Speaker 1: of you separately, but I just knew it would be

1930
02:02:19,240 --> 02:02:20,040
Speaker 1: more fun together.

1931
02:02:20,640 --> 02:02:23,000
Speaker 11: Well, yeah, I never get to play with my man.

1932
02:02:23,360 --> 02:02:24,080
Speaker 5: I'm so glad.

1933
02:02:24,240 --> 02:02:25,920
Speaker 1: Thanks for doing this, y'all. A're special.

1934
02:02:26,800 --> 02:02:27,600
Speaker 11: Thanks for having us.

1935
02:02:27,680 --> 02:02:29,440
Speaker 1: Thank you, Thank you soon?

1936
02:02:29,640 --> 02:02:30,600
Speaker 11: All right? Sure enough?

1937
02:02:42,240 --> 02:02:44,000
Speaker 3: Because guys are such a blast.

1938
02:02:44,440 --> 02:02:45,600
Speaker 1: They're fun to listen talk.

1939
02:02:45,680 --> 02:02:47,640
Speaker 3: I love that they have so many inside jokes. It's

1940
02:02:47,680 --> 02:02:50,400
Speaker 3: like they have their own language. Yeah, they do talking,

1941
02:02:50,520 --> 02:02:53,560
Speaker 3: but also musically they have inside music jokes.

1942
02:02:53,680 --> 02:02:55,600
Speaker 1: Well, I started a text thrive with them when we

1943
02:02:55,680 --> 02:02:58,800
Speaker 1: were trying to get together for this, and that alone

1944
02:02:59,280 --> 02:03:01,280
Speaker 1: is like the most and I was just like, Okay,

1945
02:03:01,400 --> 02:03:03,880
Speaker 1: I don't know what's happening because they were just fire

1946
02:03:03,920 --> 02:03:07,120
Speaker 1: and wagon Ford. Yeah, they got their nicknames for each other. Oh,

1947
02:03:07,760 --> 02:03:08,680
Speaker 1: I don't know what's happening.

1948
02:03:09,480 --> 02:03:11,640
Speaker 3: That's the history man. But we got a lot of

1949
02:03:11,680 --> 02:03:12,240
Speaker 3: good stories.

1950
02:03:12,640 --> 02:03:13,720
Speaker 5: Yeah, and great music.

1951
02:03:14,000 --> 02:03:17,720
Speaker 1: So fun to hear a mirror questlove whose name is

1952
02:03:17,720 --> 02:03:21,040
Speaker 1: a mirror? Do the drum lesson?

1953
02:03:21,240 --> 02:03:23,200
Speaker 3: Oh yeah, the breakdown, the breakdown now.

1954
02:03:23,240 --> 02:03:27,640
Speaker 1: All the different drummers. That was amazing and just playing

1955
02:03:27,680 --> 02:03:32,800
Speaker 1: with Christian on the basis it's insane. Actually he's insane.

1956
02:03:33,200 --> 02:03:35,880
Speaker 1: Wee amazing. That was a dream And I wish we

1957
02:03:36,000 --> 02:03:37,760
Speaker 1: had just done two days. So I wish we had

1958
02:03:37,800 --> 02:03:41,080
Speaker 1: made a record, which we wait, we did. Oh, I

1959
02:03:41,160 --> 02:03:41,960
Speaker 1: got some words wrong.

1960
02:03:42,800 --> 02:03:44,200
Speaker 3: But if you want to look up the right words.

1961
02:03:44,440 --> 02:03:45,680
Speaker 1: But if you want to look up the right words,

1962
02:03:45,720 --> 02:03:48,640
Speaker 1: here's the songs we did. We started off with fine

1963
02:03:48,680 --> 02:03:51,800
Speaker 1: and Mellow and old jazz standard from nineteen thirty nine,

1964
02:03:51,880 --> 02:03:54,920
Speaker 1: written by my favorite Billy Holliday. Why Am I Treated

1965
02:03:55,000 --> 02:03:58,720
Speaker 1: So Bad? A song by Pop Staples and recorded many

1966
02:03:58,800 --> 02:04:01,920
Speaker 1: times by many different people, including the Staples singers and

1967
02:04:02,520 --> 02:04:06,200
Speaker 1: James Brown, among others. We did say No More from

1968
02:04:06,320 --> 02:04:08,840
Speaker 1: one of my albums, pick Up Me Up, pick Up

1969
02:04:08,880 --> 02:04:11,560
Speaker 1: Me Up, Off the Floor, and that song was actually

1970
02:04:11,560 --> 02:04:14,920
Speaker 1: written by me and Myota, Sarah Oda, you wrote that song.

1971
02:04:15,240 --> 02:04:18,240
Speaker 1: We did border Lord, a song by Chris Christofferson from

1972
02:04:18,320 --> 02:04:22,880
Speaker 1: nineteen seventy two. Songwriters on that are Stephen Bruten, Donnie Fritz,

1973
02:04:23,000 --> 02:04:25,600
Speaker 1: Terry Paul, and Chris Christopherson. I love that song, by

1974
02:04:25,640 --> 02:04:28,600
Speaker 1: the way, and that's an amazing album. The last song

1975
02:04:28,680 --> 02:04:31,800
Speaker 1: we did was Betray My Heart from DiAngelo's twenty fourteen

1976
02:04:31,840 --> 02:04:35,880
Speaker 1: album Black Messiah, on which Questlove was a collaborator. Thank

1977
02:04:35,920 --> 02:04:38,120
Speaker 1: you so much for listening. We had a blast. Hope

1978
02:04:38,120 --> 02:04:41,000
Speaker 1: you did too. Don't forget to like and subscribe to

1979
02:04:41,160 --> 02:04:44,919
Speaker 1: the podcast if you're able to, If you're kind, be kind.

1980
02:04:44,880 --> 02:04:47,360
Speaker 3: If you like us, actually even if you don't like us, Yeah.

1981
02:04:47,320 --> 02:04:47,760
Speaker 11: Just like us.

1982
02:04:55,400 --> 02:04:57,640
Speaker 1: This episode was recorded at Sear Sound in New York

1983
02:04:57,680 --> 02:05:02,440
Speaker 1: City by Steven Saco, asist by Jasper Leach, Maximilian Trophy

1984
02:05:02,640 --> 02:05:06,840
Speaker 1: Tanner Wallace, Andrew Kohinka, and mixed by Jamie Landry, edited

1985
02:05:06,880 --> 02:05:10,240
Speaker 1: by Sarah Oda. Additional engineering by Greg Tobler and Pete

1986
02:05:10,320 --> 02:05:15,200
Speaker 1: Rim artwork by Eliza Frye, Photography by Shervin Lenez, Produced

1987
02:05:15,240 --> 02:05:18,200
Speaker 1: by Nora Jones and Sarah Oda. Thanks to everyone involved.