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Speaker 1: Quest Love Supreme is a production of iHeartRadio. What happened

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Speaker 1: to the role Call? Yo? Yeah right? Okay, latency has

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Speaker 1: has done us all. Never mind, never mind exactly just

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Speaker 1: see imagine fallon.

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Speaker 2: Are we look at for solution?

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Speaker 1: Yes we are, Ladies and gentlemen. Let me let me

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Speaker 1: attest that twenty twenty one is the Yeah, I'm declaring it.

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Speaker 1: Twenty twenty one is the year of miracles. And I

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Speaker 1: wanted this platform, this Quest Love Supreme platform, so that

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Speaker 1: not you know, not only the people, for myself. I

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Speaker 1: wanted to receive the holy scrolls of wisdom from the gods.

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Speaker 1: And let me just say, be careful for what you

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Speaker 1: ask for, because I will declare today on you know

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Speaker 1: this recording, that my God is definitely a god of abundance,

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Speaker 1: as this year is clearly shown, he has delivered to

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Speaker 1: us today one of the most influential creatives in music,

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Speaker 1: not a music god, not a veteran, not no, just

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Speaker 1: absolutely one of the most unique influential creatives and music.

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Speaker 1: And it's super super super rare that we get to

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Speaker 1: speak to someone with with with over five decades of

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Speaker 1: excellence under their belt, no exception. Ladies and gentlemen, please

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Speaker 1: welcome to questlof Supreme the one and only Carlos Humberto

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Speaker 1: Santana Card. Yes, exactly, how are you? I should also

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Speaker 1: note a case I dig into the comments on on

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Speaker 1: our various platforms, on YouTube and on I G and

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Speaker 1: Twitter and whatnot, and I noticed that whenever we have

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Speaker 1: an axe master or an axe god or just any

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Speaker 1: other instrumental god that's not drum related, I don't go

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Speaker 1: that deep into their craft. And I will admit that

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Speaker 1: I am. I'm not that well versed in asking super

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Speaker 1: deep questions in terms of guitarists. So that said, this

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Speaker 1: is a rare Uh. Now we're we're a sixum once again.

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Speaker 1: We have Laya with us, we have Fontigelow, we have

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Speaker 1: Sugar Steve unpaid bill, and I decided last minute to

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Speaker 1: ask my guitarist from the roots. Uh captain, I'm super

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Speaker 1: cap here. Yeah. I wanted the captain here just so

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Speaker 1: that I don't leave any stone unturned, because you know,

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Speaker 1: when we have Pat and Fanny on the show, or

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Speaker 1: even when we had Jack White Cats asked me like, well,

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Speaker 1: how come you to ask him about like types of

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Speaker 1: strings he used or that like sort of the jargon

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Speaker 1: that I wouldn't know to ask. I wanted to make

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Speaker 1: sure that you know we we satisfy you nerds. So

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Speaker 1: that's that's all. So welcome. Also, Captain Kirk to the

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Speaker 1: to the podcast. Okay, actually, Steve, do you want to

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Speaker 1: start with your question first? Oh?

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Speaker 3: Well, I narrowed down my thousand questions to two, but

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Speaker 3: they don't really belong at the top of the interview.

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Speaker 1: But if you want, I got Steve's real first question

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Speaker 1: was hilarious to me. And no, we're not going to

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Speaker 1: ask that. I will say that, Oh you me to

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Speaker 1: do the joke. Let me try it. Let me try it.

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Speaker 3: It's only a joke because your your career is so

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Speaker 3: long and distinguished.

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Speaker 1: That no, you don't have to explain it, I say it.

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Speaker 4: So what was it like to work with Rob Thomas?

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Speaker 1: Anyway? So time out for a new record.

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Speaker 5: I'm on a new record that joint bang it.

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Speaker 1: I know I know this, I know we love him.

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Speaker 4: We're just it's just Santaich.

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Speaker 1: That's that was our first thing. But we start, we

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Speaker 1: start from the top. And actually normally I ask about

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Speaker 1: your origins, but I always wanted to know this. The

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Speaker 1: answer to this question. The first hour of your morning,

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Speaker 1: what do you do?

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Speaker 6: Oh well, it's so joy and honor to be here

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Speaker 6: with all of you all in the first thing.

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Speaker 7: That first thing that I do before my feet touched.

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Speaker 6: The ground, I uh, I totally connect ignite gratitude because

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Speaker 6: I understand completely that everything that I love about John Coltrane,

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Speaker 6: people that I love, love, you know, with supreme and

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Speaker 6: impeccable integrity. There's a there's there's grace and graces. It's

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Speaker 6: like May Angela said, grace is all around us, but

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Speaker 6: we're the one to have to get in it, you know.

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Speaker 6: And so for me, you can access and utilize grace,

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Speaker 6: which with grace you can create miracles and blessings and

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Speaker 6: do the impossible.

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Speaker 1: Uh.

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Speaker 7: I want to access grace every morning.

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Speaker 6: So the first thing that I do, I make my

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Speaker 6: mind in my heart be one thousand percent with gratitude.

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Speaker 6: Thank you for my next breath, Thank you for my wife.

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Speaker 6: You know, I love drummers so much. I'm married, Yes, yes, yes,

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Speaker 6: you know. But the main again, the main, main thing

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Speaker 6: for me is those two components, grace and gratitude. With

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Speaker 6: that you can actually create the impossible, you know, you

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Speaker 6: can make the ambusiness will tangible, you know. And so

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Speaker 6: once you understand that what Shamans and people like Jesus

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Speaker 6: and Shamans, they could create alchemy from wine, from white

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Speaker 6: to from water to wine.

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Speaker 7: Well, the alchemy that we musicians.

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Speaker 6: You know, we make people happy because most people are

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Speaker 6: not happy unless they're miserable. And so we rescue people

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Speaker 6: from themselves by sound, rest and as vibration, a melody

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Speaker 6: and a rhythm. It makes people believe that they also

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Speaker 6: are worthy to receive directly from God, you know, so

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Speaker 6: we get rid of the wretched sinner stuff. You get

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Speaker 6: rid of that that you know, unworthy of God's grace.

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Speaker 6: We get rid of that. You know, when we're playing

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Speaker 6: music and we invite people to claim your divinity, it's

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Speaker 6: not arrogant, it's not cynical.

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Speaker 7: It's imperative that you.

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Speaker 6: Claim your divinity so you can get close to John

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Speaker 6: Coltrane and and Herbie and the genius genius genius.

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Speaker 7: Yeah, because that's what they did.

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Speaker 1: I knew that was the answer, and I wanted to

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Speaker 1: give y'all a preview of what I'm going to be

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Speaker 1: like in about five years from now.

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Speaker 5: Right, Yeah, that's goals.

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Speaker 1: No, you know what, because especially the period after the

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Speaker 1: period after the third alt the third record, especially starting

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Speaker 1: with with like the caravans Hurai the album. I don't know.

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Speaker 1: For me, I felt the need to ask you that

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Speaker 1: only because because there's such a spiritual element to those runs,

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Speaker 1: that run of records between seventy two and seventy eight

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Speaker 1: that you know, I felt my heart that you know,

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Speaker 1: you're more closer to to I should have introduced you

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Speaker 1: as a shaman more than just a musician or or

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Speaker 1: that sort of thing.

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Speaker 8: Because in that gratitude, what does that look like, Carlos, Like,

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Speaker 8: is that meditation?

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Speaker 2: Is that just a moment just to sit?

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Speaker 6: And what gratitude to me looks like where I live now?

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Speaker 6: I mean I live in Las Vegas, but I also

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Speaker 6: live in Kawhi, and gratitude is a rainbow talking to me.

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Speaker 6: There's so many rainbows in Kawhi, and they're specifically the

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Speaker 6: ones that are so loud they go.

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Speaker 7: That they're hummed.

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Speaker 6: This rainbows are so alive, they hum And I was

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Speaker 6: watching one early early this year, and and like it

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Speaker 6: tapped me on the shoulder, like turn around, and because

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Speaker 6: I was turned around, like oh, and it's this, this

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Speaker 6: rainbow as clear as I can see your face, and

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Speaker 6: this rainbow goes you see me? And I said, yeah,

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Speaker 6: I see you. He says, you know who I am?

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Speaker 6: He says, yeah, you got and he goes, that's right.

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Speaker 6: And you know what I says, what he says, I'm

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Speaker 6: looking at you too. That's grace. That's grace, you know,

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Speaker 6: because all of us need to be validated, you know,

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Speaker 6: everyone in this planet needs to be validated and celebrated

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Speaker 6: because God created this in his image, you know. So

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Speaker 6: I'm very very grateful that you of for be this

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Speaker 6: platform because the things that I love most in this planet,

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Speaker 6: besides the connection with a supreme being, is spirituality, sensuality

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Speaker 6: in African music, that's it, you know, because all three

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Speaker 6: of them offer me adore to totality and.

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Speaker 7: Completeness and infinity.

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Speaker 1: You know.

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Speaker 7: You know when you play as solo.

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Speaker 6: And gravity disappears and time disappears and you go into

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Speaker 6: this zone the basketball players call it the zone, it's

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Speaker 6: called grace, called grace. When you get into that grace

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Speaker 6: and you you know, you don't even remember what you

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Speaker 6: did after you played it. That's what real musicians got

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Speaker 6: to turn the other musicians who be posing and captain

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Speaker 6: and giving and shocking and giving. You know, no, no, no, no, no,

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Speaker 6: look man, you can do better than that. Go deeper

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Speaker 6: and access that thing that you're beyond time. When when

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Speaker 6: every time you listen to a John Coltrane, I Love Supreme.

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Speaker 6: I play this music and every hotel that I get into,

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Speaker 6: why to clean whatever happened the night before? Why you know, yeah,

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Speaker 6: whatever whatever happened, whatever they did, I put I Love

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Speaker 6: Supreme a lot of some insense that I got from

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Speaker 6: Alice Coltrane, and that room is mine when I go

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Speaker 6: Sonic stage, Yeah, wow, purifies John culture and music is

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Speaker 6: a If they would play this on CNN, the world

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Speaker 6: would not be so infected with fear and separation.

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Speaker 1: Dude.

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Speaker 7: But but you know, here's.

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Speaker 1: The thing, right, yeah, damn not not to totally all

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Speaker 1: right this This platform was meant to like review someone's history,

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Speaker 1: but I got to stay here for just a little

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Speaker 1: bit longer, only because the reason why I was excited

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Speaker 1: to talk to you is because, like I'm slowly starting

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Speaker 1: my transformation into what they call doing the work, you know,

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Speaker 1: like the pandemic forced us to do the work. And

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Speaker 1: I was like in a really really dark place where

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Speaker 1: I wasn't enjoying my creativity. I was squandering it. And

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Speaker 1: it took not working last year for me to actually

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Speaker 1: you know, like previously, if you if you were to

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Speaker 1: say this to me in twenty eighteen, I would quickly

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Speaker 1: be like on group chat with them, like Okay, what

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Speaker 1: drug is he on?

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Speaker 9: Right?

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Speaker 1: You know, like when people just think like ah, spiritual

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Speaker 1: people were crazy whatever. But it's like I had I

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Speaker 1: had a moment where you know, this is I'm just

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Speaker 1: a year intwo this where everything that you're saying, I

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Speaker 1: absolutely believe, Like you gotta wake up, you gotta wake

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Speaker 1: up in gratitude, you gotta meditate in the morning. Things

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Speaker 1: I used to laugh at. And you know, I tell

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Speaker 1: people all the time like I'm literally morphing to the

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Speaker 1: human being. I used to laugh at because for some reason,

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Speaker 1: I you know, I guess you're when you're most Black

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Speaker 1: people in America, especially like my generation, like church is

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Speaker 1: more of like an oppressive religious organizy, Like they never

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Speaker 1: teach spirituality. And I'm just learning that now, like at

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Speaker 1: this stage of my life, the second stage in my life,

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Speaker 1: and you know, it's really good. I'm I'm I'm I'm

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Speaker 1: happy to get talked, to talk to a musician that

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Speaker 1: basically uses their their their art for that because you know,

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Speaker 1: you can clearly hear like I hear the work of

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Speaker 1: Coltrane and and that spirituality in in your work. And

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Speaker 1: you know, I always wanted to know, like how how

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Speaker 1: to clive and especially like Walter Yett in a cough,

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Speaker 1: how do they receive you? Because normally with with with uh,

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Speaker 1: you know, other label heads, it's either like hamming my

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Speaker 1: hits or you know, you get dropped from the label

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Speaker 1: and you got to go elsewhere and whatnot. And yet

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Speaker 1: like Columbia sat by you for the for the longest

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Speaker 1: and so they and they let you find your spirituality.

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Speaker 1: So I was always curious as to how how you

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Speaker 1: were allowed to explore those things and not sort of

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Speaker 1: succumbed to the pressure. I mean, there were occasional disco

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Speaker 1: moments in seventy eight and whatnot. But you know, like,

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Speaker 1: was it hard navigating the spirituality that you have and

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Speaker 1: also you know, remaining a brand name musician in terms

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Speaker 1: of being a product and being spiritual at the same time, It.

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Speaker 6: Wasn't hard at all for me because I didn't used

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Speaker 6: as I was a child that this is for me

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Speaker 6: it's a way of life. It's not a profession. It's

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Speaker 6: not a gig or a job. It's a way of life.

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Speaker 6: We started with the Beatrolla, the records, the A track,

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Speaker 6: the says, the CDs. You know, those to me are

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Speaker 6: like faucets. It is the water. Music is the water,

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Speaker 6: the living water. So Clyde Davis, Bill Graham and Clyde

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Speaker 6: Davis when they met me, they realized that I wasn't pedestrian.

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Speaker 6: I wasn't necessarily a destrian guy. And what do I

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Speaker 6: mean by that, well, pedestrian guy kind of they settle

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Speaker 6: for you dangle money and they kind of jump over

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Speaker 6: like a little poodle, you jump over things. And they

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Speaker 6: realize that was priceless. Me as committing career suicide. I'm

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Speaker 6: going to go after John Coltrane, Weather Report, Miles Davis,

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Speaker 6: and they said, but man, there's over the Miles Davis

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Speaker 6: and Weather Report.

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Speaker 7: Whatever.

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Speaker 6: I know, but I need to learn something from them

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Speaker 6: and teach the youngsters this because I can't just constantly

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Speaker 6: keep doing or you came by and a bracxis in

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Speaker 6: or supernatural or whatever you know. By the grace of

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Speaker 6: God again, I'm able to reach the four corners of

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Speaker 6: the world, in touch many people's hearts, and you know,

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Speaker 6: like Tony Williams says, once you sell one record, you're

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Speaker 6: commercial because you sold one record, you know. So I

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Speaker 6: don't I don't look at like being commercial like a

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Speaker 6: negative thing. I look at pretty much life the way

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Speaker 6: the ones that I love and I adore, like Arthur Ash,

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Speaker 6: Bruce Lee and Coltrane. People who Bruce Lee be like

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Speaker 6: water and cloud and cloud and ocean, a lake, baptop.

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Speaker 7: You know. So what does that mean.

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Speaker 6: It means that you have the capacity to be a

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Speaker 6: multidimensional spirit that can play anywhere with anyone in complement.

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Speaker 6: So when I go to Africa, they know who I am.

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Speaker 6: When I go to Ireland, they know who I am.

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Speaker 6: When I go to Japan or New Zealand, they know

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Speaker 6: who I am. And they know who I am because

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Speaker 6: they play our music in their living room with grandma

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Speaker 6: and Grandpa and the little kids.

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Speaker 7: Man. You know, that's when you enter a whole other

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Speaker 7: realm of like.

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Speaker 6: Wow, I go to Paris and the gentleman who's helping

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Speaker 6: us with the luggage and whatever, he says, Santana, I

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Speaker 6: go Hi, he says, and then he points he says,

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Speaker 6: he points out, Just tell me, he goes. My wife,

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Speaker 6: Sophia a big partner. Sophia. You know she got pregnant.

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Speaker 6: My wife got pregnant when we were listening to your album,

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Speaker 6: you know, like some material, so you.

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Speaker 7: Know, and I get that all over the world.

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Speaker 6: So it means that your music resident sounds vibration is

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Speaker 6: able to impregnate not only women, but men to believe

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Speaker 6: that they can achieve beyond what religious books or institutions

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Speaker 6: or governments tell them to do. You're, at the most

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Speaker 6: you are a multi dimensional being. Let me say it

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Speaker 6: really clearly like this, You cannot behave appropriately unless you

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Speaker 6: perceive correctly.

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Speaker 7: Once you perceive. A more time, you cannot behave appropriately

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Speaker 7: unless you perceive correctly. Once you perceive. You are a

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Speaker 7: beam of light that comes from the mind of God.

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Speaker 7: You carry yourself differently.

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Speaker 2: Where does all this come from?

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Speaker 8: I mean, I know, at some point of Mayor you're

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Speaker 8: gonna go, well, let's start at the beginning.

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Speaker 2: But I am so shocking.

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Speaker 1: I don't even want to start the interview yet, le

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Speaker 1: Bret Sandtown to keep going. Where does this?

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Speaker 2: Where did this light come from? What was it a day?

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Speaker 8: Was it a moment like or was it a week,

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Speaker 8: a month, a study?

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Speaker 2: Where does it come from?

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Speaker 7: Like?

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Speaker 2: What was the moment?

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Speaker 7: From being thirsty?

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Speaker 6: You know, I'm always thirsty for adventure and I'm not

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Speaker 6: afraid of the unknown or unpredictability. I knew that I

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Speaker 6: that my first band with the first three albums, we

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Speaker 6: knew that it was fragmented, and some people want to

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Speaker 6: do journeys, some people want to do something else and whatever,

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Speaker 6: And so I started reading the Oranda book and listened

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Speaker 6: to Coltrane only so so I listened to the Auranda book.

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Speaker 6: Later on I got introduced to j who text books

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Speaker 6: and I'll show you what they are, and also and

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Speaker 6: also a course in miracles. All these books that are

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Speaker 6: going to introduce you to they have what you call

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Speaker 6: nowadays spiritual data and how to transform your monkeness and

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Speaker 6: your donkeiness into an archangel energy knowing knowledge, because you know,

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Speaker 6: sometimes we act like monkeys and donkeys, you know, which

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Speaker 6: means you succumb to what people say. Well, you know,

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Speaker 6: it's human nature. Yeah, but it doesn't have to be corny, cute,

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Speaker 6: clever and predictable. I could be a human being and

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Speaker 6: still say I'm going to play a melody that it's

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Speaker 6: going to make people cry and laugh at the same time.

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Speaker 6: Why because they are at a molecular level, they remember

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Speaker 6: that they also have this gift in vie, a gift

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Speaker 6: before we came out of the womb, imbued to create

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Speaker 6: blessings and miracles. That's what music is about. The show business,

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Speaker 6: their entertainment, and then there's music to really elevate, transform,

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Speaker 6: and illumine the human consciousness of this planets. So we

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Speaker 6: don't have the stuff that's been having for the last

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Speaker 6: two years. Fear and separation and superiority and racism. All

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Speaker 6: that stuff counts.

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Speaker 7: For one word, fear. Fear.

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Speaker 6: And that's why I play culture in all the time

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Speaker 6: because as soon as I play I Love Supreme, fear

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Speaker 6: disappears immediately in the room.

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Speaker 1: Wow, Okay, now I gotta go into the first question.

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Speaker 4: Okay, Now, will you tell us what it was like

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Speaker 4: to work with Thomas?

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Speaker 1: All right, can you tell me what was your first

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Speaker 1: musical memory?

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Speaker 6: My dad, my father, we were in a in a

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Speaker 6: yard in the backyard in outlan Halisco, small little town,

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Speaker 6: and it was like five o'clock in the afternoon. Everything

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Speaker 6: kind of gives gold, you know, when the sound goes down.

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Speaker 6: Everything looks golden. And my father he was over there

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Speaker 6: teaching me how to read and one of me teaching

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Speaker 6: me how to play the violin. So he happened, opened

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Speaker 6: up the violin case, grab the violin, put it, put

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Speaker 6: it up here like this, and then he goes meta,

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Speaker 6: which means look meta.

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Speaker 7: Then he went.

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Speaker 6: And I'm like what And then a bird comes over.

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Speaker 6: There's a little lands lanes on this street, and he

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Speaker 6: was he goes, best, do you see? He goes as

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Speaker 6: one more time.

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Speaker 1: Bird.

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Speaker 7: If you can talk to the birds, you can talk

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Speaker 7: to people. Get it.

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Speaker 1: And I was like, d.

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Speaker 2: That's crazy. My daddy do that too.

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Speaker 1: He talked the bird really yeah, wow, And.

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Speaker 7: See why don't you talk to Charlie bird? That's bird parking.

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Speaker 7: You're on a hale on the land.

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Speaker 1: So your father was a violinist, yes, okay, okay? Oh?

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Speaker 1: Also what what where were you born?

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Speaker 7: I was born in outland Jalisco. It's a little town

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Speaker 7: in between Gualalajada and Puerto Bayta. If you blink you

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Speaker 7: missed it. Okay, It's very small.

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Speaker 1: And how long how long did you stay there? Like

359
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Speaker 1: what was your family situation? Like did you have brothers

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Speaker 1: and sisters or was it a musical family.

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Speaker 7: Yes, thank you for asking. From forty seven, where I

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Speaker 7: was born.

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Speaker 6: Till fifty five, we left because my mom was the

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Speaker 6: one that would always say those obamas, which means we're

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Speaker 6: out of here, you know, because my dad was already

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Speaker 6: living in Tijuana and sending us money from from Tijuana,

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Speaker 6: you know, because they got really hard to make a

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Speaker 6: living and outline howlice go for my dad and feed

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Speaker 6: four sisters and two brothers, and my mom and the

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Speaker 6: lady who was working with us. So it was a

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Speaker 6: lot of people to feed. And so my mom says,

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Speaker 6: we're out of here.

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Speaker 7: You know.

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Speaker 6: Your dad sent me some money to kind of like,

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Speaker 6: you know, make up and console me because they haven't.

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Speaker 7: Seen me for almost like a year.

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Speaker 6: So he sent me some money for me to buy

378
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Speaker 6: a stuff that we're living almost in the streets, you know.

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Speaker 6: And so she goes, I'm gonna take this money. I'm

380
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Speaker 6: going to give it to this guy that your dad knows.

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Speaker 6: He works as a cab driver in the center of town.

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Speaker 6: I'm going to give him half of that money and

383
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Speaker 6: use that money the rest of your have to feed

384
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Speaker 6: you guys. But we're going to Tijuana and we see you,

385
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Speaker 6: We're going to see your dad. And if your dad

386
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Speaker 6: don't want me or you guys, he have to tell us.

387
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Speaker 6: I the eye in front of us.

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Speaker 7: So my mom, my mom was like that, you know.

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Speaker 7: So I was like, oh, so, so we.

390
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Speaker 6: All got into one car, man and we took it

391
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Speaker 6: like a week to get there. And you know, it's

392
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Speaker 6: a long story, but but it's a story of this man.

393
00:24:01,840 --> 00:24:06,879
Speaker 6: My story is my mother is pure conviction, a pure

394
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Speaker 6: conviction woman, and my dad pure charisma. I mean, this dude, man,

395
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Speaker 6: it was like people looked at him like he was

396
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Speaker 6: like Clark Gable or something.

397
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Speaker 7: You know.

398
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Speaker 6: Women, Oh the who said, you know, they just melt

399
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Speaker 6: and stuff. So I got those two from my mom,

400
00:24:23,320 --> 00:24:29,720
Speaker 6: charisma and conviction, and they gave me something that is

401
00:24:29,800 --> 00:24:33,560
Speaker 6: very important for musicians to show up with, not arrogance,

402
00:24:34,600 --> 00:24:42,320
Speaker 6: but confidence, like Miles Dave's confidence, you know, Tony Williams confidence.

403
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Speaker 2: What happened though, Carlos when she got there, she wrote,

404
00:24:45,520 --> 00:24:47,680
Speaker 2: she wrote up with confidence, but did she succeed eat

405
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Speaker 2: and what she wanted?

406
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Speaker 6: Well, yeah, she had to knock on the door where

407
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Speaker 6: my dad had sent the address from this letter and

408
00:24:55,840 --> 00:24:58,000
Speaker 6: it was three o'clock in the afternoon, and nobody would

409
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Speaker 6: answer the door, and and so she so she knocked harder,

410
00:25:02,960 --> 00:25:06,280
Speaker 6: and then this woman opened the door, you know, and yeah,

411
00:25:06,359 --> 00:25:10,960
Speaker 6: and she was and so first before she answered the door,

412
00:25:11,280 --> 00:25:14,040
Speaker 6: there was like a wineo darrel like in the streets.

413
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Speaker 6: And she says to my mom, who are you looking for?

414
00:25:17,359 --> 00:25:19,439
Speaker 6: He said, So, my mom described my dadd He goes, oh,

415
00:25:19,440 --> 00:25:24,119
Speaker 6: he's inside. Knock again louder. So she knocked again, and the.

416
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Speaker 7: Lady opened the door, and she started screaming at.

417
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Speaker 6: My mom and cursing at her, and she was making

418
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Speaker 6: such a rockets my dad all my dad came out.

419
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Speaker 6: And first thing he looked at first thing, he looked

420
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Speaker 6: at me. First thing he looked at west me and

421
00:25:37,600 --> 00:25:40,040
Speaker 6: he was mesmer. He was like, and then he looked

422
00:25:40,040 --> 00:25:42,679
Speaker 6: at my mom and the rest of us, like, what

423
00:25:42,720 --> 00:25:43,560
Speaker 6: are you doing here?

424
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Speaker 5: Oh?

425
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Speaker 1: And his and his.

426
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Speaker 7: Face looked like.

427
00:25:50,160 --> 00:25:56,200
Speaker 6: The NBC peacock with all the colors in it.

428
00:25:57,000 --> 00:25:58,240
Speaker 7: And my mom said, my mom.

429
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Speaker 6: My mom was like, you know, she did her thing,

430
00:26:01,359 --> 00:26:04,800
Speaker 6: and next thing, I know, he left that prostitute that

431
00:26:04,840 --> 00:26:08,680
Speaker 6: he was staying with, and then she took us into

432
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Speaker 6: this other place. And you know, it was the it

433
00:26:11,000 --> 00:26:13,399
Speaker 6: was the worst part of Tijuana. It was the ghetto

434
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Speaker 6: of the ghetto ghetto.

435
00:26:14,640 --> 00:26:17,560
Speaker 7: You know, they didn't even have a roof yet, they

436
00:26:17,560 --> 00:26:18,800
Speaker 7: were still building this house.

437
00:26:18,840 --> 00:26:19,040
Speaker 1: You know.

438
00:26:19,320 --> 00:26:21,800
Speaker 7: I don't want to tell like like melancholy whatever, but

439
00:26:22,720 --> 00:26:24,240
Speaker 7: you know, it is what it.

440
00:26:24,200 --> 00:26:29,720
Speaker 6: Is, and all that stuff gave us conviction, you know,

441
00:26:29,800 --> 00:26:35,119
Speaker 6: because there's you can only go up from here, you know.

442
00:26:37,119 --> 00:26:39,280
Speaker 4: Do you ever go back to your original hometown.

443
00:26:41,280 --> 00:26:41,520
Speaker 7: Yes.

444
00:26:41,600 --> 00:26:44,560
Speaker 6: I went to Outland a couple of times, and I

445
00:26:44,600 --> 00:26:49,880
Speaker 6: started the clinic, by the grace of God, a hospital clinic.

446
00:26:50,359 --> 00:26:53,119
Speaker 6: We invested I don't know how many millions because I

447
00:26:53,119 --> 00:26:55,240
Speaker 6: don't keep track of numbers and records.

448
00:26:55,359 --> 00:26:57,480
Speaker 7: I don't know how many records I record. But anyway,

449
00:26:57,520 --> 00:26:58,720
Speaker 7: we're able to have.

450
00:27:00,520 --> 00:27:01,480
Speaker 1: What is it called.

451
00:27:03,280 --> 00:27:05,240
Speaker 4: Foundation, Yes, it.

452
00:27:05,240 --> 00:27:08,000
Speaker 6: Is a foundation, but it had a specific name, uh

453
00:27:08,119 --> 00:27:11,280
Speaker 6: santwary other lose like a sanctuary or light, you know.

454
00:27:12,240 --> 00:27:15,680
Speaker 6: And we had the latest and people from out Las

455
00:27:15,760 --> 00:27:21,160
Speaker 6: Vegas in Seattle. They donated brand new ambulances and stuff.

456
00:27:21,200 --> 00:27:23,280
Speaker 6: So this this this hotel, I mean, this hotel, this

457
00:27:23,359 --> 00:27:24,880
Speaker 6: hospital is it's no joke.

458
00:27:24,920 --> 00:27:27,320
Speaker 7: It's really really really state of the art, you know.

459
00:27:27,880 --> 00:27:29,760
Speaker 6: That's but I told but I told him, I think

460
00:27:29,960 --> 00:27:32,040
Speaker 6: I was doing that for fifteen twenty years with them,

461
00:27:32,040 --> 00:27:35,200
Speaker 6: and I told them, you're like a teenager. Now I'm

462
00:27:35,240 --> 00:27:36,880
Speaker 6: going to back off, and you need to pay your

463
00:27:36,880 --> 00:27:40,439
Speaker 6: own now, because you can't depend on me. It's like

464
00:27:40,440 --> 00:27:42,760
Speaker 6: when you tell your kids, man, you know, you need

465
00:27:42,800 --> 00:27:44,600
Speaker 6: to pay your own rent and you pay the water

466
00:27:44,720 --> 00:27:46,520
Speaker 6: you need to put you know, you know so I said,

467
00:27:46,680 --> 00:27:49,720
Speaker 6: So I'm back enough. You know, you in the town,

468
00:27:49,800 --> 00:27:53,320
Speaker 6: the mayor here is. But here's the thing, man, you

469
00:27:53,520 --> 00:27:55,840
Speaker 6: got it. You take care of it, because now I

470
00:27:55,920 --> 00:27:58,920
Speaker 6: want to do one in Tijuana and Juarez and and

471
00:27:59,080 --> 00:28:00,760
Speaker 6: you know, I don't know if you ever heard of

472
00:28:00,800 --> 00:28:01,560
Speaker 6: three squares.

473
00:28:02,880 --> 00:28:06,919
Speaker 7: It's a place where they have food. This lady, Julie Merritt,

474
00:28:07,440 --> 00:28:10,040
Speaker 7: before she was going to die of cancer and before

475
00:28:10,119 --> 00:28:12,680
Speaker 7: she said, before I die, I'm going to create big,

476
00:28:12,760 --> 00:28:18,160
Speaker 7: giymongous buildings like Walmart's tall, fill them out with food

477
00:28:18,160 --> 00:28:19,840
Speaker 7: and feed the kids in Las Vegas.

478
00:28:20,160 --> 00:28:24,639
Speaker 6: She did that with two buildings. She never died and

479
00:28:24,680 --> 00:28:26,480
Speaker 6: we learned so much from her. Now, if you just

480
00:28:27,480 --> 00:28:30,159
Speaker 6: take your time and go to three Squares and you

481
00:28:30,200 --> 00:28:32,800
Speaker 6: see what's happening with this building, and you see people

482
00:28:33,400 --> 00:28:36,840
Speaker 6: donating the You know, the thing about Las Vegas is

483
00:28:36,880 --> 00:28:39,080
Speaker 6: that the thing about Las Vegas, there's a lot of

484
00:28:39,120 --> 00:28:42,880
Speaker 6: people that I call weapons of mass compassion, people who

485
00:28:42,920 --> 00:28:45,560
Speaker 6: wake up to be of service to humanity. You don't

486
00:28:45,600 --> 00:28:47,960
Speaker 6: hear about them. You only hear about the clubs and

487
00:28:47,960 --> 00:28:51,000
Speaker 6: the streets. But there's bona fide people who I call

488
00:28:51,600 --> 00:28:55,040
Speaker 6: weapons of mass compassion, people who they roll up their sleeves,

489
00:28:55,040 --> 00:28:57,600
Speaker 6: they cook, they pack, they do all kinds of things,

490
00:28:57,720 --> 00:29:01,640
Speaker 6: and they're always helping and healing, care directing and curing

491
00:29:01,960 --> 00:29:03,240
Speaker 6: humanity's mentality.

492
00:29:03,920 --> 00:29:08,520
Speaker 1: How did you know that that was your particular calling,

493
00:29:08,560 --> 00:29:13,280
Speaker 1: at least for you donating that center? Like why not

494
00:29:13,560 --> 00:29:18,720
Speaker 1: a school? Why not you know, housing development or whatever?

495
00:29:18,800 --> 00:29:22,960
Speaker 1: Like what was it about doing a not a hospital,

496
00:29:23,040 --> 00:29:25,560
Speaker 1: but like a center? What was it about that that

497
00:29:25,680 --> 00:29:27,840
Speaker 1: you felt that's what the town needed?

498
00:29:29,440 --> 00:29:30,360
Speaker 7: Thank you for asking that.

499
00:29:30,480 --> 00:29:33,480
Speaker 6: I grew up with Tito Puente and BB King believing

500
00:29:33,480 --> 00:29:35,600
Speaker 6: that I could be somewhere in the middle. But in

501
00:29:35,640 --> 00:29:37,600
Speaker 6: the meantime I was checking out the lordus ware to

502
00:29:37,760 --> 00:29:41,400
Speaker 6: Martin Luther King mother Teresa, So I would say, well,

503
00:29:41,440 --> 00:29:44,240
Speaker 6: I'm going to do this so I can do that,

504
00:29:45,360 --> 00:29:48,400
Speaker 6: you know, So I'm going to play music and with

505
00:29:47,960 --> 00:29:51,080
Speaker 6: the energy or money from that, I'm going to give

506
00:29:51,120 --> 00:29:55,160
Speaker 6: it to two million, five hundred clean to mister Desmond

507
00:29:55,200 --> 00:29:57,960
Speaker 6: Tuttu to help the children with aids so they can

508
00:29:58,000 --> 00:30:01,200
Speaker 6: have uniforms, so they can have shoes, you know, because

509
00:30:01,200 --> 00:30:03,520
Speaker 6: if you don't have shoes and uniforms, you can't get

510
00:30:03,520 --> 00:30:04,480
Speaker 6: into the classroom.

511
00:30:04,680 --> 00:30:07,160
Speaker 7: So I donated. I did, We did a whole tour.

512
00:30:08,280 --> 00:30:11,080
Speaker 6: I paid my taxes and I paid my band and

513
00:30:11,120 --> 00:30:13,840
Speaker 6: what was the rest of that. I gave it to

514
00:30:13,880 --> 00:30:19,200
Speaker 6: missvestmin to to clean one check, you know. And I

515
00:30:19,240 --> 00:30:22,719
Speaker 6: did it because I'm constantly like you and you and

516
00:30:22,760 --> 00:30:25,160
Speaker 6: everybody here, I come still being Nutch.

517
00:30:25,280 --> 00:30:28,320
Speaker 7: Inwardly do this follow that?

518
00:30:29,040 --> 00:30:31,480
Speaker 6: You know? And so but I said, but I don't

519
00:30:31,520 --> 00:30:34,360
Speaker 6: want people to know that I'm doing this, And they said, well,

520
00:30:35,560 --> 00:30:36,960
Speaker 6: I know that you don't want people to know that

521
00:30:37,000 --> 00:30:40,160
Speaker 6: you're giving two million, five hundred clean to this one

522
00:30:40,200 --> 00:30:42,800
Speaker 6: too to help with the kids and the aids and everything.

523
00:30:43,760 --> 00:30:46,840
Speaker 6: But see if people do find out a little bit,

524
00:30:47,080 --> 00:30:50,160
Speaker 6: then it will inspire other people to do podcast too,

525
00:30:50,360 --> 00:30:52,360
Speaker 6: I says. So, I says, but I don't feel comfortable

526
00:30:52,360 --> 00:30:54,520
Speaker 6: because it feels weird to do something. And then it

527
00:30:54,520 --> 00:30:56,680
Speaker 6: almost feels like, look at me, I'm doing no And

528
00:30:56,720 --> 00:30:59,800
Speaker 6: they said, he said, no, man, it's not like that, you.

529
00:30:59,800 --> 00:31:01,840
Speaker 7: Know, trust us. And so I was like, so that's

530
00:31:01,840 --> 00:31:02,760
Speaker 7: why I did it like that.

531
00:31:03,160 --> 00:31:06,280
Speaker 1: You know, I get it. I get it. Wow, Wow,

532
00:31:06,400 --> 00:31:10,200
Speaker 1: that's that's beautiful to hear. Well. Eventually, of course, I

533
00:31:10,280 --> 00:31:13,120
Speaker 1: know that you moved to the United States. I'm assuming

534
00:31:13,160 --> 00:31:15,160
Speaker 1: you moved to the Bay Area. How old were you

535
00:31:15,200 --> 00:31:18,959
Speaker 1: when you settled into California.

536
00:31:19,880 --> 00:31:22,680
Speaker 7: I moved from Tijuana the first time in nineteen sixty two,

537
00:31:23,960 --> 00:31:25,720
Speaker 7: and Mom and I were not getting along.

538
00:31:26,000 --> 00:31:30,040
Speaker 6: We weren't getting alone for a long time, you know, because

539
00:31:30,200 --> 00:31:33,360
Speaker 6: she was very domineering, very set, Like I said, a

540
00:31:33,360 --> 00:31:37,080
Speaker 6: lot of conviction, and I'm not, like, with all respect

541
00:31:37,120 --> 00:31:39,200
Speaker 6: to my sisters and brothers, I'm not that kind of

542
00:31:39,200 --> 00:31:41,880
Speaker 6: guy that goes like that, you know. So I wanted

543
00:31:41,880 --> 00:31:43,360
Speaker 6: to go back to where I was working. I was

544
00:31:43,360 --> 00:31:46,840
Speaker 6: working Tijuana in a nightclub called the Convoy. We would

545
00:31:46,840 --> 00:31:50,240
Speaker 6: play for an hour and for another hour there would

546
00:31:50,240 --> 00:31:51,360
Speaker 6: be women stripping.

547
00:31:52,000 --> 00:31:55,800
Speaker 7: They were like a Stripperson still yeah yeah yeah.

548
00:31:56,080 --> 00:31:58,440
Speaker 6: So to me, I was like, oh, this is like

549
00:31:58,760 --> 00:32:00,840
Speaker 6: better than a circle, the solea whatever, you know, this

550
00:32:01,000 --> 00:32:04,280
Speaker 6: is yeah, I play an hour, you know, green onions

551
00:32:04,320 --> 00:32:07,320
Speaker 6: and you know, something's got a hold of it, and

552
00:32:07,640 --> 00:32:11,160
Speaker 6: play Eda Jeans and Booker t and all kinds of people,

553
00:32:12,200 --> 00:32:14,640
Speaker 6: and for an hour I get to see ladies, you know,

554
00:32:15,480 --> 00:32:17,120
Speaker 6: strip and do that do the thing because they have

555
00:32:17,160 --> 00:32:18,480
Speaker 6: to feed the kids, because they have to do what

556
00:32:18,520 --> 00:32:21,960
Speaker 6: they have to do, you know. But I was like, yeah,

557
00:32:22,120 --> 00:32:25,320
Speaker 6: this just go to junior high school in America. Oh no,

558
00:32:25,640 --> 00:32:27,360
Speaker 6: heck no, I don't want to go to junior high school.

559
00:32:27,440 --> 00:32:29,920
Speaker 6: I want to stay in this joint and grow up

560
00:32:29,920 --> 00:32:30,720
Speaker 6: watching this thing.

561
00:32:31,240 --> 00:32:35,600
Speaker 2: Junior high school. Carlos, You were like, whoa, Okay.

562
00:32:35,320 --> 00:32:37,680
Speaker 1: Well he's born in forty seven, so now he's fifteen.

563
00:32:37,760 --> 00:32:40,480
Speaker 6: Ye and they put plus they put me back because

564
00:32:40,520 --> 00:32:42,560
Speaker 6: I couldn't speak English. The only words that I knew

565
00:32:42,680 --> 00:32:43,920
Speaker 6: was stick him up.

566
00:32:47,480 --> 00:32:57,120
Speaker 8: And there's the annamation from the most.

567
00:32:55,400 --> 00:32:58,479
Speaker 6: Stick them up because I saw Roy Rogers, uh some

568
00:32:58,600 --> 00:33:01,320
Speaker 6: TV show Roy Rogers and somebody said stick about they

569
00:33:01,320 --> 00:33:03,280
Speaker 6: pull a gun and they're like, whoa. I said, oh,

570
00:33:03,400 --> 00:33:06,360
Speaker 6: they come up. Okay, you know, so that was one

571
00:33:06,400 --> 00:33:07,280
Speaker 6: of the first words.

572
00:33:07,080 --> 00:33:08,160
Speaker 7: In English that I learned.

573
00:33:09,320 --> 00:33:13,080
Speaker 1: Okay. Who taught you how to play? Was guitar? Your

574
00:33:13,120 --> 00:33:14,640
Speaker 1: first weapon? Of choice.

575
00:33:15,680 --> 00:33:18,000
Speaker 6: No, it was the violin. But I didn't like the

576
00:33:18,000 --> 00:33:22,560
Speaker 6: way it smell, the way it sound, way it felt, you.

577
00:33:22,480 --> 00:33:26,320
Speaker 7: Know, because you got to get that, you know, and

578
00:33:26,360 --> 00:33:26,720
Speaker 7: I like.

579
00:33:28,400 --> 00:33:31,000
Speaker 6: And my dad I didn't want to, you know, make

580
00:33:31,080 --> 00:33:32,960
Speaker 6: him angry. So I finally told him, you know, I

581
00:33:32,960 --> 00:33:35,880
Speaker 6: don't want to play this thing, man. And so my

582
00:33:35,960 --> 00:33:38,200
Speaker 6: mom took me to the center of town in Tijuana,

583
00:33:38,200 --> 00:33:40,760
Speaker 6: and there was a band called the Tjs, and there

584
00:33:40,800 --> 00:33:43,200
Speaker 6: was this dude named Haaviert about these who had a

585
00:33:43,200 --> 00:33:46,840
Speaker 6: big kunk like Little Richard, big khaki pants, you know,

586
00:33:46,960 --> 00:33:48,800
Speaker 6: big big, almost like bail bottom pans.

587
00:33:49,000 --> 00:33:51,280
Speaker 7: And he he was a component of three.

588
00:33:51,040 --> 00:33:54,000
Speaker 6: People, I mean, and he had it down. He was

589
00:33:54,040 --> 00:33:59,120
Speaker 6: like Baby King, Little Richard and Ray Chiles. That's all

590
00:33:59,200 --> 00:34:01,840
Speaker 6: he knew. And he played it really, really good. So

591
00:34:01,920 --> 00:34:03,600
Speaker 6: when I went to the center of town with my mom,

592
00:34:03,640 --> 00:34:05,480
Speaker 6: because she grabbed me by the hand, you're coming with me,

593
00:34:05,520 --> 00:34:07,400
Speaker 6: And I was like, I said, you haven't played a

594
00:34:07,400 --> 00:34:10,080
Speaker 6: while because your dad is in San Francisco, and I

595
00:34:10,120 --> 00:34:13,080
Speaker 6: don't want what he touches for you to lose it,

596
00:34:13,120 --> 00:34:15,080
Speaker 6: so come with me. So she pulled me by the

597
00:34:15,120 --> 00:34:17,440
Speaker 6: hand and she took me to see this guy and

598
00:34:17,480 --> 00:34:19,560
Speaker 6: they're playing, you know, they're playing, and the way he

599
00:34:19,640 --> 00:34:23,279
Speaker 6: hit those notes, he had that twang like bb King,

600
00:34:23,360 --> 00:34:25,520
Speaker 6: Freddie King, I'll bring He had that twang thing. And

601
00:34:25,520 --> 00:34:30,520
Speaker 6: I was like, it was like seeing a flying saficer

602
00:34:30,640 --> 00:34:33,560
Speaker 6: man or a first white whale or something.

603
00:34:33,560 --> 00:34:36,640
Speaker 7: And I was like, oh my god, right there.

604
00:34:36,719 --> 00:34:40,279
Speaker 6: I knew that's the only thing I was going to

605
00:34:40,320 --> 00:34:43,799
Speaker 6: be right there because of watching a guy play.

606
00:34:44,320 --> 00:34:48,560
Speaker 7: I mean you could when he played the guitar and

607
00:34:48,640 --> 00:34:51,440
Speaker 7: the notes resonated against the cars and the trees and

608
00:34:51,480 --> 00:34:55,759
Speaker 7: the church across the street. Man, I was like, oh

609
00:34:55,880 --> 00:34:59,400
Speaker 7: my god, the sound of the guitar.

610
00:34:59,520 --> 00:35:04,000
Speaker 6: Man is very uh you know, Jimmy Hendrix, Stevie Ray,

611
00:35:04,160 --> 00:35:07,799
Speaker 6: you know, is Albert King, is everybody you know.

612
00:35:07,840 --> 00:35:10,480
Speaker 7: It's very It seduces your senses, is uh.

613
00:35:10,640 --> 00:35:15,360
Speaker 6: Lauren Hill says, man one note from you and assaulted

614
00:35:15,400 --> 00:35:17,440
Speaker 6: all my senses, That's what she said.

615
00:35:17,960 --> 00:35:21,680
Speaker 7: So that's what guitars, guitar guitar players do because when

616
00:35:21,719 --> 00:35:22,560
Speaker 7: you band the note.

617
00:35:22,600 --> 00:35:23,960
Speaker 6: See, when you band the note and you know how

618
00:35:23,960 --> 00:35:27,840
Speaker 6: to get bended, man, that's when people hair stand.

619
00:35:27,680 --> 00:35:32,600
Speaker 7: Up, you know, and even my holes. I see.

620
00:35:32,719 --> 00:35:35,120
Speaker 6: I have a lot of pictures of my house with guitars,

621
00:35:35,120 --> 00:35:36,760
Speaker 6: you know, because he wanted to get into the guitar

622
00:35:36,920 --> 00:35:38,879
Speaker 6: and he wanted to know how to how to get

623
00:35:38,880 --> 00:35:45,560
Speaker 6: inside that note bending bending. There's something very very spiritual

624
00:35:45,600 --> 00:35:49,040
Speaker 6: and sensual. Spiritual and sensual about the guitar.

625
00:35:49,120 --> 00:35:50,040
Speaker 7: Man, it's just you.

626
00:35:49,960 --> 00:35:58,120
Speaker 9: Know, Carlos, if I may, can you just tell us

627
00:35:58,160 --> 00:36:00,960
Speaker 9: about the moment or the moments leading up in the

628
00:36:00,960 --> 00:36:04,560
Speaker 9: morning after when you received this first guitar, because I

629
00:36:06,040 --> 00:36:07,840
Speaker 9: it's it's got to be a special moment.

630
00:36:08,320 --> 00:36:09,719
Speaker 7: But yeah, it was a special But thank you for

631
00:36:09,760 --> 00:36:10,239
Speaker 7: asking that.

632
00:36:10,280 --> 00:36:12,560
Speaker 6: My dad found out for my mom that I didn't

633
00:36:12,560 --> 00:36:14,400
Speaker 6: want to quit music, but I wanted guitar.

634
00:36:14,480 --> 00:36:15,920
Speaker 7: So he sent me a big fat guitar.

635
00:36:16,440 --> 00:36:19,920
Speaker 6: So I liked West Montgomery, you know, and and uh

636
00:36:20,040 --> 00:36:24,919
Speaker 6: it had pickups, but I was so naive. I changed

637
00:36:24,960 --> 00:36:27,279
Speaker 6: the strengths and I put an eyeline strings because I

638
00:36:27,800 --> 00:36:29,680
Speaker 6: you know, and I said, well, man, I can get

639
00:36:29,680 --> 00:36:31,879
Speaker 6: a sound from this, and they said, no, you need

640
00:36:31,880 --> 00:36:32,440
Speaker 6: to put it, you know.

641
00:36:32,480 --> 00:36:36,759
Speaker 7: So I changed the strengths again. Then I got in it.

642
00:36:36,800 --> 00:36:36,960
Speaker 8: Man.

643
00:36:37,040 --> 00:36:40,360
Speaker 6: When I got in it, people were telling me you

644
00:36:40,360 --> 00:36:42,880
Speaker 6: shouldn't played bass, man, because I started with the bass.

645
00:36:42,920 --> 00:36:45,520
Speaker 6: After that you played too many damn nuns to play

646
00:36:45,520 --> 00:36:48,280
Speaker 6: the bass. You used to play the guitar, I said, okay,

647
00:36:48,560 --> 00:36:49,640
Speaker 6: so you know.

648
00:36:50,880 --> 00:36:51,480
Speaker 4: It was it was.

649
00:36:51,760 --> 00:36:54,080
Speaker 6: It's a it's all been a revelation man, being in

650
00:36:54,120 --> 00:36:57,720
Speaker 6: this planet and learning how to articulate first selectric guitar

651
00:36:58,400 --> 00:37:02,759
Speaker 6: and then all the tune in African music. You know,

652
00:37:02,760 --> 00:37:06,439
Speaker 6: because because once you get into the drums, like I said,

653
00:37:06,560 --> 00:37:08,200
Speaker 6: I love drums so much, man.

654
00:37:08,160 --> 00:37:12,440
Speaker 7: I married a drummer. Drummer, the drummer for me.

655
00:37:12,520 --> 00:37:15,840
Speaker 6: You know that that that that is the closest to

656
00:37:15,840 --> 00:37:19,840
Speaker 6: Tony Williams alive, you know, because you know, because she

657
00:37:19,880 --> 00:37:23,719
Speaker 6: had you know, anyway, so that's a beautiful combination. You know,

658
00:37:23,960 --> 00:37:30,880
Speaker 6: the guitar cheeto puente on it tuni with bb King. Man,

659
00:37:31,239 --> 00:37:34,560
Speaker 6: that's a badass combination. Next thing, you know, next thing,

660
00:37:34,600 --> 00:37:36,839
Speaker 6: you know, everybody has congers into bolists, man, Next thing,

661
00:37:36,840 --> 00:37:39,480
Speaker 6: you know, like the Rolling Stones got congas hto bolist

662
00:37:39,840 --> 00:37:41,680
Speaker 6: uh slies got congas hinto.

663
00:37:41,440 --> 00:37:46,560
Speaker 7: Ballists minus got congress. Why something happened, it would.

664
00:37:46,320 --> 00:37:50,560
Speaker 4: Stuck Mmm okay because of what they.

665
00:37:50,440 --> 00:37:53,680
Speaker 6: Said, Because it worked, because they said that it works. See,

666
00:37:54,480 --> 00:37:57,800
Speaker 6: guitar and congus make women dance differently.

667
00:37:58,160 --> 00:38:00,080
Speaker 7: You know.

668
00:38:00,520 --> 00:38:03,200
Speaker 6: The hippies. The hippies ladies. You know, they're dancing like

669
00:38:03,200 --> 00:38:04,360
Speaker 6: they're catching butterflies.

670
00:38:09,760 --> 00:38:13,799
Speaker 1: That is the standard white girl dance. I never I

671
00:38:13,880 --> 00:38:16,359
Speaker 1: never once thought of it as catching butterflies, but you did.

672
00:38:20,680 --> 00:38:22,880
Speaker 7: But then you play at Wahita, you know, which is

673
00:38:22,920 --> 00:38:24,320
Speaker 7: like chango.

674
00:38:25,960 --> 00:38:33,960
Speaker 6: With b the ging doom Doom Doom doom.

675
00:38:34,040 --> 00:38:43,719
Speaker 7: Dad. Look at women just go oh okay, you know.

676
00:38:44,920 --> 00:38:45,320
Speaker 8: Hey.

677
00:38:47,600 --> 00:38:51,640
Speaker 1: Wow, if you get the women to dance to it,

678
00:38:51,719 --> 00:38:56,640
Speaker 1: then it works. Okay. Uh. I had questions of Carlos

679
00:38:56,640 --> 00:39:01,520
Speaker 1: about two particular players, and they're influence and on on

680
00:39:01,560 --> 00:39:05,080
Speaker 1: your playing and just you guys personal relationship, my vision

681
00:39:05,080 --> 00:39:10,520
Speaker 1: of John H. McLoughlin, and also Peter Green. What can

682
00:39:10,560 --> 00:39:12,200
Speaker 1: you say about you guys work together?

683
00:39:13,560 --> 00:39:15,279
Speaker 6: Oh well, thank you for asking that. You know, I

684
00:39:15,360 --> 00:39:18,680
Speaker 6: knew about I knew about John from a bitches brew

685
00:39:19,640 --> 00:39:22,400
Speaker 6: and uh, but somebody told me in between I was

686
00:39:22,440 --> 00:39:24,839
Speaker 6: playing at the Filmore and a brother who was taking

687
00:39:24,880 --> 00:39:27,200
Speaker 6: care of like a ballet for BB King, he had

688
00:39:27,200 --> 00:39:29,160
Speaker 6: the day off and he says, man, you're coming with me.

689
00:39:29,200 --> 00:39:30,600
Speaker 7: I says, where are we going? He says, We're going

690
00:39:30,680 --> 00:39:32,839
Speaker 7: to go to Slugs. What's that?

691
00:39:33,000 --> 00:39:36,319
Speaker 6: It says, it's a club in Harlem, and a says,

692
00:39:36,480 --> 00:39:41,239
Speaker 6: I said, who's playing? It says Tony Williams trio, John McLaughlan,

693
00:39:41,680 --> 00:39:44,920
Speaker 6: Larry Young and Tony Williams. And that place was small,

694
00:39:45,280 --> 00:39:46,920
Speaker 6: but they were allowed.

695
00:39:47,120 --> 00:39:51,400
Speaker 1: Right, This was so period. This is before it for

696
00:39:51,520 --> 00:39:52,080
Speaker 1: a lifetime.

697
00:39:52,120 --> 00:39:55,040
Speaker 7: Okay, emergency, emergency, emergency, emergency. Yeah.

698
00:39:55,120 --> 00:39:55,520
Speaker 1: Yeah.

699
00:39:55,960 --> 00:39:57,600
Speaker 7: And when I first heard him play.

700
00:39:58,960 --> 00:40:02,560
Speaker 6: Again, it's it's a different kind of revelation because you're

701
00:40:02,600 --> 00:40:08,480
Speaker 6: going from Johnny Hooker, Lightning Hopkins, Jimmy Reed, bb King,

702
00:40:08,520 --> 00:40:11,680
Speaker 6: Freddy King. You're going to a cat like John McLaughlin

703
00:40:12,280 --> 00:40:17,280
Speaker 6: who's playing a combination of John go Reinhardt with Robbie

704
00:40:17,280 --> 00:40:23,520
Speaker 6: Shanker with Wes Montgomery, and he's burning, burning with this

705
00:40:23,760 --> 00:40:28,600
Speaker 6: dexterity him and Tony Williams. And I was like, oh

706
00:40:28,719 --> 00:40:32,320
Speaker 6: my god, you know, I don't know people can actually

707
00:40:32,400 --> 00:40:35,120
Speaker 6: play like this. And here's the word I don't know

708
00:40:35,120 --> 00:40:39,839
Speaker 6: people who I didn't know people could articulate this kind

709
00:40:39,880 --> 00:40:43,560
Speaker 6: of language that is beyond superlatives.

710
00:40:44,640 --> 00:40:49,359
Speaker 1: Was Tony. You know, it's where one of the very

711
00:40:49,440 --> 00:40:53,799
Speaker 1: first American, not American roots shows, but one of the

712
00:40:53,920 --> 00:40:57,120
Speaker 1: very first root shows. Once we got our record deal,

713
00:40:57,880 --> 00:41:02,040
Speaker 1: Tony Williams was also at the gig, and I'm really

714
00:41:02,080 --> 00:41:05,759
Speaker 1: kicking myself that I didn't watch him, like I didn't

715
00:41:05,760 --> 00:41:08,160
Speaker 1: really start to worship him, even though I knew him

716
00:41:08,200 --> 00:41:12,959
Speaker 1: well or knew of his work well. But you know, unfortunately,

717
00:41:13,040 --> 00:41:15,760
Speaker 1: like I guess, when people pass away, then you really

718
00:41:16,080 --> 00:41:22,000
Speaker 1: you start to hear their music differently. And even like

719
00:41:22,080 --> 00:41:25,520
Speaker 1: this the next book that I wrote, like chapter one

720
00:41:25,600 --> 00:41:29,319
Speaker 1: is actually dedicated to there's a Tony Williams song called

721
00:41:29,320 --> 00:41:33,960
Speaker 1: there Comes the Time. Yeah that, yeah, that's that's how

722
00:41:33,960 --> 00:41:36,480
Speaker 1: I met my original manager. My manager used to be

723
00:41:36,560 --> 00:41:40,680
Speaker 1: like a DJ at a jazz station. And I don't know,

724
00:41:40,719 --> 00:41:44,480
Speaker 1: like I was really transfixed when I heard that song,

725
00:41:45,120 --> 00:41:48,759
Speaker 1: and like it just always stuck with me. But I

726
00:41:48,760 --> 00:41:51,840
Speaker 1: always wanted to know, like, since you got to witness

727
00:41:51,880 --> 00:41:56,400
Speaker 1: prime Tony Williams drum, was he his symbol playing to me?

728
00:41:57,160 --> 00:42:00,160
Speaker 1: And I get you know that Cindy is also so

729
00:42:00,360 --> 00:42:03,520
Speaker 1: like a branch of the Tony Williams tree. Was he

730
00:42:04,320 --> 00:42:07,640
Speaker 1: in person during his prime? Was he as violently loud

731
00:42:08,239 --> 00:42:11,600
Speaker 1: as a drummer as I imagine that he was, Because

732
00:42:11,640 --> 00:42:15,640
Speaker 1: my only testament, you know, besides what I see on YouTube,

733
00:42:15,760 --> 00:42:17,600
Speaker 1: but you know, a lot of that stuff is more

734
00:42:17,719 --> 00:42:21,520
Speaker 1: like eighties Tony Williams. But there's really not much of

735
00:42:21,560 --> 00:42:27,239
Speaker 1: the late sixties, early seventies twenty Tony Williams archives available.

736
00:42:27,400 --> 00:42:31,560
Speaker 1: But what was it? What was his power? Like? Like

737
00:42:32,320 --> 00:42:34,719
Speaker 1: he was just one of the loudest drummers I ever heard.

738
00:42:35,040 --> 00:42:37,759
Speaker 6: I mean I heard Cream and their peak. I heard

739
00:42:37,800 --> 00:42:40,080
Speaker 6: Jimmy Hendrix at his peak. I heard led Sepplin at

740
00:42:40,080 --> 00:42:44,320
Speaker 6: their peak. I have never heard anybody play by Tony Williams,

741
00:42:45,120 --> 00:42:49,600
Speaker 6: John mcclough and Larry Young, not one of them come

742
00:42:49,680 --> 00:42:53,960
Speaker 6: close to dynamics and just pure energy did this guy's have?

743
00:42:54,360 --> 00:42:58,239
Speaker 6: Plus the mentality it's not even mentality because it's not

744
00:42:58,280 --> 00:42:59,000
Speaker 6: mental music.

745
00:43:00,480 --> 00:43:01,920
Speaker 7: You know, you can't put superlatives on.

746
00:43:01,960 --> 00:43:05,640
Speaker 6: Tony Williams or John Coltrane because there's just no words

747
00:43:05,680 --> 00:43:09,960
Speaker 6: in this planet to describe the unknown. But it's but

748
00:43:10,239 --> 00:43:13,680
Speaker 6: you've seen it, you're hearing it, and you cannot believe it.

749
00:43:14,520 --> 00:43:15,480
Speaker 7: Let me give you an example.

750
00:43:16,080 --> 00:43:20,120
Speaker 6: I zoomed then on his high hat on his foot,

751
00:43:20,360 --> 00:43:23,880
Speaker 6: and he was left right like like that, but at

752
00:43:23,920 --> 00:43:26,359
Speaker 6: the speed of a at the speed of a hummingbird's wing,

753
00:43:30,320 --> 00:43:32,560
Speaker 6: and he locks it. So that's locked.

754
00:43:32,640 --> 00:43:34,120
Speaker 7: It's not going anywhere now.

755
00:43:34,120 --> 00:43:35,600
Speaker 6: He can do whatever he wants to do with his

756
00:43:35,719 --> 00:43:38,120
Speaker 6: right hand and then with left hand and with his.

757
00:43:38,120 --> 00:43:40,840
Speaker 7: Full drop drop bombs. But I never seen.

758
00:43:40,640 --> 00:43:44,640
Speaker 6: Anybody lock a high head at the speed of the

759
00:43:44,680 --> 00:43:51,319
Speaker 6: hummingbird's wings and locked with total confidence and assurance. I

760
00:43:51,360 --> 00:43:54,040
Speaker 6: looked at him and I was like, oh my god,

761
00:43:54,120 --> 00:43:58,040
Speaker 6: this is like my brain just was like, I feel

762
00:43:58,080 --> 00:44:03,919
Speaker 6: like my brain's getting like stretch, you know, from That's

763
00:44:03,960 --> 00:44:04,920
Speaker 6: the best band.

764
00:44:04,760 --> 00:44:06,960
Speaker 7: I have ever seen it in my entire existence.

765
00:44:07,000 --> 00:44:10,160
Speaker 6: And I love Jimmy, I love Cream, I love Lidzepar,

766
00:44:10,280 --> 00:44:11,080
Speaker 6: I love a lot of them.

767
00:44:11,600 --> 00:44:16,799
Speaker 7: I have never heard anybody with that trio like that.

768
00:44:17,120 --> 00:44:22,280
Speaker 1: I believe you. I believe you. You know, a couple

769
00:44:22,320 --> 00:44:27,400
Speaker 1: of episodes back, we have Raphael Sadik on our show,

770
00:44:27,960 --> 00:44:31,800
Speaker 1: and you know, to hear him describe the Bay Area

771
00:44:32,960 --> 00:44:36,359
Speaker 1: and what it meant to grow up in the Bay

772
00:44:36,440 --> 00:44:41,560
Speaker 1: Area at the time when musicianship was at its absolute peak,

773
00:44:42,360 --> 00:44:47,080
Speaker 1: you know, with with San Francisco, like with the the

774
00:44:47,680 --> 00:44:51,120
Speaker 1: Summer of Love coming into play and to bloom and

775
00:44:51,400 --> 00:44:55,960
Speaker 1: especially like in Oakland with funk brewing over there. How

776
00:44:56,160 --> 00:44:59,160
Speaker 1: how is that well for him? He was just describing

777
00:44:59,160 --> 00:45:03,279
Speaker 1: it what it was like be young to you know,

778
00:45:03,440 --> 00:45:05,920
Speaker 1: casually be a ten year old and see Larry Graham

779
00:45:06,239 --> 00:45:10,560
Speaker 1: or to casually see you or you know, all these

780
00:45:10,640 --> 00:45:14,120
Speaker 1: musicians that are in the area. What was it I mean,

781
00:45:14,120 --> 00:45:17,240
Speaker 1: because you're one of the pioneers in the Bay Area,

782
00:45:18,480 --> 00:45:23,080
Speaker 1: what was it about that particular place on the map

783
00:45:24,480 --> 00:45:29,759
Speaker 1: that just made musicianship on a whole another level? Like

784
00:45:29,840 --> 00:45:33,319
Speaker 1: can you just I mean, I'm assuming by you know,

785
00:45:33,640 --> 00:45:36,480
Speaker 1: by at least the mid sixties, you got your chops up.

786
00:45:37,200 --> 00:45:42,200
Speaker 1: So can you just describe pre record deal, pre Santana

787
00:45:42,239 --> 00:45:44,600
Speaker 1: first record? Like what what.

788
00:45:44,560 --> 00:45:44,759
Speaker 8: Is the.

789
00:45:46,360 --> 00:45:52,600
Speaker 1: Modus operandi of a musician in say nineteen sixty seven,

790
00:45:52,719 --> 00:45:56,560
Speaker 1: nineteen sixty eight in the Bay Area? Like is it

791
00:45:56,680 --> 00:45:59,600
Speaker 1: Jam Sessions Galore? Is it? Like who your peers at

792
00:45:59,640 --> 00:46:00,000
Speaker 1: the time?

793
00:46:00,160 --> 00:46:06,920
Speaker 6: Hm Brown zero for consciousness Revolution. You know, besides Els

794
00:46:07,000 --> 00:46:11,640
Speaker 6: the peote, mescaline, ayahuasca, you have Charles Lloyd, You have

795
00:46:11,719 --> 00:46:16,759
Speaker 6: John Handy, you have Robbie Shankard, you have or this

796
00:46:16,800 --> 00:46:18,520
Speaker 6: is reading, you have James Brown.

797
00:46:18,600 --> 00:46:22,280
Speaker 7: You have all all of it is in one particular.

798
00:46:23,120 --> 00:46:26,919
Speaker 6: Like a nebula, you know, and you have bb King,

799
00:46:27,040 --> 00:46:30,360
Speaker 6: you have Albert King, and then you have uh who else?

800
00:46:31,120 --> 00:46:34,120
Speaker 7: You have Lee Morgan? You know, you can go you

801
00:46:34,160 --> 00:46:35,600
Speaker 7: can go any club man, and.

802
00:46:35,520 --> 00:46:39,239
Speaker 6: Here this this, you know, George Benson, this cat this

803
00:46:39,360 --> 00:46:41,880
Speaker 6: before George Benson was singing, you know, and he was

804
00:46:41,960 --> 00:46:43,799
Speaker 6: she was tearing the guitar up and a whole other

805
00:46:43,880 --> 00:46:47,480
Speaker 6: kind of way. So for me, when people say what

806
00:46:47,520 --> 00:46:49,040
Speaker 6: are you going to do tonight, it says, man, it's

807
00:46:49,040 --> 00:46:50,640
Speaker 6: hard to decide. I'm going to go to the Both

808
00:46:50,680 --> 00:46:54,600
Speaker 6: Hands Club and see Miles Davis, or I'm gonna go

809
00:46:54,680 --> 00:46:59,200
Speaker 6: see Monga Santo Maria or West Montgomery or the Grateful

810
00:46:59,280 --> 00:47:02,319
Speaker 6: Dead or Live Stone, you know, and it's all like

811
00:47:02,960 --> 00:47:06,279
Speaker 6: right there, you know. And so what makes it more

812
00:47:07,760 --> 00:47:12,880
Speaker 6: delicious is that you can actually understand what they're doing.

813
00:47:13,880 --> 00:47:16,319
Speaker 6: You know, it's not out of the realm of your

814
00:47:16,400 --> 00:47:20,759
Speaker 6: understanding capabilities. And it's like if you keep looking at

815
00:47:20,800 --> 00:47:22,960
Speaker 6: it and hearing it from your inner.

816
00:47:22,680 --> 00:47:25,000
Speaker 7: Ear, you can see what they're doing.

817
00:47:25,480 --> 00:47:25,719
Speaker 1: You know.

818
00:47:26,000 --> 00:47:30,959
Speaker 6: It's just a matter of like going home and articulating,

819
00:47:31,760 --> 00:47:34,440
Speaker 6: getting close to the facility, because you have to have

820
00:47:34,440 --> 00:47:37,080
Speaker 6: a certain kind of facility to articulate.

821
00:47:37,120 --> 00:47:37,399
Speaker 7: You know.

822
00:47:37,600 --> 00:47:40,080
Speaker 6: I mean, the difference between I can tell the one no,

823
00:47:40,239 --> 00:47:44,760
Speaker 6: the difference between Lee Morgan or Freddie Habert or Miles

824
00:47:45,320 --> 00:47:49,239
Speaker 6: or Clark Terry, you know, just trumpets alone. I know

825
00:47:49,320 --> 00:47:51,799
Speaker 6: the guitar players, I know the drummers, you know. And

826
00:47:51,880 --> 00:47:54,719
Speaker 6: so for me, growing up in San Francisco was like

827
00:47:54,760 --> 00:47:59,840
Speaker 6: the ultimate university of being connected to it all and

828
00:48:00,080 --> 00:48:08,080
Speaker 6: at the same time develop your own individuality, uniqueness and authenticity,

829
00:48:08,640 --> 00:48:10,720
Speaker 6: you know, because anybody will.

830
00:48:10,600 --> 00:48:11,879
Speaker 7: Tell you, man, don't play my shit.

831
00:48:12,200 --> 00:48:15,439
Speaker 6: Hey, We'll get your own, man, you know, don't don't

832
00:48:15,440 --> 00:48:18,080
Speaker 6: come over here playing somebody else's shit, man, you know,

833
00:48:18,200 --> 00:48:20,800
Speaker 6: and they gave it. They give you that look, you know, like, hey, man,

834
00:48:21,120 --> 00:48:22,040
Speaker 6: you know they do.

835
00:48:22,040 --> 00:48:23,000
Speaker 7: That in Africa.

836
00:48:23,120 --> 00:48:27,000
Speaker 6: Also, they might have fifty drummers and each one has

837
00:48:27,040 --> 00:48:29,800
Speaker 6: to play their own thing. They'll give you a dirty

838
00:48:29,800 --> 00:48:32,279
Speaker 6: look like, man, don't play my thing, Go get your

839
00:48:32,320 --> 00:48:32,960
Speaker 6: own thing, you know.

840
00:48:33,280 --> 00:48:34,960
Speaker 7: And it was like that in San Francisco.

841
00:48:35,480 --> 00:48:39,279
Speaker 6: You have to find, you know, the difference between sly

842
00:48:39,560 --> 00:48:43,319
Speaker 6: stepping wolf and creating's clear water, you know, Tina Turner.

843
00:48:43,080 --> 00:48:46,600
Speaker 7: Albert Collins, Albera King, you know. And for me, I

844
00:48:46,680 --> 00:48:50,319
Speaker 7: was like I couldn't get enough, man, I could hardly.

845
00:48:51,000 --> 00:48:52,960
Speaker 7: I didn't even want to go to sleep because I

846
00:48:53,040 --> 00:48:55,480
Speaker 7: just want to soak it all up. I said, Man,

847
00:48:55,800 --> 00:48:58,759
Speaker 7: I must have died because this is heaven. Heaven. You know,

848
00:48:59,400 --> 00:49:02,920
Speaker 7: if you want to just check out john Ley Hooker

849
00:49:03,080 --> 00:49:08,239
Speaker 7: and the Doors and Coltrane, I love Supreme. It's the

850
00:49:08,280 --> 00:49:09,080
Speaker 7: same thing.

851
00:49:11,000 --> 00:49:19,719
Speaker 1: Right true. Wait, can I do a follow up to

852
00:49:19,719 --> 00:49:20,440
Speaker 1: that question, Steve?

853
00:49:21,080 --> 00:49:22,120
Speaker 4: Yeah, I'll allow it.

854
00:49:22,560 --> 00:49:27,280
Speaker 1: Thank you, I appreciate it. Here's the thing though, because

855
00:49:27,320 --> 00:49:30,080
Speaker 1: your debut album, and I want to know how you

856
00:49:30,120 --> 00:49:35,160
Speaker 1: got your record deal, but your debut album also arrives

857
00:49:35,360 --> 00:49:39,520
Speaker 1: at the same time, right in the same month as Woodstock,

858
00:49:39,680 --> 00:49:44,520
Speaker 1: which clearly that's the event that will define that generation.

859
00:49:45,160 --> 00:49:51,200
Speaker 1: But what I also noticed was that right after Woodstock,

860
00:49:51,960 --> 00:49:54,120
Speaker 1: it's kind of the you know, the turn of a

861
00:49:54,160 --> 00:49:58,319
Speaker 1: new decade, and things got darker, you know, a lot

862
00:49:58,360 --> 00:50:02,600
Speaker 1: of cynicism, a lot of darkness, especially in the music

863
00:50:02,640 --> 00:50:05,560
Speaker 1: of Sly And you know, I'm and I'm conflicted on

864
00:50:05,600 --> 00:50:08,240
Speaker 1: there's a ride going on, you know, because yes, it's

865
00:50:09,040 --> 00:50:12,320
Speaker 1: it's the first funk record and I can't deny something

866
00:50:12,360 --> 00:50:16,200
Speaker 1: that literally puts food on my table to this day.

867
00:50:17,160 --> 00:50:20,400
Speaker 1: But also know that that album to me is almost

868
00:50:20,440 --> 00:50:24,040
Speaker 1: like Slide falling on his sword, if you will, like

869
00:50:24,160 --> 00:50:28,520
Speaker 1: his personal demons also coming to light. But then you know,

870
00:50:28,600 --> 00:50:31,400
Speaker 1: but I also feel like with the exception of a

871
00:50:31,520 --> 00:50:36,479
Speaker 1: choice few, you seem to be the only person from

872
00:50:36,520 --> 00:50:42,520
Speaker 1: the Woodstock, the class of Woodstock, that still stayed in

873
00:50:42,560 --> 00:50:46,000
Speaker 1: a spiritual lane. Like you didn't get dark, You didn't

874
00:50:46,080 --> 00:50:49,880
Speaker 1: get you didn't get cynical. You know, I don't I

875
00:50:49,880 --> 00:50:51,880
Speaker 1: don't know what was happening in your personal life at

876
00:50:51,880 --> 00:50:57,560
Speaker 1: the time, But can you explain why when everyone else

877
00:50:58,400 --> 00:51:02,680
Speaker 1: at the turn of sixty nine seventy seventy one, when

878
00:51:02,719 --> 00:51:06,280
Speaker 1: they all went to kind of a darker creative place,

879
00:51:07,360 --> 00:51:12,239
Speaker 1: that you didn't venture there all that much like your

880
00:51:12,320 --> 00:51:16,799
Speaker 1: music and even though like of course, like by the

881
00:51:16,840 --> 00:51:19,680
Speaker 1: fourth or fifth album, you sort of slid away from

882
00:51:20,080 --> 00:51:22,200
Speaker 1: I guess what Clive would have life loved you to

883
00:51:22,320 --> 00:51:26,280
Speaker 1: keep churning out the hits and whatnot to the level

884
00:51:26,480 --> 00:51:31,240
Speaker 1: of the first two records. But you know you didn't

885
00:51:31,280 --> 00:51:36,360
Speaker 1: go dark. And can you explain why or what was

886
00:51:36,400 --> 00:51:39,680
Speaker 1: happening at least at that time that just caused everyone

887
00:51:39,719 --> 00:51:43,480
Speaker 1: to go to just a darker cynical place with their creativity.

888
00:51:44,280 --> 00:51:46,600
Speaker 6: Thank you for asking that. You know, most of it

889
00:51:46,640 --> 00:51:51,680
Speaker 6: comes from my mother saying to me so nosti, which

890
00:51:51,680 --> 00:51:55,480
Speaker 6: means that is not for you. For you, you know

891
00:51:55,640 --> 00:52:01,239
Speaker 6: the cocaine, cocaine shooting up that is not for you.

892
00:52:01,560 --> 00:52:03,759
Speaker 6: And she said it so loud and so engraded in

893
00:52:03,840 --> 00:52:08,359
Speaker 6: my thing. So the other thing is that I want

894
00:52:08,440 --> 00:52:11,880
Speaker 6: to just pause for a second and tell you I

895
00:52:11,960 --> 00:52:16,319
Speaker 6: want to offer you my deepest gratitude for bringing out

896
00:52:17,280 --> 00:52:20,640
Speaker 6: the black woodstof from from Harlem, because man, I just

897
00:52:20,719 --> 00:52:24,640
Speaker 6: signed this summer and I was like, damn, I got

898
00:52:24,640 --> 00:52:27,279
Speaker 6: all these questions to ask you. Man, like you have

899
00:52:27,400 --> 00:52:30,080
Speaker 6: the whole thing from Sunny Sharraq I want.

900
00:52:29,920 --> 00:52:37,279
Speaker 10: I want you know the second you're the second very

901
00:52:37,280 --> 00:52:39,320
Speaker 10: famous guitar player that wants to hear that you and

902
00:52:39,360 --> 00:52:41,759
Speaker 10: Papatheni can go down on Sundys sharrock man all day.

903
00:52:41,760 --> 00:52:42,440
Speaker 1: It was amazing.

904
00:52:42,480 --> 00:52:44,360
Speaker 7: Okay, Okay, so I'm gonna do.

905
00:52:44,920 --> 00:52:47,600
Speaker 6: I'm connected with Dave Snyder, which is this keyboard player

906
00:52:48,040 --> 00:52:51,080
Speaker 6: and and uh I made a promise.

907
00:52:50,760 --> 00:52:56,160
Speaker 7: To create a Jubilation Okay, that's the name of the CD.

908
00:52:56,560 --> 00:52:58,800
Speaker 6: Now I'm going to have all the drunk guitar players

909
00:52:58,800 --> 00:53:00,560
Speaker 6: that I love, and each one is gonna pick a song.

910
00:53:13,400 --> 00:53:23,160
Speaker 1: Wow. Yeah, I already decided you're going to be my shaman.

911
00:53:23,280 --> 00:53:25,920
Speaker 1: So yes, I'll share that with you. Something I've never

912
00:53:25,960 --> 00:53:27,400
Speaker 1: seen had you heard.

913
00:53:27,200 --> 00:53:30,759
Speaker 8: Of that concert in real time? Like, had you heard

914
00:53:30,800 --> 00:53:32,080
Speaker 8: of what was going on in Harlem?

915
00:53:33,400 --> 00:53:33,600
Speaker 2: Yeah?

916
00:53:33,680 --> 00:53:34,080
Speaker 1: Wow, don't.

917
00:53:34,160 --> 00:53:35,320
Speaker 2: It's not called the black Woodstock.

918
00:53:35,360 --> 00:53:39,000
Speaker 7: We don't do that, I know. Sorry, you know, yes, okay,

919
00:53:39,160 --> 00:53:41,200
Speaker 7: I'm sorry. What do you call it? The summer summer?

920
00:53:41,320 --> 00:53:44,279
Speaker 8: So summer summer of soul in the con I mean

921
00:53:44,320 --> 00:53:47,480
Speaker 8: the folks that live there called the concert at that park?

922
00:53:48,000 --> 00:53:48,719
Speaker 2: What's the park again?

923
00:53:48,800 --> 00:53:51,680
Speaker 1: A mayor? Marcus Dery, Marcus Garvey, Marcus Garvey Park.

924
00:53:51,760 --> 00:53:53,400
Speaker 5: Yeah, okay, I know about that.

925
00:53:53,680 --> 00:53:53,879
Speaker 6: Yeah.

926
00:53:53,920 --> 00:53:55,640
Speaker 2: Yeah, So did you know about it in real time?

927
00:53:56,520 --> 00:53:56,920
Speaker 7: No?

928
00:53:56,920 --> 00:53:59,719
Speaker 6: No, I mean I heard it floating around because the

929
00:53:59,760 --> 00:54:02,359
Speaker 6: person and who told me about this before anybody was

930
00:54:02,360 --> 00:54:04,640
Speaker 6: Greg and Rico, because he knew it existed, you know

931
00:54:04,680 --> 00:54:06,719
Speaker 6: how to get a hold of it, you know. And

932
00:54:07,640 --> 00:54:09,960
Speaker 6: so those are the two things that I want, Actually

933
00:54:10,040 --> 00:54:14,399
Speaker 6: I need a lot because to answer your question again

934
00:54:14,440 --> 00:54:21,640
Speaker 6: about not so coming to the predictable victim pathetic, predictable

935
00:54:21,719 --> 00:54:27,000
Speaker 6: mentality of being too too high to play, which is

936
00:54:27,040 --> 00:54:29,480
Speaker 6: a contradiction because when I when you play, you get high,

937
00:54:29,640 --> 00:54:32,600
Speaker 6: you know, so that means that you're doing something chemically

938
00:54:32,760 --> 00:54:37,680
Speaker 6: that you shouldn't be doing because now you're you're putting

939
00:54:37,680 --> 00:54:40,680
Speaker 6: your you're putting your light, your spirit, and your soul

940
00:54:40,760 --> 00:54:43,520
Speaker 6: to the side, and your ego is saying, hey, man,

941
00:54:43,600 --> 00:54:44,200
Speaker 6: I got this.

942
00:54:44,880 --> 00:54:48,080
Speaker 7: In meantime, it don't sound so good or it looks

943
00:54:48,080 --> 00:54:51,480
Speaker 7: so good or smells so good, you know.

944
00:54:52,120 --> 00:54:55,240
Speaker 6: So, So what I did is like I pay attention

945
00:54:55,320 --> 00:54:58,879
Speaker 6: to the Staples singers because I hung around with him

946
00:54:58,880 --> 00:55:01,840
Speaker 6: in Pop Staples, and I hang around, you know, with

947
00:55:01,960 --> 00:55:06,600
Speaker 6: John mcclock and so I basically I join in a

948
00:55:06,760 --> 00:55:12,600
Speaker 6: West Point type of spiritual discipline path which rich and

949
00:55:12,680 --> 00:55:18,640
Speaker 6: moy and that kept me from self destruction because you know, here,

950
00:55:18,719 --> 00:55:21,239
Speaker 6: here's the thing before we move up there, there is

951
00:55:21,280 --> 00:55:25,560
Speaker 6: such a thing as self deception and self discovery.

952
00:55:26,120 --> 00:55:27,239
Speaker 2: Okay, talk about it.

953
00:55:28,080 --> 00:55:29,439
Speaker 7: So self deception is this.

954
00:55:34,560 --> 00:55:37,800
Speaker 6: Self discovery is like I'm going to open my heart

955
00:55:37,920 --> 00:55:41,480
Speaker 6: and let God in the universe like our blake he

956
00:55:41,560 --> 00:55:46,000
Speaker 6: said it. Here's how Blakey from the Creator through us

957
00:55:46,760 --> 00:55:51,360
Speaker 6: for you. That's for me that was hired. That was

958
00:55:51,440 --> 00:55:54,480
Speaker 6: higher than heroin, cocaine or any of the other substance

959
00:55:54,600 --> 00:55:58,960
Speaker 6: like that man from the Creator directly through me for you.

960
00:55:59,560 --> 00:56:02,440
Speaker 6: And once I heard about that one, then you know

961
00:56:02,640 --> 00:56:06,359
Speaker 6: you're not going to bamboostle Santana into thinking less than

962
00:56:07,719 --> 00:56:09,359
Speaker 6: my light, my spirited and my soul.

963
00:56:09,560 --> 00:56:11,239
Speaker 2: So no, no, we know ayahwasta.

964
00:56:12,520 --> 00:56:15,480
Speaker 1: It sounds like self deception is cocaine, but self discovery

965
00:56:15,520 --> 00:56:16,040
Speaker 1: is shrooms.

966
00:56:16,200 --> 00:56:16,680
Speaker 2: There we go.

967
00:56:19,600 --> 00:56:22,160
Speaker 1: I would like to also be clear that, yeah, I

968
00:56:22,200 --> 00:56:26,040
Speaker 1: think with ayahuasca and we like, I don't. I never

969
00:56:26,120 --> 00:56:30,040
Speaker 1: consider those drugs medicine more than you.

970
00:56:30,040 --> 00:56:33,920
Speaker 2: Know, maybe the FDA does, but you know you're right about.

971
00:56:33,640 --> 00:56:35,680
Speaker 1: That because they don't want us enlightened.

972
00:56:35,800 --> 00:56:38,360
Speaker 2: I'm with it. I mean, I was just just curious.

973
00:56:38,480 --> 00:56:40,040
Speaker 2: I'm I'm in the baby stations.

974
00:56:40,120 --> 00:56:44,759
Speaker 1: Do you often do like uh sound baths or rituals

975
00:56:44,840 --> 00:56:51,200
Speaker 1: or those sort of things like sound uh spiritual sound

976
00:56:51,280 --> 00:56:53,880
Speaker 1: journeys or those sort of things like with the spiritual

977
00:56:53,880 --> 00:56:54,920
Speaker 1: community or anything.

978
00:56:56,800 --> 00:56:58,799
Speaker 6: The closest thing that I do now to any of that,

979
00:57:00,200 --> 00:57:04,359
Speaker 6: get a heart felt hug from Cindy and stay there.

980
00:57:04,600 --> 00:57:07,319
Speaker 1: Yeah, Wow, what else do you need?

981
00:57:07,560 --> 00:57:08,760
Speaker 2: I would take one of those?

982
00:57:09,120 --> 00:57:09,680
Speaker 1: Was there you go?

983
00:57:10,480 --> 00:57:13,280
Speaker 2: Not to be creepy, but your wife is amazing.

984
00:57:15,320 --> 00:57:15,640
Speaker 1: Steve.

985
00:57:16,320 --> 00:57:20,240
Speaker 3: Oh, okay, well, I really want I really want to

986
00:57:20,240 --> 00:57:23,680
Speaker 3: get to like Kirk's questions, but I'll ask one of

987
00:57:23,720 --> 00:57:26,560
Speaker 3: my two questions. Now, since we're short of in this

988
00:57:26,800 --> 00:57:30,439
Speaker 3: time period, I wanted to know if you could tell

989
00:57:30,520 --> 00:57:35,840
Speaker 3: our list is about Luis Gaska. You were on an

990
00:57:35,880 --> 00:57:38,960
Speaker 3: album in seventy two with him. He's a trumpet player.

991
00:57:40,040 --> 00:57:43,120
Speaker 3: The album's call for those who chant, and I just

992
00:57:43,200 --> 00:57:46,080
Speaker 3: wanted to put a little light on that, on that name,

993
00:57:46,120 --> 00:57:47,240
Speaker 3: if you could tell us about him.

994
00:57:47,880 --> 00:57:49,200
Speaker 7: Well, thank you for asking that man.

995
00:57:49,280 --> 00:57:52,000
Speaker 6: When the band broke up, you know, there was a period,

996
00:57:52,320 --> 00:57:57,360
Speaker 6: a specific night when I said to certain musicians I

997
00:57:57,400 --> 00:57:59,120
Speaker 6: need so and so to be out of the band

998
00:57:59,280 --> 00:58:01,880
Speaker 6: because there's a line the rest of the band with

999
00:58:01,960 --> 00:58:05,120
Speaker 6: hair run and cocaine, and we sound like crap. We

1000
00:58:05,160 --> 00:58:07,760
Speaker 6: don't practice, and this is not This is not the

1001
00:58:07,760 --> 00:58:09,320
Speaker 6: band that I mean that I want to be in.

1002
00:58:10,160 --> 00:58:10,320
Speaker 10: Uh.

1003
00:58:11,120 --> 00:58:14,680
Speaker 6: Our platinum albums are collecting dust and we're not moving forward.

1004
00:58:15,080 --> 00:58:17,200
Speaker 6: So I want this guy and that guy to be

1005
00:58:17,240 --> 00:58:19,400
Speaker 6: out of the band or I won't be on the plane.

1006
00:58:20,160 --> 00:58:21,840
Speaker 7: And they said, well then it's not your band, you

1007
00:58:21,880 --> 00:58:24,320
Speaker 7: won't be on the plane. I said, okay. So they

1008
00:58:24,440 --> 00:58:27,080
Speaker 7: left without me, you know, And so what.

1009
00:58:27,120 --> 00:58:31,120
Speaker 6: I did to console myself I went to the basins

1010
00:58:31,120 --> 00:58:35,560
Speaker 6: Street West and Broadway, San Francisco, hung out with Luis Gaska,

1011
00:58:36,360 --> 00:58:44,000
Speaker 6: Joe Henderson, George Cables, and this drummer, a drummer who played.

1012
00:58:45,480 --> 00:58:45,920
Speaker 7: Marshall.

1013
00:58:46,720 --> 00:58:49,040
Speaker 6: This is this, and they allowed me to come in

1014
00:58:49,080 --> 00:58:51,760
Speaker 6: and say hey, man, I was like, they said, goheare Santana,

1015
00:58:51,920 --> 00:58:52,120
Speaker 6: you know.

1016
00:58:52,200 --> 00:59:02,800
Speaker 7: So when they dude, dude, I was like, oh, this

1017
00:59:02,880 --> 00:59:04,680
Speaker 7: is this is different, you know.

1018
00:59:04,760 --> 00:59:08,120
Speaker 6: So I wasn't afraid to not be in Santana anymore

1019
00:59:08,200 --> 00:59:11,960
Speaker 6: because the whole world was embracing me to learn from

1020
00:59:12,040 --> 00:59:15,920
Speaker 6: Joe Henderson and Wullis Gaska and and everybody out like that.

1021
00:59:17,000 --> 00:59:19,480
Speaker 6: Any Eddie Marshall, I think it's his name, you know.

1022
00:59:20,160 --> 00:59:20,840
Speaker 1: And so.

1023
00:59:22,560 --> 00:59:24,840
Speaker 7: God found a way for me not to feel sorry

1024
00:59:24,880 --> 00:59:28,560
Speaker 7: for myself for being uh, you know, like tripping on

1025
00:59:28,800 --> 00:59:30,720
Speaker 7: you know, what's gonna happen to poor me. I don't

1026
00:59:30,720 --> 00:59:33,000
Speaker 7: think like that anyway, you know. So I just went

1027
00:59:33,040 --> 00:59:33,320
Speaker 7: to the.

1028
00:59:33,280 --> 00:59:36,880
Speaker 6: Clubs and started sitting in with people, and they were

1029
00:59:36,920 --> 00:59:40,200
Speaker 6: so gracious enough to be patient. Though I didn't know

1030
00:59:40,600 --> 00:59:43,120
Speaker 6: a lot of the changes, but I knew when to

1031
00:59:43,160 --> 00:59:44,280
Speaker 6: play and when not to play.

1032
00:59:45,520 --> 00:59:48,920
Speaker 1: But even if it was your band, you were willing

1033
00:59:48,960 --> 00:59:52,080
Speaker 1: to leave an organization that had your namesake adds its name.

1034
00:59:53,440 --> 00:59:55,400
Speaker 6: Yeah, because at that time, it was more like a

1035
00:59:55,440 --> 01:00:00,440
Speaker 6: lot of bands. It was democratic, you know, until I realized, no,

1036
01:00:00,560 --> 01:00:02,880
Speaker 6: it has my name, and I can't have somebody wearing

1037
01:00:02,880 --> 01:00:05,760
Speaker 6: a Santana jacket going to the wrong places in town,

1038
01:00:05,800 --> 01:00:10,840
Speaker 6: doing the wrong thing because then, you know, So anyway,

1039
01:00:11,120 --> 01:00:11,440
Speaker 6: to me.

1040
01:00:11,680 --> 01:00:13,400
Speaker 7: All that stuff was a blessing in this guys.

1041
01:00:13,440 --> 01:00:16,040
Speaker 6: Man, everything that has happened to me, like the so

1042
01:00:16,200 --> 01:00:19,920
Speaker 6: called career suicide, which i'd done three or four times,

1043
01:00:20,160 --> 01:00:24,280
Speaker 6: you know, but at the meantime, I'm hanging around with Herbie,

1044
01:00:24,560 --> 01:00:27,360
Speaker 6: you know, or Wayne, or hanging around with Alice Coltrane

1045
01:00:27,480 --> 01:00:29,440
Speaker 6: or or Larry Young, you know. So every time I

1046
01:00:29,440 --> 01:00:34,480
Speaker 6: commit career suicide, I'm learning from the master's masters. And

1047
01:00:34,560 --> 01:00:38,680
Speaker 6: so hey man, this this is this is just la

1048
01:00:38,720 --> 01:00:41,320
Speaker 6: creme de la creme, you know, hanging around with them.

1049
01:00:41,480 --> 01:00:44,040
Speaker 8: You got to tell us about your Alice Coltrane encounter

1050
01:00:44,080 --> 01:00:46,760
Speaker 8: and the first time you met her, because it must

1051
01:00:46,760 --> 01:00:49,720
Speaker 8: have been spiritual at the least.

1052
01:00:50,160 --> 01:00:52,760
Speaker 6: Okay, so I got this this one that a lot

1053
01:00:52,760 --> 01:00:55,160
Speaker 6: of people are going to roll their eyes because they're

1054
01:00:55,200 --> 01:00:57,960
Speaker 6: not going to believe it, but I don't care because

1055
01:00:58,000 --> 01:01:00,720
Speaker 6: I was there. So she find me to stay in

1056
01:01:00,800 --> 01:01:02,600
Speaker 6: her house for a whole week, and I was hanging

1057
01:01:02,640 --> 01:01:04,920
Speaker 6: around with the children because at that time they were children,

1058
01:01:05,720 --> 01:01:07,440
Speaker 6: and we would we would wake up like a run

1059
01:01:07,960 --> 01:01:10,320
Speaker 6: one thirty in the morning, and we would meditate first,

1060
01:01:10,640 --> 01:01:13,720
Speaker 6: and then she would play harp, and then she played piano,

1061
01:01:14,400 --> 01:01:16,720
Speaker 6: and then she would play The World is Her piano,

1062
01:01:17,000 --> 01:01:18,520
Speaker 6: and then we meditate again.

1063
01:01:19,040 --> 01:01:21,360
Speaker 7: And when we were meditating, it.

1064
01:01:21,480 --> 01:01:26,280
Speaker 6: Got really really deep and quiet, and all of a sudden,

1065
01:01:26,360 --> 01:01:30,920
Speaker 6: I swear to you, I see John Coltrane coming right

1066
01:01:31,120 --> 01:01:34,880
Speaker 6: at me one of many times, but this one's coming

1067
01:01:34,960 --> 01:01:38,080
Speaker 6: right at me. And it's got a snow cone with

1068
01:01:38,240 --> 01:01:43,520
Speaker 6: three flavors of ice cream, right, and this is the

1069
01:01:43,560 --> 01:01:46,480
Speaker 6: all inwardly And so she's just next to me, and

1070
01:01:46,520 --> 01:01:49,080
Speaker 6: she goes, go ahead, try one.

1071
01:01:49,960 --> 01:01:51,720
Speaker 7: How does she knew what.

1072
01:01:51,840 --> 01:01:56,120
Speaker 6: Was inside my meditation? She goes, go ahead, go ahead,

1073
01:01:56,160 --> 01:01:59,400
Speaker 6: try one. So I licked it, and she goes, that's

1074
01:01:59,440 --> 01:02:04,440
Speaker 6: a beef fla diminished seven. Try another one. So I

1075
01:02:04,520 --> 01:02:08,320
Speaker 6: licked it again. Man, I was like, oh my god,

1076
01:02:08,440 --> 01:02:12,280
Speaker 6: I'm an Alice Coltrane and coltrans here offering me a

1077
01:02:12,360 --> 01:02:15,600
Speaker 6: snow cone with three flavors of ice cream in each

1078
01:02:15,640 --> 01:02:16,800
Speaker 6: flavor is a guitar.

1079
01:02:16,920 --> 01:02:19,120
Speaker 7: I mean their course, you know.

1080
01:02:19,600 --> 01:02:22,200
Speaker 1: Were they a specific color. Did it correspond color?

1081
01:02:22,800 --> 01:02:27,120
Speaker 7: Yeah? They were like yellow, green and orange?

1082
01:02:27,680 --> 01:02:30,480
Speaker 1: And what was be flat diminished? Do you remember be.

1083
01:02:30,560 --> 01:02:34,200
Speaker 6: Flat diminished was at that time at least but that

1084
01:02:34,240 --> 01:02:39,320
Speaker 6: particularly night was the yellow one.

1085
01:02:41,440 --> 01:02:49,320
Speaker 1: Okay, so you you you believe in synesthesia? Does absolutely? No?

1086
01:02:49,480 --> 01:02:53,640
Speaker 1: I believe. Look, I believe. I was going to say,

1087
01:02:54,400 --> 01:02:58,040
Speaker 1: you know, oftentimes when you have this level, when you're

1088
01:02:58,080 --> 01:03:01,760
Speaker 1: at this this level of this particular a plane, a

1089
01:03:01,800 --> 01:03:06,080
Speaker 1: lot of inexplicable things start happening to you that average

1090
01:03:06,160 --> 01:03:09,320
Speaker 1: mere mortals would just think like that didn't happen or whatever.

1091
01:03:09,440 --> 01:03:14,160
Speaker 1: But you know it's no, I absolutely believe that human

1092
01:03:14,200 --> 01:03:19,640
Speaker 1: beings are regular human beings are just very limited in

1093
01:03:19,680 --> 01:03:21,480
Speaker 1: their three dimensional.

1094
01:03:21,120 --> 01:03:22,880
Speaker 8: Yeah, but in your higher thought, I don't think he's

1095
01:03:22,880 --> 01:03:25,160
Speaker 8: supposed to think of people like that, though, are you.

1096
01:03:25,320 --> 01:03:25,480
Speaker 7: Well?

1097
01:03:25,480 --> 01:03:28,800
Speaker 1: No, No, I know they are mortals, mere humans. Mir Well,

1098
01:03:28,800 --> 01:03:31,600
Speaker 1: I'm trying to paraphrase it because we're not a visual show,

1099
01:03:31,680 --> 01:03:33,400
Speaker 1: so I can't, you know, but.

1100
01:03:33,280 --> 01:03:34,840
Speaker 7: It's like a house. It's like a house.

1101
01:03:34,840 --> 01:03:37,919
Speaker 6: You got the first floor, second floor, you know, the roof,

1102
01:03:37,960 --> 01:03:39,840
Speaker 6: and you have the basement. You know, So we're not

1103
01:03:40,600 --> 01:03:43,960
Speaker 6: we're not putting anybody down it's just it's just a building.

1104
01:03:44,960 --> 01:03:46,600
Speaker 8: So many people want it, they just don't know how

1105
01:03:46,600 --> 01:03:49,240
Speaker 8: to get it. So it's fortunate when you can find

1106
01:03:49,280 --> 01:03:50,040
Speaker 8: it correct.

1107
01:03:50,040 --> 01:03:53,200
Speaker 1: Did you want to ask something, Uh, there's there's plenty.

1108
01:03:53,280 --> 01:03:58,200
Speaker 9: I realized amount of time, and I want to talk

1109
01:03:58,240 --> 01:04:02,480
Speaker 9: about some gear too and that side of things. But

1110
01:04:02,520 --> 01:04:05,120
Speaker 9: before I get to that, I have to say, mister Santana,

1111
01:04:05,160 --> 01:04:08,320
Speaker 9: I got to meet you one time. It was on

1112
01:04:09,000 --> 01:04:12,800
Speaker 9: I think on a Where's where's that guitar shop?

1113
01:04:13,000 --> 01:04:13,080
Speaker 8: Uh?

1114
01:04:14,240 --> 01:04:17,920
Speaker 9: Madauw Minov Guitars? No, Madame Manov Guitars used to be

1115
01:04:17,920 --> 01:04:22,040
Speaker 9: there on West Fourth Street in the village. I was

1116
01:04:22,080 --> 01:04:24,400
Speaker 9: with my son and you walked out of the store.

1117
01:04:24,440 --> 01:04:28,160
Speaker 9: You like walked into us, and I was like Carlos

1118
01:04:28,560 --> 01:04:30,440
Speaker 9: and you said hello, and you looked at my son

1119
01:04:30,480 --> 01:04:31,240
Speaker 9: and you said.

1120
01:04:31,720 --> 01:04:40,200
Speaker 1: Hey, angel, one day you're going to heal the world. Wow.

1121
01:04:42,120 --> 01:04:46,520
Speaker 9: The night before this encounter, we were watching a movie

1122
01:04:46,560 --> 01:04:49,000
Speaker 9: called Soul to Soul ironically and oh.

1123
01:04:48,920 --> 01:04:50,320
Speaker 2: My mother was just talking about this.

1124
01:04:50,440 --> 01:04:53,919
Speaker 9: Yes, and I said to my son, it's the guy

1125
01:04:53,960 --> 01:04:58,560
Speaker 9: from the movie. So I'm wondering in Soul to Soul

1126
01:04:59,080 --> 01:05:02,600
Speaker 9: was that your first trip to Africa? And can you

1127
01:05:02,960 --> 01:05:05,720
Speaker 9: speak on that? Experience, whether it was your first time

1128
01:05:05,840 --> 01:05:06,040
Speaker 9: or not.

1129
01:05:07,120 --> 01:05:12,480
Speaker 6: Yes, to go to Africa in Ghana, Akara Ghana, and

1130
01:05:12,720 --> 01:05:16,480
Speaker 6: the things that I've learned Yea Akara Ghana, and too

1131
01:05:17,400 --> 01:05:19,320
Speaker 6: to be in a place where I get to learn

1132
01:05:19,360 --> 01:05:25,120
Speaker 6: about d Shaman who was so profoundly powerful that the

1133
01:05:25,200 --> 01:05:27,800
Speaker 6: mayor would move out of the way and the police

1134
01:05:27,840 --> 01:05:29,520
Speaker 6: department would get out of the way, I mean able

1135
01:05:29,600 --> 01:05:30,960
Speaker 6: to get get out of the way when this guy

1136
01:05:31,040 --> 01:05:34,520
Speaker 6: would come to the streets, you know, and Wilson Pickett

1137
01:05:34,600 --> 01:05:37,320
Speaker 6: would say, don't tell me anything about it. I don't

1138
01:05:37,320 --> 01:05:38,720
Speaker 6: want to hear about it. I don't want to hear

1139
01:05:38,720 --> 01:05:40,880
Speaker 6: that stuff, you know, because he didn't he didn't want

1140
01:05:40,880 --> 01:05:44,200
Speaker 6: to be put into an ex kind of thing, you know,

1141
01:05:44,320 --> 01:05:45,920
Speaker 6: you know, because he was afraid.

1142
01:05:45,640 --> 01:05:48,320
Speaker 7: Of like he was afraid he was locked and he

1143
01:05:48,440 --> 01:05:49,240
Speaker 7: was ucked, you know.

1144
01:05:49,320 --> 01:05:51,960
Speaker 6: So Willi Bob was playing with us because our regular

1145
01:05:52,000 --> 01:05:56,120
Speaker 6: timbata player, Shipido had an aneurysm. So we we took

1146
01:05:56,240 --> 01:05:59,080
Speaker 6: Willie bobble with us. And Willi Bobo had co yatis,

1147
01:05:59,240 --> 01:06:01,280
Speaker 6: you know, to protect and so from you know, the

1148
01:06:01,640 --> 01:06:05,600
Speaker 6: other the voodoo from Africa, so he thought, and so

1149
01:06:06,360 --> 01:06:09,360
Speaker 6: uh and so he so he got really really sick

1150
01:06:09,400 --> 01:06:13,880
Speaker 6: with my brother Willie Bobo. And so uh, Michael Caravella said, hey, man,

1151
01:06:13,880 --> 01:06:16,080
Speaker 6: you need to go to his room. Like I said, man,

1152
01:06:16,120 --> 01:06:17,480
Speaker 6: it's still a clock to the morn. He says, yeah,

1153
01:06:17,480 --> 01:06:19,080
Speaker 6: but I've been here all night. It's your turn.

1154
01:06:19,200 --> 01:06:22,080
Speaker 7: And just grab some towels and wet him and put

1155
01:06:22,080 --> 01:06:23,720
Speaker 7: her in his head, you know, because he's sweating a lot.

1156
01:06:23,840 --> 01:06:26,000
Speaker 6: Just help him out. So I go over there to

1157
01:06:26,040 --> 01:06:28,360
Speaker 6: his room and the guy knocks on the door. It's

1158
01:06:28,520 --> 01:06:33,040
Speaker 6: a regular doctor doctor and he looks just like Aussie Davis, right,

1159
01:06:33,440 --> 01:06:35,600
Speaker 6: And I'm like okay, and he goes coming in, and

1160
01:06:35,640 --> 01:06:38,240
Speaker 6: so I'm looking at Willy and how you doing, man?

1161
01:06:38,360 --> 01:06:40,040
Speaker 7: He's just oh, man, you know.

1162
01:06:40,160 --> 01:06:42,720
Speaker 6: And so there's another knock on the door, and there's

1163
01:06:42,800 --> 01:06:45,680
Speaker 6: the voodoo man, the main boodoo man, the guy who

1164
01:06:45,720 --> 01:06:48,320
Speaker 6: put him, he put the thing on him and he

1165
01:06:48,560 --> 01:06:51,640
Speaker 6: and he looks at me right in the door. And

1166
01:06:51,760 --> 01:06:54,920
Speaker 6: I had an inner conversation like I did with Alice Coltrane.

1167
01:06:55,240 --> 01:06:59,919
Speaker 6: So I'm having this conversation with this shaman, and I said,

1168
01:07:00,720 --> 01:07:03,480
Speaker 6: I know who you are and I know what you got,

1169
01:07:04,360 --> 01:07:06,560
Speaker 6: but if you want to deal with me, you have

1170
01:07:06,640 --> 01:07:09,120
Speaker 6: to go through this. And I had a T shirt

1171
01:07:09,360 --> 01:07:12,760
Speaker 6: with Jesus in it. I said, so, if you can

1172
01:07:12,840 --> 01:07:16,520
Speaker 6: kick his ass, I'm yours. Otherwise you have to leave

1173
01:07:16,520 --> 01:07:19,520
Speaker 6: me alone. Just like that, He looked him in my

1174
01:07:19,640 --> 01:07:22,680
Speaker 6: eyes and went right around me and left me alone.

1175
01:07:25,000 --> 01:07:27,640
Speaker 7: You know. So I knew that we had an understanding.

1176
01:07:27,760 --> 01:07:30,520
Speaker 6: You know, it's all about the energy, and he knew

1177
01:07:30,560 --> 01:07:34,560
Speaker 6: that I wasn't intimidated because I'm holding on to sweet

1178
01:07:34,560 --> 01:07:39,400
Speaker 6: Baby Jesus, you know, and I have a confidence again

1179
01:07:39,920 --> 01:07:42,560
Speaker 6: that sweet Baby Jesus is going is going to like,

1180
01:07:43,360 --> 01:07:46,080
Speaker 6: let this cat know he's okay, leave him alone. You know,

1181
01:07:46,360 --> 01:07:48,680
Speaker 6: he's not a threat or anything like that. Just just

1182
01:07:48,760 --> 01:07:54,800
Speaker 6: leave him alone. And so the being in Africa and

1183
01:07:54,880 --> 01:07:55,920
Speaker 6: learning how.

1184
01:07:56,560 --> 01:08:02,360
Speaker 7: To articulate, you know, the real them check this out.

1185
01:08:02,680 --> 01:08:05,600
Speaker 6: So we're invited to a dinner where everybody is there,

1186
01:08:05,600 --> 01:08:07,680
Speaker 6: the mayor, everybody, and then they said, will you will

1187
01:08:07,680 --> 01:08:10,120
Speaker 6: you guys please take off your hat hats and and

1188
01:08:10,200 --> 01:08:12,800
Speaker 6: stand up because we're gonna do the national anthem. Here

1189
01:08:12,880 --> 01:08:19,440
Speaker 6: comes the national anthem, national anthem? Do they dude, which

1190
01:08:19,479 --> 01:08:20,320
Speaker 6: is which is going?

1191
01:08:20,400 --> 01:08:25,000
Speaker 7: Answer? Good man? Woman?

1192
01:08:25,120 --> 01:08:35,760
Speaker 11: Go oh oh together oh THEO. And I said, wait

1193
01:08:35,760 --> 01:08:39,000
Speaker 11: a minute, that's one something that is national anthem and

1194
01:08:39,040 --> 01:08:42,600
Speaker 11: culture and playing going no this We were playing the

1195
01:08:42,600 --> 01:08:44,080
Speaker 11: song before Santa Maria was.

1196
01:08:44,040 --> 01:08:47,719
Speaker 7: Ever in this planet. This is our Yeah, that's right.

1197
01:08:48,080 --> 01:08:50,000
Speaker 2: In Ghana is Ghana.

1198
01:08:50,040 --> 01:08:51,400
Speaker 7: That's there's a national anthem and.

1199
01:08:55,479 --> 01:08:56,280
Speaker 8: See more.

1200
01:08:57,280 --> 01:08:58,439
Speaker 2: I'm gonna get them serious.

1201
01:08:59,360 --> 01:09:02,400
Speaker 1: Yeah, man, we always did it first.

1202
01:09:02,680 --> 01:09:06,840
Speaker 8: We always always that's the foundation.

1203
01:09:08,240 --> 01:09:08,479
Speaker 7: Man.

1204
01:09:09,600 --> 01:09:12,680
Speaker 1: Well, as a drummer to drummer, boss, you should be

1205
01:09:12,680 --> 01:09:13,880
Speaker 1: there mm hmm.

1206
01:09:16,120 --> 01:09:19,839
Speaker 9: The time when you start to come into the world's

1207
01:09:19,880 --> 01:09:27,840
Speaker 9: consciousness is kind of simultaneous with when loud electric guitars

1208
01:09:27,840 --> 01:09:34,240
Speaker 9: starts to come into our consciousness and souped up amps

1209
01:09:34,280 --> 01:09:37,080
Speaker 9: and stuff like that. Uh, there's a there's a rumor

1210
01:09:37,640 --> 01:09:43,439
Speaker 9: that mess a boogies are called mess of boogies because

1211
01:09:43,600 --> 01:09:47,479
Speaker 9: you tried out an amp from a cat and you're like, man,

1212
01:09:47,560 --> 01:09:52,360
Speaker 9: this thing boogies, and now they call it boogies.

1213
01:09:53,040 --> 01:09:53,639
Speaker 5: Is that true?

1214
01:09:55,240 --> 01:09:57,280
Speaker 7: Yeah, I'll tell you the other half of it. The

1215
01:09:57,320 --> 01:09:59,280
Speaker 7: other half it was like the other half of it

1216
01:09:59,320 --> 01:10:02,880
Speaker 7: was like, look, man, I need to bring your amplifier back, and.

1217
01:10:04,640 --> 01:10:06,680
Speaker 6: I wonder know if you can do something for me. Well,

1218
01:10:06,720 --> 01:10:09,880
Speaker 6: what kind of hell was it? It's a princeton, souped

1219
01:10:09,960 --> 01:10:12,479
Speaker 6: up princeton before it was a book. It's a zoop

1220
01:10:12,479 --> 01:10:15,040
Speaker 6: stop Princeton before it was a boogie and he says, so,

1221
01:10:15,160 --> 01:10:16,200
Speaker 6: he says, what can I do for you?

1222
01:10:16,200 --> 01:10:16,360
Speaker 7: Man?

1223
01:10:16,439 --> 01:10:19,320
Speaker 6: I says, I need for you to put another volume control.

1224
01:10:20,360 --> 01:10:24,040
Speaker 6: He goes, what put another volume control? He goes, what four?

1225
01:10:24,479 --> 01:10:26,920
Speaker 6: So I can turn this one to ten and this

1226
01:10:26,960 --> 01:10:30,519
Speaker 6: one to one and I can sustain and not drive

1227
01:10:30,600 --> 01:10:32,040
Speaker 6: people crazy in the hotel.

1228
01:10:33,240 --> 01:10:39,600
Speaker 1: Oh, this is why you're on this episode because I

1229
01:10:39,600 --> 01:10:42,840
Speaker 1: would have never known to ask that question. Happy.

1230
01:10:43,320 --> 01:10:46,800
Speaker 9: Wow, And Who's who is the cat you took it to?

1231
01:10:47,040 --> 01:10:49,120
Speaker 9: I know I should know this because I work with Boogiey.

1232
01:10:49,120 --> 01:10:52,759
Speaker 6: His name is Randy Randy Smith, Randall Smith, Randall Smith.

1233
01:10:52,800 --> 01:10:54,080
Speaker 7: That's right, Sorry, Randall.

1234
01:10:54,080 --> 01:11:02,000
Speaker 1: If you hear this, Wait, something just hit me right now.

1235
01:11:02,040 --> 01:11:04,400
Speaker 1: And if I don't say it, I'll forget to ask it.

1236
01:11:04,920 --> 01:11:07,760
Speaker 1: But it just hit me. Wow. I can't believe I'm

1237
01:11:07,760 --> 01:11:12,040
Speaker 1: about to ask this question. I believe it is your

1238
01:11:12,120 --> 01:11:18,200
Speaker 1: albums that the world got to know the artwork of

1239
01:11:18,360 --> 01:11:26,760
Speaker 1: Marty Clairwin. Yeah, the Marty Clairwine. Yeah, like the infamous.

1240
01:11:27,320 --> 01:11:31,320
Speaker 1: You know, he did Bitches Brew. He did at least

1241
01:11:31,600 --> 01:11:35,080
Speaker 1: three covers for Herbie Hancock. He did Last Days in

1242
01:11:35,120 --> 01:11:37,560
Speaker 1: Time for Earth Wind and Fire had a very distinctive

1243
01:11:38,760 --> 01:11:41,880
Speaker 1: part collage. I mean again, if for our listeners out there,

1244
01:11:42,000 --> 01:11:44,840
Speaker 1: just look up Bitches brew look up at Braxis. I mean,

1245
01:11:44,920 --> 01:11:49,599
Speaker 1: I believe a Braxic Braxis Is, I think his first cover.

1246
01:11:50,040 --> 01:11:54,599
Speaker 1: How did you discover Marty clair Wine and how did

1247
01:11:54,640 --> 01:12:00,479
Speaker 1: he wind up just designing for practically eight other artist

1248
01:12:01,320 --> 01:12:04,080
Speaker 1: on Columbia And did you feel some sort of way

1249
01:12:04,720 --> 01:12:08,800
Speaker 1: when everyone wanted to use his artwork after you used

1250
01:12:08,880 --> 01:12:10,880
Speaker 1: him first?

1251
01:12:11,760 --> 01:12:15,400
Speaker 6: To be with precision and specificity, it was Miles Davis

1252
01:12:15,520 --> 01:12:19,519
Speaker 6: with Bitches Brewed that came out. That Cauban in sixty nine,

1253
01:12:19,560 --> 01:12:23,240
Speaker 6: I was came out in nineteen seventy. Now, the Braxis album,

1254
01:12:23,960 --> 01:12:27,760
Speaker 6: The Black Naked Lady, that's Mary, and the angel with

1255
01:12:27,800 --> 01:12:31,519
Speaker 6: the conga that's Gabriel. So that's the annunciation that she's

1256
01:12:31,520 --> 01:12:34,320
Speaker 6: going she's gonna get pregnant with Jesus. So the whole

1257
01:12:35,560 --> 01:12:39,600
Speaker 6: a cover of a Braxist is actually called the annunciation

1258
01:12:39,680 --> 01:12:42,759
Speaker 6: because Gabriel with the conga between his legs, the beautiful

1259
01:12:42,800 --> 01:12:47,559
Speaker 6: angel is telling Mary you know you're you're either about

1260
01:12:47,600 --> 01:12:49,320
Speaker 6: to or you're pregnant with Jesus.

1261
01:12:50,040 --> 01:12:53,320
Speaker 1: That's what that think is about Wow, Okay, do you

1262
01:12:53,360 --> 01:12:57,200
Speaker 1: have your were you do you own the original piece?

1263
01:12:58,920 --> 01:13:00,840
Speaker 6: I almost bought it, but I did. I tell what

1264
01:13:00,880 --> 01:13:04,600
Speaker 6: I did by in perpetuity. I bought the angel with

1265
01:13:04,640 --> 01:13:08,200
Speaker 6: the conga. Every time you see that angel with the

1266
01:13:08,240 --> 01:13:09,880
Speaker 6: conga between his legs.

1267
01:13:10,120 --> 01:13:10,960
Speaker 7: That one is mine.

1268
01:13:11,040 --> 01:13:14,560
Speaker 6: I bought that one from him in perpetuity and perpetuity

1269
01:13:14,680 --> 01:13:16,519
Speaker 6: because that's what Santana is. As soon as you see

1270
01:13:16,560 --> 01:13:19,519
Speaker 6: that angel with the conga, you know that's you know,

1271
01:13:19,960 --> 01:13:21,840
Speaker 6: that's that's the logo. That's Santana logo.

1272
01:13:22,160 --> 01:13:28,280
Speaker 1: Okay, Yeah, I think at Electric Ladies Studios, they didn't

1273
01:13:28,320 --> 01:13:34,840
Speaker 1: realize that they had Stevie Wonder's artwork for Music of

1274
01:13:34,920 --> 01:13:38,920
Speaker 1: My Mind, at least the inside that Marty put together.

1275
01:13:39,600 --> 01:13:43,000
Speaker 1: They found it in the closet like after sitting in

1276
01:13:43,040 --> 01:13:45,160
Speaker 1: there for like forty five years, and they finally like

1277
01:13:46,040 --> 01:13:50,760
Speaker 1: framed it and hung it up. But yeah, so, I mean,

1278
01:13:50,880 --> 01:13:53,040
Speaker 1: what was it What was it about his work that

1279
01:13:53,120 --> 01:14:00,280
Speaker 1: spoke to you acid? There? You go, all right, since

1280
01:14:00,280 --> 01:14:03,799
Speaker 1: you brought it up, what is it about acid? And

1281
01:14:05,280 --> 01:14:09,479
Speaker 1: do you recommend it? And how should it how should

1282
01:14:09,479 --> 01:14:14,800
Speaker 1: it be partaking? I would assume in spiritual circumstances or

1283
01:14:15,040 --> 01:14:18,120
Speaker 1: what visions do you see? I've never asked a person

1284
01:14:18,120 --> 01:14:23,400
Speaker 1: what's it like to take acid. It's a very perpose

1285
01:14:23,920 --> 01:14:24,320
Speaker 1: to learn.

1286
01:14:25,000 --> 01:14:28,559
Speaker 6: It's a very it's a very personal experience, a very

1287
01:14:28,600 --> 01:14:29,400
Speaker 6: personal experience.

1288
01:14:29,600 --> 01:14:34,240
Speaker 7: And I do recommend it under supervision, you know. So, uh,

1289
01:14:34,800 --> 01:14:36,120
Speaker 7: they have, believe it or not.

1290
01:14:36,160 --> 01:14:40,519
Speaker 6: They actually have people's tours that they go to South

1291
01:14:40,520 --> 01:14:45,040
Speaker 6: America in the jungles of Peru and Brazil and they

1292
01:14:45,080 --> 01:14:48,040
Speaker 6: spend a week in or a week and they do

1293
01:14:48,080 --> 01:14:51,519
Speaker 6: the ayahuasca thing, and uh, you know, it's it's a

1294
01:14:51,560 --> 01:14:57,120
Speaker 6: form of, uh, getting rid of a bunch of personalities

1295
01:14:58,120 --> 01:15:02,559
Speaker 6: that you invested in emotionally that it's not you. Oh

1296
01:15:03,960 --> 01:15:07,639
Speaker 6: tell me, Oh, I'm in you know, because because your

1297
01:15:07,640 --> 01:15:09,439
Speaker 6: friends see you this way, and then you teach you

1298
01:15:09,479 --> 01:15:11,760
Speaker 6: see you that way, and then your mom see you

1299
01:15:11,800 --> 01:15:12,160
Speaker 6: this way.

1300
01:15:12,280 --> 01:15:12,599
Speaker 7: You know.

1301
01:15:12,680 --> 01:15:15,360
Speaker 6: But who really here's the question, you know, the main

1302
01:15:15,439 --> 01:15:18,639
Speaker 6: question about LSD. Who really are you when you stand

1303
01:15:19,240 --> 01:15:20,519
Speaker 6: but naked in front of.

1304
01:15:20,479 --> 01:15:21,160
Speaker 7: Your own light?

1305
01:15:22,400 --> 01:15:22,679
Speaker 1: Wow?

1306
01:15:22,720 --> 01:15:24,240
Speaker 8: Now I can do this, not just I can do

1307
01:15:24,280 --> 01:15:27,760
Speaker 8: this with ayot or ayahuasca or acid or is.

1308
01:15:27,720 --> 01:15:35,080
Speaker 2: There one author different? Yeah? Thank you, thank you.

1309
01:15:35,080 --> 01:15:36,840
Speaker 6: You know, all of the all of those things are

1310
01:15:36,960 --> 01:15:41,120
Speaker 6: just like portals. It's just it's just fears and portals

1311
01:15:41,160 --> 01:15:44,080
Speaker 6: that you walk into. And if you're a nice person,

1312
01:15:44,080 --> 01:15:45,280
Speaker 6: you're going to have a great time.

1313
01:15:45,720 --> 01:15:49,360
Speaker 7: If you're an a, you don't don't try it because

1314
01:15:49,360 --> 01:15:51,760
Speaker 7: you you know, some people when you do it, they

1315
01:15:51,760 --> 01:15:54,840
Speaker 7: make the mistake of getting under the sheets because they

1316
01:15:54,840 --> 01:15:57,040
Speaker 7: don't like what they're seeing, you know, And that makes

1317
01:15:57,040 --> 01:15:59,960
Speaker 7: it worse because now you've got to deal with you.

1318
01:16:00,640 --> 01:16:03,479
Speaker 1: I've heard this, you know, so I've heard this.

1319
01:16:04,320 --> 01:16:05,639
Speaker 7: I had so much fun.

1320
01:16:05,800 --> 01:16:08,519
Speaker 6: I thought I was a kid man in Disneyland, and

1321
01:16:08,840 --> 01:16:12,080
Speaker 6: I had free tickets for the older rides, and you know,

1322
01:16:12,400 --> 01:16:14,920
Speaker 6: because I wasn't afraid, and I was still not afraid.

1323
01:16:15,160 --> 01:16:17,840
Speaker 2: And you're a nice person, and I'm a nice person.

1324
01:16:19,320 --> 01:16:23,840
Speaker 3: Can I ask my second shared a question speaking of

1325
01:16:24,479 --> 01:16:27,160
Speaker 3: what you were just saying. With regards to taking answer,

1326
01:16:27,360 --> 01:16:29,519
Speaker 3: you said you played on a song called Pretty as

1327
01:16:29,560 --> 01:16:34,880
Speaker 3: You Feel with Jefferson Airplane in nineteen seventy one and

1328
01:16:35,120 --> 01:16:38,120
Speaker 3: played with with Yorma Calcn on that song. Can you

1329
01:16:38,160 --> 01:16:40,519
Speaker 3: tell us anything you remember about that session or about

1330
01:16:40,800 --> 01:16:41,599
Speaker 3: playing with Yorma?

1331
01:16:41,600 --> 01:16:43,320
Speaker 4: And do you still talk to Yorma.

1332
01:16:43,960 --> 01:16:46,679
Speaker 7: We haven't seen each other in a while.

1333
01:16:46,680 --> 01:16:48,800
Speaker 6: The last time we did something was think called Blues

1334
01:16:48,800 --> 01:16:53,560
Speaker 6: Forsavador with Jerry Garcia and Wayne Shorter and Bunny Ray No,

1335
01:16:53,680 --> 01:16:54,439
Speaker 6: I haven't seen.

1336
01:16:54,280 --> 01:16:55,120
Speaker 7: Him, you know.

1337
01:16:55,400 --> 01:16:59,439
Speaker 6: It was that was like a beautiful way for me

1338
01:16:59,520 --> 01:17:05,320
Speaker 6: to be accepted, because Santana wasn't totally accepted, you know,

1339
01:17:05,520 --> 01:17:08,599
Speaker 6: in the San Francisco scene, because we were rough.

1340
01:17:08,880 --> 01:17:11,360
Speaker 7: You know, we're from the Mission District and we're rough.

1341
01:17:11,400 --> 01:17:15,280
Speaker 6: We're not necessarily like groovy, fire out whatever, man, hippie.

1342
01:17:15,280 --> 01:17:15,439
Speaker 6: You know.

1343
01:17:15,479 --> 01:17:17,200
Speaker 7: We were like, no, man, we don't you know.

1344
01:17:18,240 --> 01:17:21,880
Speaker 6: So it was different until I started smoking weed and

1345
01:17:21,960 --> 01:17:24,200
Speaker 6: taking LSD and I said, oh, yeah, now I know

1346
01:17:24,240 --> 01:17:26,720
Speaker 6: what they're talking about. Let's go to Montauo Pias and

1347
01:17:26,800 --> 01:17:29,920
Speaker 6: hang out with Quicksilver and the Greyfoot Dead and your

1348
01:17:30,040 --> 01:17:31,639
Speaker 6: Mine and Jack Cassidy.

1349
01:17:31,680 --> 01:17:31,880
Speaker 7: You know.

1350
01:17:32,120 --> 01:17:33,559
Speaker 6: But in the beginning it was kind of like a

1351
01:17:34,120 --> 01:17:38,720
Speaker 6: rival conflict kind of thing, and basically basically because of

1352
01:17:38,760 --> 01:17:42,599
Speaker 6: there's a mentality of Marine County versus the Mission District

1353
01:17:42,680 --> 01:17:46,000
Speaker 6: in San Francisco, which is like like the Jets and

1354
01:17:46,040 --> 01:17:46,880
Speaker 6: the Sharks.

1355
01:17:49,800 --> 01:17:52,479
Speaker 4: Do you remember that session for that song.

1356
01:17:54,000 --> 01:17:55,680
Speaker 7: I think I smoked a lot of weed that day,

1357
01:17:55,720 --> 01:17:56,840
Speaker 7: so I don't know if I remember it.

1358
01:17:56,920 --> 01:18:01,479
Speaker 8: That everything else though you were a hope to stonech

1359
01:18:02,400 --> 01:18:04,559
Speaker 8: Y Goles.

1360
01:18:05,240 --> 01:18:07,120
Speaker 1: I wanted to ask you, and it is a little

1361
01:18:07,240 --> 01:18:11,120
Speaker 1: further in the timeline, what do you recall about the

1362
01:18:11,120 --> 01:18:16,400
Speaker 1: song whatever happens with Michael Jackson that you played one.

1363
01:18:15,200 --> 01:18:16,040
Speaker 7: That is so sweet?

1364
01:18:16,080 --> 01:18:16,320
Speaker 8: Man?

1365
01:18:17,240 --> 01:18:22,360
Speaker 7: That was so sweet? They told me, hey, Michael, because

1366
01:18:22,360 --> 01:18:24,840
Speaker 7: at that time I was just supernatural. Everybody was calling,

1367
01:18:24,920 --> 01:18:28,960
Speaker 7: you know, Prince and Michael and everybody want to find

1368
01:18:29,000 --> 01:18:33,120
Speaker 7: out if we could interact, you know, in exchange, and uh,

1369
01:18:34,320 --> 01:18:37,439
Speaker 7: you know, uh being a fan of both Prince and

1370
01:18:37,520 --> 01:18:39,840
Speaker 7: Michael Jackson, I mean to the max you know who

1371
01:18:39,920 --> 01:18:43,000
Speaker 7: isn't you know? And uh, I mean I.

1372
01:18:42,960 --> 01:18:46,360
Speaker 6: Got like a bunch of stories to share with Prince,

1373
01:18:46,439 --> 01:18:48,680
Speaker 6: but I won't do it right now. But the way

1374
01:18:48,720 --> 01:18:52,960
Speaker 6: with Michael Jackson, I received this phone call and it

1375
01:18:53,080 --> 01:18:58,360
Speaker 6: was from his last arranger, producer h right now.

1376
01:18:58,400 --> 01:19:00,519
Speaker 7: I forget his name. He was the main guy, John.

1377
01:19:02,200 --> 01:19:03,400
Speaker 1: John Queen Lane.

1378
01:19:04,160 --> 01:19:05,040
Speaker 7: No, I don't think it.

1379
01:19:05,040 --> 01:19:10,320
Speaker 1: Was Jeremy Love was Jeremy Love it? No? What's his

1380
01:19:10,400 --> 01:19:14,679
Speaker 1: name from Philly? Uh? My guy? Yeah?

1381
01:19:16,880 --> 01:19:19,680
Speaker 6: Call an He called and they said they sent me

1382
01:19:19,720 --> 01:19:23,640
Speaker 6: the track and and then I played on it and

1383
01:19:23,640 --> 01:19:27,320
Speaker 6: and I was like, wow, you know, I'm just so

1384
01:19:27,439 --> 01:19:32,040
Speaker 6: honor you know that I'm able to uh be with

1385
01:19:32,120 --> 01:19:33,920
Speaker 6: Michael Jackson and with Prinds.

1386
01:19:33,960 --> 01:19:36,320
Speaker 7: We we we.

1387
01:19:35,760 --> 01:19:37,880
Speaker 6: We did a lot of things live, but we never

1388
01:19:37,960 --> 01:19:40,320
Speaker 6: recorded it. And same thing with Miles, you know. So

1389
01:19:40,680 --> 01:19:46,519
Speaker 6: I feel very validated and celebrated because well, it took

1390
01:19:46,600 --> 01:19:49,120
Speaker 6: him a long, long, long, long long time for the

1391
01:19:49,160 --> 01:19:52,720
Speaker 6: Grammys to acknowledge me and anything, and they finally give

1392
01:19:52,720 --> 01:19:55,960
Speaker 6: it to me with Supernatural, like you know, eight eleven

1393
01:19:56,040 --> 01:20:00,439
Speaker 6: nomination eleven nominations, and and I wanted the same and

1394
01:20:00,479 --> 01:20:05,280
Speaker 6: I won nine, uh Grammy's like Michael, you know. And

1395
01:20:05,360 --> 01:20:08,000
Speaker 6: what was really crazy is like likes like a supremel

1396
01:20:08,160 --> 01:20:10,120
Speaker 6: is the the last one?

1397
01:20:10,920 --> 01:20:12,000
Speaker 7: Is Bob Dylan.

1398
01:20:13,280 --> 01:20:16,040
Speaker 6: And Lauren Hill giving me the last one, you know,

1399
01:20:16,439 --> 01:20:19,800
Speaker 6: And here's Marry Belafonte and Wayne Shoulder and that's all

1400
01:20:19,840 --> 01:20:20,280
Speaker 6: I can see.

1401
01:20:20,320 --> 01:20:20,439
Speaker 1: Man.

1402
01:20:20,479 --> 01:20:21,680
Speaker 7: I just see Wayne.

1403
01:20:21,360 --> 01:20:26,280
Speaker 6: Shoulder and Herry Belafonte and Bob Dylan and and I

1404
01:20:26,960 --> 01:20:30,160
Speaker 6: remember saying, I am so grateful, thank you for this

1405
01:20:30,200 --> 01:20:34,880
Speaker 6: beautiful night, long live John Coltrane and John Lee hook

1406
01:20:35,640 --> 01:20:37,400
Speaker 6: you know, because that's my foundation.

1407
01:20:37,600 --> 01:20:43,120
Speaker 7: John Lee is like he calls me and he says Carlos.

1408
01:20:42,640 --> 01:20:48,080
Speaker 6: I says, yes, John, He says, I loves God and

1409
01:20:48,200 --> 01:20:52,760
Speaker 6: I loves people, you know. And and he called me

1410
01:20:52,800 --> 01:20:59,799
Speaker 6: one time for his birthday and he says, I said, hello, hey, man,

1411
01:21:00,200 --> 01:21:02,960
Speaker 6: good to call me. Sometimes I says, are you doing,

1412
01:21:03,040 --> 01:21:04,840
Speaker 6: Johnny says a man.

1413
01:21:06,280 --> 01:21:10,840
Speaker 7: When I hear you your boys, it's like eating a

1414
01:21:10,840 --> 01:21:14,120
Speaker 7: great big piece of chocolate cake.

1415
01:21:18,479 --> 01:21:19,120
Speaker 5: And I have it.

1416
01:21:19,200 --> 01:21:23,080
Speaker 6: I recorded it, you know, because see I'm just I'm

1417
01:21:23,120 --> 01:21:24,000
Speaker 6: showing that right now.

1418
01:21:24,000 --> 01:21:30,040
Speaker 7: He goes, this is my validation, man, hooker. That's that's

1419
01:21:30,040 --> 01:21:32,840
Speaker 7: what Santana is about, you know, with a lot of

1420
01:21:32,920 --> 01:21:34,280
Speaker 7: drums for you.

1421
01:21:34,520 --> 01:21:40,040
Speaker 1: Okay. So I was going to say, when okay, we're

1422
01:21:40,040 --> 01:21:41,920
Speaker 1: going all over the timeline. Now this might as well

1423
01:21:42,000 --> 01:21:45,200
Speaker 1: just be rapid fire. Let's go. So the thing is,

1424
01:21:45,439 --> 01:21:47,719
Speaker 1: the thing is is that Okay, So in eighty five

1425
01:21:48,520 --> 01:21:53,000
Speaker 1: when Prince said, you know, like everyone keeps comparing to

1426
01:21:53,040 --> 01:21:55,320
Speaker 1: me to Hendricks, but that's basically because we have the

1427
01:21:55,360 --> 01:21:59,080
Speaker 1: same skin color. But they really listened to my work.

1428
01:21:59,120 --> 01:22:02,600
Speaker 1: They would clearly say that I'm from you know, the

1429
01:22:02,760 --> 01:22:06,080
Speaker 1: DNA of Santana, which is true. But this is what

1430
01:22:06,120 --> 01:22:13,719
Speaker 1: I want to know, especially with your work with both

1431
01:22:13,840 --> 01:22:17,760
Speaker 1: Lauren and why Cliff. And the thing is is that

1432
01:22:18,760 --> 01:22:26,559
Speaker 1: you know when you're on Zion, and the thing is

1433
01:22:26,560 --> 01:22:32,559
Speaker 1: is like, and I again, I know that that Marachi playing,

1434
01:22:32,920 --> 01:22:37,280
Speaker 1: you know, that's your roots and whatnot playing acoustic guitar. However,

1435
01:22:38,360 --> 01:22:43,680
Speaker 1: I'm almost are you worried that people aren't really grasping

1436
01:22:44,840 --> 01:22:47,360
Speaker 1: what your artistry is? Because the thing is is that

1437
01:22:47,479 --> 01:22:50,840
Speaker 1: and I'm not going into type casting, but if I'm

1438
01:22:50,880 --> 01:22:55,559
Speaker 1: getting Santana on my record, I would have probably had

1439
01:22:55,600 --> 01:22:59,479
Speaker 1: you do something that's closer to the guitar solo that's

1440
01:22:59,479 --> 01:23:03,639
Speaker 1: at the end of X Factor X Factor, which sounds

1441
01:23:04,439 --> 01:23:06,439
Speaker 1: I thought that was Santana when I heard that he

1442
01:23:06,560 --> 01:23:08,559
Speaker 1: was on the album, I thought that was him at

1443
01:23:08,680 --> 01:23:12,000
Speaker 1: d X factor. The thing is, because of you know,

1444
01:23:12,080 --> 01:23:15,000
Speaker 1: this is like CD streaming time. You know, you don't

1445
01:23:15,040 --> 01:23:16,960
Speaker 1: live with liner notes the way that you used to

1446
01:23:17,040 --> 01:23:20,439
Speaker 1: when it was cassettes and LPs. So I just always

1447
01:23:20,479 --> 01:23:23,360
Speaker 1: assumed that you weren't X factor. And then one day

1448
01:23:23,360 --> 01:23:25,840
Speaker 1: when I like just sat and read her liner notes,

1449
01:23:26,160 --> 01:23:29,080
Speaker 1: I'm like, wait a minute, does she get to play

1450
01:23:29,080 --> 01:23:34,880
Speaker 1: acoustic guitar? Because like, oh, Mexican Santana give him to

1451
01:23:34,880 --> 01:23:38,080
Speaker 1: play acoustic And I was like, I wonder if she

1452
01:23:38,240 --> 01:23:41,400
Speaker 1: knows that his sound was really the sound of the

1453
01:23:41,439 --> 01:23:45,840
Speaker 1: song that came before that, and also with with the

1454
01:23:45,840 --> 01:23:48,960
Speaker 1: product beat GB and with y Cleft the same thing.

1455
01:23:50,760 --> 01:23:54,559
Speaker 1: Do you sometimes wonder an.

1456
01:23:54,439 --> 01:23:56,280
Speaker 2: Album, what's the song of me? Or what's the song

1457
01:23:57,000 --> 01:23:57,439
Speaker 2: I forget?

1458
01:23:57,560 --> 01:24:02,240
Speaker 1: What for Lay's album? Yeah, Lauren was Zion was Zion,

1459
01:24:02,280 --> 01:24:05,879
Speaker 1: but the one we're talking about is X factor. Yes, right,

1460
01:24:05,880 --> 01:24:10,120
Speaker 1: So what I'm just saying is that, you know, I

1461
01:24:10,160 --> 01:24:12,439
Speaker 1: was trying to over I was over as with everything.

1462
01:24:12,439 --> 01:24:15,559
Speaker 1: I overanalyzed it, and I was like, well, did they

1463
01:24:15,600 --> 01:24:19,840
Speaker 1: take him out of his normal comfort zone because they

1464
01:24:19,880 --> 01:24:23,040
Speaker 1: didn't want him to sound like Carlos Santana or did

1465
01:24:23,080 --> 01:24:26,040
Speaker 1: they just not know? Because I was just wondering, like,

1466
01:24:26,400 --> 01:24:31,120
Speaker 1: why would you have Carlo Santana just play acoustic guitar

1467
01:24:31,240 --> 01:24:34,400
Speaker 1: when he really would light up? Let me just start

1468
01:24:34,439 --> 01:24:36,680
Speaker 1: all over again. What was the creative process like when

1469
01:24:36,720 --> 01:24:39,920
Speaker 1: you did Lauren and when you work with y Cliff

1470
01:24:40,080 --> 01:24:44,520
Speaker 1: on your solo record and when you did a miseducation

1471
01:24:44,560 --> 01:24:45,160
Speaker 1: of Lauren Hill.

1472
01:24:45,920 --> 01:24:48,280
Speaker 7: Well, thank you for all that, you know, let me

1473
01:24:48,280 --> 01:24:52,960
Speaker 7: explain to you how I arrived at getting the sound.

1474
01:24:53,600 --> 01:24:57,320
Speaker 6: Okay, So there was a picnic in San Jose like

1475
01:24:57,360 --> 01:25:00,880
Speaker 6: around this summer, and I went there and there was

1476
01:25:00,920 --> 01:25:04,040
Speaker 6: a park, and in the park in the afternoon they

1477
01:25:04,040 --> 01:25:08,200
Speaker 6: were playing like a picnic. They were playing mariachi music.

1478
01:25:08,960 --> 01:25:10,000
Speaker 7: They were playing.

1479
01:25:10,240 --> 01:25:14,679
Speaker 6: Afro Cuban music, which is like chadanga Cha Cha cha

1480
01:25:14,760 --> 01:25:20,439
Speaker 6: Dan song Medenge you know from from Dominican Republican and

1481
01:25:21,000 --> 01:25:24,200
Speaker 6: guahitas like Ray Baretto. And then you have a rock

1482
01:25:24,240 --> 01:25:26,879
Speaker 6: and roll band, you know, like like a bunch of surfers,

1483
01:25:26,880 --> 01:25:29,000
Speaker 6: you know. So I'm hearing all music at the same time.

1484
01:25:29,040 --> 01:25:31,840
Speaker 6: When I got out of the car, I'm hearing three

1485
01:25:31,880 --> 01:25:39,519
Speaker 6: different sounds, and I went, oh, okay. So it's like

1486
01:25:40,520 --> 01:25:44,519
Speaker 6: it's just like grabbing all of it and making one sound.

1487
01:25:45,640 --> 01:25:49,639
Speaker 6: And so now when people they're still trying to define

1488
01:25:49,680 --> 01:25:53,160
Speaker 6: me sometimes and I just told him very politely, well,

1489
01:25:55,600 --> 01:25:57,520
Speaker 6: I am a multi dimensional motherfucker.

1490
01:25:59,080 --> 01:26:05,800
Speaker 1: It's a good part, okay.

1491
01:26:05,840 --> 01:26:10,160
Speaker 6: Yeah, that that or a Mexic MEXI C A N

1492
01:26:10,320 --> 01:26:15,400
Speaker 6: with capital C A N. But the reason I say that, man,

1493
01:26:15,479 --> 01:26:18,519
Speaker 6: is because I have the confidence after being with Tony

1494
01:26:19,240 --> 01:26:23,360
Speaker 6: and Herbie and Wayne and Miles and they invited me

1495
01:26:23,400 --> 01:26:26,519
Speaker 6: into their sanctune, you know, and all of them bb King,

1496
01:26:26,640 --> 01:26:28,479
Speaker 6: Freddie King, alber King, you know.

1497
01:26:28,840 --> 01:26:33,320
Speaker 7: So it has given me a confidence that all I

1498
01:26:33,360 --> 01:26:33,960
Speaker 7: need to do.

1499
01:26:33,920 --> 01:26:37,360
Speaker 6: Now is just compliment whatever gets in front of me,

1500
01:26:37,800 --> 01:26:41,519
Speaker 6: because I'm not going to let myself for anybody. So

1501
01:26:41,640 --> 01:26:48,160
Speaker 6: go encapsulate me or put me, define me, to redefine me, because.

1502
01:26:49,320 --> 01:26:52,160
Speaker 7: Let's go back to Bruce, Bruce Lee. Let's be let's

1503
01:26:52,240 --> 01:26:52,840
Speaker 7: just be water.

1504
01:26:54,200 --> 01:26:56,920
Speaker 8: You know, so Carlos Santana has never played a link

1505
01:26:56,960 --> 01:26:58,720
Speaker 8: that Carlos Santana ain't want to play and ain't plan

1506
01:26:58,800 --> 01:26:59,400
Speaker 8: out himself.

1507
01:26:59,800 --> 01:27:01,360
Speaker 7: No, no, no, no no.

1508
01:27:02,080 --> 01:27:04,280
Speaker 6: There's a lot of artists that you know I would respect,

1509
01:27:04,479 --> 01:27:06,519
Speaker 6: but if they would call me, I would say, I'm

1510
01:27:06,600 --> 01:27:08,720
Speaker 6: kind of busy and thank you right now, but my

1511
01:27:08,840 --> 01:27:10,760
Speaker 6: plate is full and my fact I gotta do time

1512
01:27:10,840 --> 01:27:13,759
Speaker 6: with my family. And the only Crichaire that I wouldn't

1513
01:27:13,800 --> 01:27:16,599
Speaker 6: played with someone is if I don't feel it. If

1514
01:27:16,640 --> 01:27:19,760
Speaker 6: I don't feel it, I'm not going to play.

1515
01:27:23,040 --> 01:27:26,280
Speaker 1: I was asking just from the standpoint of Okay, for example,

1516
01:27:26,280 --> 01:27:29,280
Speaker 1: I'm probably guilty of the same thing myself, not because

1517
01:27:29,320 --> 01:27:31,240
Speaker 1: I told him to do this, but because this is

1518
01:27:31,240 --> 01:27:34,479
Speaker 1: what we chose to use. But the one time that

1519
01:27:34,560 --> 01:27:39,680
Speaker 1: we worked with Prince on the record, Prince only played keyboards,

1520
01:27:40,040 --> 01:27:43,599
Speaker 1: which you know, it's almost like Wow, you got Prince

1521
01:27:43,680 --> 01:27:47,519
Speaker 1: to play on an album that you produced and he

1522
01:27:47,520 --> 01:27:49,599
Speaker 1: didn't touch the guitar once you got him to play

1523
01:27:50,960 --> 01:27:53,160
Speaker 1: like you got him to play tambourine like that sort

1524
01:27:53,240 --> 01:27:57,160
Speaker 1: of thing. And I just I just I don't know.

1525
01:27:57,240 --> 01:28:00,680
Speaker 1: I just felt like, once I found out that you

1526
01:28:00,720 --> 01:28:04,160
Speaker 1: weren't playing in your the signature style that I know

1527
01:28:04,280 --> 01:28:07,320
Speaker 1: you for, I was just wondering why they didn't use

1528
01:28:07,360 --> 01:28:12,280
Speaker 1: that to the hilt on those particular records. But granted, yes,

1529
01:28:12,640 --> 01:28:15,960
Speaker 1: your water and you can't be type cast and there's

1530
01:28:16,000 --> 01:28:20,920
Speaker 1: nothing that you don't do that's not you, So I

1531
01:28:20,960 --> 01:28:21,719
Speaker 1: respect that.

1532
01:28:22,320 --> 01:28:24,519
Speaker 6: You know the whole thing about this in this interview,

1533
01:28:24,600 --> 01:28:27,360
Speaker 6: you can just summarize it in two words.

1534
01:28:27,720 --> 01:28:28,040
Speaker 1: Hit me.

1535
01:28:28,600 --> 01:28:30,840
Speaker 7: Impeccable integrity.

1536
01:28:32,880 --> 01:28:36,280
Speaker 6: That's it, you know, because everybody that I love they

1537
01:28:36,320 --> 01:28:40,480
Speaker 6: have that sound of impeccable integrity.

1538
01:28:41,360 --> 01:28:45,639
Speaker 7: And with that sound you get a standing ovation from.

1539
01:28:46,400 --> 01:28:50,600
Speaker 6: God, the angels, and the devil that was that is

1540
01:28:50,640 --> 01:28:52,799
Speaker 6: there is such a thing. I don't believe in Satan, Lucifer,

1541
01:28:52,960 --> 01:28:55,800
Speaker 6: in the devil, you know, I believe in e g Oh.

1542
01:28:55,840 --> 01:28:59,320
Speaker 6: I believe that ego is creates, you know, the Boogeyman

1543
01:28:59,479 --> 01:29:02,200
Speaker 6: and wolf In and Dracula enough. But since I'm of

1544
01:29:02,280 --> 01:29:06,200
Speaker 6: a spiritual adult, that stuff don't bother me. You know,

1545
01:29:06,360 --> 01:29:08,880
Speaker 6: I never seen the Exorcise, and I don't want to

1546
01:29:08,960 --> 01:29:11,640
Speaker 6: because I don't. I don't want to soult my my

1547
01:29:12,120 --> 01:29:16,880
Speaker 6: subtle nerves watching stupid movies that that people sell to

1548
01:29:17,240 --> 01:29:19,960
Speaker 6: sell you fear. There see, not people selling you fear

1549
01:29:20,000 --> 01:29:23,439
Speaker 6: in every channel already, you know. So I go when

1550
01:29:23,439 --> 01:29:26,720
Speaker 6: I when when when I When I'm thirsty, you know,

1551
01:29:26,800 --> 01:29:30,519
Speaker 6: when I'm thirsty, I go to Coltrane immediately, and Miles

1552
01:29:31,560 --> 01:29:34,720
Speaker 6: on the corner, you know, on the corner is like, man,

1553
01:29:34,800 --> 01:29:37,559
Speaker 6: it's you know, it's what's New York City on the

1554
01:29:37,600 --> 01:29:38,840
Speaker 6: court right now?

1555
01:29:40,400 --> 01:29:43,080
Speaker 1: Oh wait, there's one question I do have to ask

1556
01:29:43,080 --> 01:29:46,400
Speaker 1: you about your your seventies catalog. One of my favorite

1557
01:29:46,400 --> 01:29:49,360
Speaker 1: record of yours is uh boar boor letter.

1558
01:29:50,080 --> 01:29:50,680
Speaker 7: Yeah.

1559
01:29:51,000 --> 01:29:56,680
Speaker 1: Now for for that period of your life, what is

1560
01:29:57,080 --> 01:29:59,960
Speaker 1: what is the creative process that leads to the crafting

1561
01:30:00,080 --> 01:30:03,760
Speaker 1: other songs? Is it just you guys jamming? Like is

1562
01:30:03,800 --> 01:30:07,160
Speaker 1: it done Bitch's Bruce style where you just play whatever

1563
01:30:07,280 --> 01:30:09,640
Speaker 1: is in your heart and then you edit later Like

1564
01:30:10,760 --> 01:30:13,960
Speaker 1: I don't I'm not certain who does your editing or whatever?

1565
01:30:14,160 --> 01:30:19,480
Speaker 1: Like you're whoever your t O is, like, is it

1566
01:30:19,520 --> 01:30:22,320
Speaker 1: is it pre planned? Our songs pre written or are

1567
01:30:22,360 --> 01:30:25,160
Speaker 1: you guys just jamming like spontaneously.

1568
01:30:25,960 --> 01:30:27,320
Speaker 7: We just jammed spontaneously.

1569
01:30:27,360 --> 01:30:29,240
Speaker 6: We didn't have the knife yet, so we never knew

1570
01:30:29,240 --> 01:30:33,080
Speaker 6: how to edit back then, you know. And I take

1571
01:30:33,120 --> 01:30:36,200
Speaker 6: pride in saying, most of the stuff that I ever

1572
01:30:36,320 --> 01:30:39,640
Speaker 6: done is the one take. If I got to if

1573
01:30:39,680 --> 01:30:41,160
Speaker 6: I got to go to the second or third take,

1574
01:30:41,760 --> 01:30:42,720
Speaker 6: let's go to another.

1575
01:30:42,479 --> 01:30:43,800
Speaker 1: Song, you know.

1576
01:30:44,280 --> 01:30:48,000
Speaker 6: So so the one take allows me to feel confident

1577
01:30:48,240 --> 01:30:52,400
Speaker 6: that I called and Doogu to play drums, and Stanley

1578
01:30:52,479 --> 01:30:56,200
Speaker 6: Clark and our mom Paassa and airto you know. And

1579
01:30:56,760 --> 01:30:58,760
Speaker 6: because I can read how people look at you. Man,

1580
01:30:58,800 --> 01:31:00,559
Speaker 6: if they don't want to be in the room and

1581
01:31:00,560 --> 01:31:02,680
Speaker 6: they don't feel like they want to play with me,

1582
01:31:02,720 --> 01:31:05,200
Speaker 6: then they won't. But I can see when somebody says,

1583
01:31:05,760 --> 01:31:08,439
Speaker 6: this is going to be interesting. Let's see what Santana

1584
01:31:08,520 --> 01:31:10,800
Speaker 6: want to go? You know, do do do do do

1585
01:31:10,800 --> 01:31:16,320
Speaker 6: do do do do the damn. So I'm thinking Pharaoh Sanders,

1586
01:31:17,120 --> 01:31:19,800
Speaker 6: you know, I'm thinking the things that I love, man,

1587
01:31:19,840 --> 01:31:25,479
Speaker 6: Pharaoh Sanders, weather Report, you know. And so when we

1588
01:31:25,560 --> 01:31:27,400
Speaker 6: when we hit it, I just we just gave him

1589
01:31:27,400 --> 01:31:33,040
Speaker 6: a little sketch of uh of a clue and then

1590
01:31:33,040 --> 01:31:33,880
Speaker 6: we hit it.

1591
01:31:34,560 --> 01:31:39,840
Speaker 1: Okay, So that said, how are you able to miraculously

1592
01:31:41,280 --> 01:31:46,720
Speaker 1: at least engage in the patience factor with your respective

1593
01:31:47,560 --> 01:31:52,240
Speaker 1: label bosses, with Clyde Davis and with Walter Yett in

1594
01:31:52,240 --> 01:31:56,320
Speaker 1: a cough in terms of sticking to your artistic vision,

1595
01:31:56,600 --> 01:32:03,080
Speaker 1: artistic vision and not giving into what I'm clear that

1596
01:32:03,240 --> 01:32:05,519
Speaker 1: every time you play them, this is the final album

1597
01:32:05,560 --> 01:32:09,400
Speaker 1: where they're telling you, please just one, just just work

1598
01:32:09,439 --> 01:32:11,080
Speaker 1: with this one songwriter so you can have a top

1599
01:32:11,120 --> 01:32:15,640
Speaker 1: ten hit. Please just one more, please one you know,

1600
01:32:15,720 --> 01:32:19,720
Speaker 1: but evil ways or whatever like how because these these

1601
01:32:19,720 --> 01:32:23,200
Speaker 1: albums are closer, it's closer to on the corner live

1602
01:32:23,240 --> 01:32:25,760
Speaker 1: evil bitches brew like you're in that creative zone. So

1603
01:32:25,800 --> 01:32:32,880
Speaker 1: how are you able to sustain that that magic at

1604
01:32:32,960 --> 01:32:36,479
Speaker 1: least for the two decades that you were with UH,

1605
01:32:37,160 --> 01:32:39,880
Speaker 1: with Sony Columbia Okay, with.

1606
01:32:40,000 --> 01:32:45,760
Speaker 6: The exception of Clive and Bill Grant in a Chris

1607
01:32:47,400 --> 01:32:50,160
Speaker 6: from the gentleman who produced Bob.

1608
01:32:49,920 --> 01:32:54,040
Speaker 1: Marley, right, Okay, so Chris Black.

1609
01:32:54,160 --> 01:32:57,160
Speaker 6: Black Okay, with the obsession a few brothers like that,

1610
01:32:57,640 --> 01:33:00,880
Speaker 6: while people like Walter, Yeah, I don't know where sad Faid,

1611
01:33:00,880 --> 01:33:03,920
Speaker 6: I don't care so what people like that. I have

1612
01:33:04,000 --> 01:33:06,200
Speaker 6: an attitude that I say, I'm going to be here

1613
01:33:06,320 --> 01:33:10,880
Speaker 6: long after you're gone, okay, because I seen nine of

1614
01:33:10,920 --> 01:33:15,439
Speaker 6: you come and go. I'm still here, you know, and

1615
01:33:15,520 --> 01:33:17,639
Speaker 6: so I'm going to do what I'm going to do.

1616
01:33:18,479 --> 01:33:21,920
Speaker 6: And you can either uh. And I went to this

1617
01:33:21,960 --> 01:33:24,519
Speaker 6: stuff with Donnie Roner and a bunch of a bunch of.

1618
01:33:26,080 --> 01:33:26,559
Speaker 7: CEO.

1619
01:33:26,760 --> 01:33:30,120
Speaker 6: So whatever you know, because I tell and I tell

1620
01:33:30,200 --> 01:33:35,439
Speaker 6: him straight up. Man, there's artists and con artists, and

1621
01:33:35,520 --> 01:33:38,760
Speaker 6: I know who I am and you know who you are.

1622
01:33:40,000 --> 01:33:40,320
Speaker 4: I don't know.

1623
01:33:40,479 --> 01:33:43,760
Speaker 6: I don't have to say let me do this, because no,

1624
01:33:44,000 --> 01:33:45,559
Speaker 6: I'm just saying I'm going to do this. And if

1625
01:33:45,600 --> 01:33:47,559
Speaker 6: you don't like it, well then I just be here

1626
01:33:47,600 --> 01:33:50,559
Speaker 6: and with another record company, you know, And you can

1627
01:33:50,600 --> 01:33:53,840
Speaker 6: talk to my lawyer and Bill Graham or whatever you know,

1628
01:33:54,280 --> 01:33:57,559
Speaker 6: but you have to have a certain conviction determination that

1629
01:33:57,640 --> 01:33:59,040
Speaker 6: you're bigger than the company.

1630
01:33:59,640 --> 01:34:02,800
Speaker 5: Oh damn, y'all hear that?

1631
01:34:03,240 --> 01:34:06,240
Speaker 1: Dude? Man, this this might have to put Matthew Knowles

1632
01:34:06,280 --> 01:34:11,240
Speaker 1: in second place. I mean, I respect, this might be

1633
01:34:11,479 --> 01:34:13,919
Speaker 1: this might be my all time favorite interview.

1634
01:34:15,680 --> 01:34:18,519
Speaker 2: That's such an education and so many subjects.

1635
01:34:18,080 --> 01:34:24,080
Speaker 1: Thank you, no, no, please? Why the p r S.

1636
01:34:24,200 --> 01:34:26,599
Speaker 1: I feel like the woodstock was the s G and

1637
01:34:26,640 --> 01:34:29,760
Speaker 1: the Gibson stuff, and you're so defined by that sound

1638
01:34:29,840 --> 01:34:31,639
Speaker 1: of the pr S. Why why is that?

1639
01:34:32,479 --> 01:34:34,800
Speaker 7: Because it stays in tune and it seems really good

1640
01:34:36,320 --> 01:34:37,000
Speaker 7: the SG.

1641
01:34:37,360 --> 01:34:39,120
Speaker 1: I wanted to be a bigger answer than that. But

1642
01:34:39,160 --> 01:34:41,080
Speaker 1: if it's just that, that's cool, Okay.

1643
01:34:40,920 --> 01:34:43,640
Speaker 6: The SG neck, That's what I was saying that it

1644
01:34:43,720 --> 01:34:47,320
Speaker 6: was like playing an electric snake because it was like

1645
01:34:47,400 --> 01:34:49,519
Speaker 6: it was moving around like a snake when I was

1646
01:34:49,560 --> 01:34:52,320
Speaker 6: playing it, and you see me making ugly faces. I'm

1647
01:34:52,320 --> 01:34:55,120
Speaker 6: trying to make it stand still, you know, because that

1648
01:34:55,280 --> 01:34:57,840
Speaker 6: because the neck of the guitar is literally moving kind

1649
01:34:57,880 --> 01:35:00,240
Speaker 6: of like this. So so so I used to out

1650
01:35:00,240 --> 01:35:02,360
Speaker 6: of tune a lot, and so I said, man, I

1651
01:35:03,080 --> 01:35:04,559
Speaker 6: need to have one more time.

1652
01:35:04,720 --> 01:35:06,519
Speaker 7: I need to have confidence.

1653
01:35:06,000 --> 01:35:09,320
Speaker 6: That my guitar is going to behave So I stopped

1654
01:35:09,320 --> 01:35:12,639
Speaker 6: playing the sge's because the neck wasn't conducive to being

1655
01:35:12,880 --> 01:35:14,040
Speaker 6: in tune as I wanted to.

1656
01:35:14,280 --> 01:35:16,360
Speaker 7: So I got the less pole, and after the less pole,

1657
01:35:16,680 --> 01:35:17,599
Speaker 7: I went to Yamaha.

1658
01:35:17,600 --> 01:35:21,000
Speaker 6: And after Yamaha, I went to Paul rees Smith came

1659
01:35:21,040 --> 01:35:24,439
Speaker 6: to me and very graciously said, hey, man, I made

1660
01:35:24,479 --> 01:35:28,519
Speaker 6: this guitar, but right now, everything else the guitar player

1661
01:35:29,120 --> 01:35:31,280
Speaker 6: he belongs to heart. You know, there's the group hard

1662
01:35:31,760 --> 01:35:33,240
Speaker 6: but I'm going to send it to you for a

1663
01:35:33,600 --> 01:35:35,559
Speaker 6: week and you can't have it. You can just play

1664
01:35:35,600 --> 01:35:37,400
Speaker 6: it and if you like it, then I'll make you one.

1665
01:35:37,920 --> 01:35:42,840
Speaker 6: And so I love people with conviction and determination, and

1666
01:35:42,920 --> 01:35:45,000
Speaker 6: I liked it so much. I've been with him since

1667
01:35:45,960 --> 01:35:48,800
Speaker 6: seventy eight, seventy nine.

1668
01:35:49,960 --> 01:35:52,880
Speaker 1: How many access do you own? Or is that just.

1669
01:35:54,720 --> 01:35:55,200
Speaker 7: I don't know?

1670
01:35:55,360 --> 01:35:57,439
Speaker 1: It's in the gajillions story.

1671
01:35:57,520 --> 01:36:01,000
Speaker 6: No, no, no, I on's they gets through like fifty

1672
01:36:01,200 --> 01:36:03,679
Speaker 6: I get rid of them and I get I donate them,

1673
01:36:03,840 --> 01:36:06,519
Speaker 6: you know, to feed people here in Las Vegas, or

1674
01:36:06,520 --> 01:36:09,400
Speaker 6: to do this for schools like you were saying, you know,

1675
01:36:09,880 --> 01:36:14,000
Speaker 6: or hospitals or whatever, because uh, I don't want to

1676
01:36:14,040 --> 01:36:16,000
Speaker 6: pay insurance on something that I don't play.

1677
01:36:18,200 --> 01:36:19,160
Speaker 2: Then think about it like that.

1678
01:36:19,560 --> 01:36:21,000
Speaker 1: Damn, now you're making me feel bad.

1679
01:36:21,000 --> 01:36:21,200
Speaker 4: Man.

1680
01:36:23,720 --> 01:36:25,120
Speaker 1: I'm still keeping my drum sets.

1681
01:36:25,200 --> 01:36:27,680
Speaker 8: How do you navigate with the culturally or with the

1682
01:36:27,720 --> 01:36:30,760
Speaker 8: African continent. It's so interesting because I'm wondering, like with

1683
01:36:30,840 --> 01:36:32,920
Speaker 8: all the different sounds, all the different cultures all the

1684
01:36:32,920 --> 01:36:36,080
Speaker 8: different countries. And mind you you you're dealing with other

1685
01:36:36,200 --> 01:36:38,880
Speaker 8: cultures and stuff outside of the continent. But how do

1686
01:36:38,920 --> 01:36:43,120
Speaker 8: you navigate and through finding and discovering sound in that

1687
01:36:43,280 --> 01:36:44,000
Speaker 8: huge continent?

1688
01:36:44,080 --> 01:36:45,960
Speaker 2: And have you navigated it fully? Do you feel like

1689
01:36:46,000 --> 01:36:46,200
Speaker 2: you have?

1690
01:36:47,680 --> 01:36:48,640
Speaker 7: Thank you for asking that.

1691
01:36:49,080 --> 01:36:53,720
Speaker 6: Yeah, it's my favorite subject in music, which is the drums.

1692
01:36:54,320 --> 01:36:59,800
Speaker 6: The drum is the best. If you would, I swear

1693
01:36:59,800 --> 01:37:03,240
Speaker 6: to you, if we would just make it possible for

1694
01:37:03,280 --> 01:37:05,160
Speaker 6: the drums to be in the hood of Pabela, the

1695
01:37:05,240 --> 01:37:10,480
Speaker 6: barrio and the shanty towns, you know, you wouldn't need psychiatrists, therapists, anlins,

1696
01:37:10,760 --> 01:37:13,800
Speaker 6: pips or drug dealers, you know, because once you play

1697
01:37:13,840 --> 01:37:14,640
Speaker 6: the drums.

1698
01:37:14,800 --> 01:37:22,639
Speaker 12: Being kink competing kink, once you get into it, it's

1699
01:37:22,680 --> 01:37:26,960
Speaker 12: like you said, your DNA you remember that is the language,

1700
01:37:27,240 --> 01:37:28,960
Speaker 12: the language of light, you know.

1701
01:37:29,439 --> 01:37:32,920
Speaker 7: So I would remind doing we brought the.

1702
01:37:32,960 --> 01:37:39,040
Speaker 6: Quest a mission, you know, to bring the drums back

1703
01:37:39,080 --> 01:37:41,680
Speaker 6: to the hood. We close up as we close up

1704
01:37:41,680 --> 01:37:44,160
Speaker 6: the parks, you know, and with the fences, and we

1705
01:37:44,240 --> 01:37:47,040
Speaker 6: put police in there. One way in, one way out, okay,

1706
01:37:47,200 --> 01:37:49,519
Speaker 6: and you get a ticket when you come in and

1707
01:37:49,560 --> 01:37:51,640
Speaker 6: you have a gun, you get a ticket.

1708
01:37:51,360 --> 01:37:53,160
Speaker 7: You know, they put it. You know, we put the

1709
01:37:53,160 --> 01:37:54,880
Speaker 7: gun over there, and we'll give you a ticket, you know.

1710
01:37:55,080 --> 01:37:59,960
Speaker 6: And there's like about fifty sixty drums and badass drummer player.

1711
01:38:00,200 --> 01:38:03,120
Speaker 6: And then you have one drummer conga player dressed up

1712
01:38:03,160 --> 01:38:05,680
Speaker 6: like a police you know, so so they can feel comfortable,

1713
01:38:05,760 --> 01:38:07,960
Speaker 6: and he's playing his ass up, you know. And so

1714
01:38:08,200 --> 01:38:10,760
Speaker 6: one after that, not only have that they're playing. You

1715
01:38:10,800 --> 01:38:14,840
Speaker 6: say to them, okay, man uh if before you go,

1716
01:38:15,439 --> 01:38:18,080
Speaker 6: if you like the drum, you can take the drum,

1717
01:38:18,560 --> 01:38:23,839
Speaker 6: leave the gun. So we call it drums for guns, okay.

1718
01:38:24,120 --> 01:38:26,800
Speaker 6: And once we have enough guns, we melt them and

1719
01:38:26,840 --> 01:38:29,320
Speaker 6: we turn them into this beautiful angel.

1720
01:38:30,479 --> 01:38:41,280
Speaker 5: With a frow, you know, beautiful angel with a frow

1721
01:38:41,560 --> 01:38:42,120
Speaker 5: with a.

1722
01:38:42,040 --> 01:38:46,240
Speaker 7: Frow in Congas in Congus. You know, I like that.

1723
01:38:46,840 --> 01:38:50,920
Speaker 1: You just had a download right now. Man, Hey, it's

1724
01:38:50,960 --> 01:38:53,439
Speaker 1: in the world now drums drums for guns. I might

1725
01:38:53,520 --> 01:38:57,320
Speaker 1: have to do that. I might have to do that.

1726
01:38:57,320 --> 01:38:59,879
Speaker 2: That sounds like an initiative, okay.

1727
01:39:00,080 --> 01:39:02,680
Speaker 6: Invitation, And it's an invitation to do something that the

1728
01:39:02,720 --> 01:39:06,160
Speaker 6: police need to have. Because once we get the drums

1729
01:39:06,160 --> 01:39:08,559
Speaker 6: and people and we say we go to the mayor

1730
01:39:08,840 --> 01:39:11,519
Speaker 6: and say we need for you to allow the drums

1731
01:39:11,560 --> 01:39:15,120
Speaker 6: to be played from eleven in the afternoon.

1732
01:39:15,479 --> 01:39:17,200
Speaker 1: New York needs this bad.

1733
01:39:17,600 --> 01:39:20,519
Speaker 7: You know. And and and in certain parks where people

1734
01:39:20,520 --> 01:39:21,000
Speaker 7: can just.

1735
01:39:27,479 --> 01:39:29,360
Speaker 1: This is an issue right now in New York City

1736
01:39:29,479 --> 01:39:33,559
Speaker 1: because because of gentrification, a lot of spots in Brooklyn

1737
01:39:33,600 --> 01:39:38,880
Speaker 1: that I mean those parks that those parks that uh

1738
01:39:39,439 --> 01:39:43,160
Speaker 1: you know that were known for their Sunday Saturday all

1739
01:39:43,240 --> 01:39:43,759
Speaker 1: day drums.

1740
01:39:43,880 --> 01:39:46,719
Speaker 8: The next parksne has been stopped.

1741
01:39:47,200 --> 01:39:50,680
Speaker 9: Yes, in Prospect Park they stop that. Well, yeah, I

1742
01:39:50,680 --> 01:39:53,880
Speaker 9: think we still have our drum circle Prospers.

1743
01:39:53,560 --> 01:39:55,760
Speaker 1: You have it. But I'm seeing a lot of like

1744
01:39:56,600 --> 01:40:02,639
Speaker 1: you know, the first instance of carringing, always complaints of like.

1745
01:40:02,640 --> 01:40:04,479
Speaker 8: That's happened all over the country. It already happened in

1746
01:40:04,560 --> 01:40:06,840
Speaker 8: d They turned the park from.

1747
01:40:09,080 --> 01:40:11,200
Speaker 1: Why you asked the question before I got to ask

1748
01:40:11,240 --> 01:40:14,960
Speaker 1: my follow up question with your guitar is is there

1749
01:40:15,479 --> 01:40:20,840
Speaker 1: a seminal guitar that you'll always keep, like your woodstock

1750
01:40:20,920 --> 01:40:25,439
Speaker 1: guitar or your are you sentimental with with with your

1751
01:40:25,479 --> 01:40:29,840
Speaker 1: your children or it's just like you know, what you get,

1752
01:40:29,880 --> 01:40:31,920
Speaker 1: you get and then the rest just wind up in

1753
01:40:31,960 --> 01:40:33,400
Speaker 1: storage or you give them away.

1754
01:40:34,560 --> 01:40:40,479
Speaker 6: I got two three main quarterbacks, but I'm not attached emotionally.

1755
01:40:41,320 --> 01:40:47,080
Speaker 1: You too, Kirk, Yeah, No, I don't.

1756
01:40:47,200 --> 01:40:50,800
Speaker 6: I don't let sentimentality or my ego tell me that

1757
01:40:50,920 --> 01:40:54,559
Speaker 6: I can't do it without this. No, I can grab

1758
01:40:54,640 --> 01:40:58,760
Speaker 6: any guitar as long as the stays of tune and

1759
01:40:59,280 --> 01:41:02,040
Speaker 6: and it sounds like you know, just like you.

1760
01:41:02,040 --> 01:41:03,599
Speaker 7: You're going to sound like you and your drums.

1761
01:41:03,800 --> 01:41:06,479
Speaker 6: Cindy's gonna sound like Cydy on her drums, although she

1762
01:41:06,720 --> 01:41:08,559
Speaker 6: prefers gredge only.

1763
01:41:09,040 --> 01:41:12,120
Speaker 1: I see, I see.

1764
01:41:12,720 --> 01:41:17,479
Speaker 9: I'm today just just to get into the mood for tonight.

1765
01:41:18,200 --> 01:41:20,560
Speaker 9: It's been a long time, but I listened.

1766
01:41:20,200 --> 01:41:23,000
Speaker 7: To Europa.

1767
01:41:23,960 --> 01:41:25,760
Speaker 1: Earth's Cry Heaven Smile.

1768
01:41:27,600 --> 01:41:31,240
Speaker 9: Way back, even before I met the Roots. That was

1769
01:41:32,160 --> 01:41:34,559
Speaker 9: like a song that I would always go to for

1770
01:41:34,680 --> 01:41:39,360
Speaker 9: inspiration and still remains an inspiration to this day for me, I.

1771
01:41:39,400 --> 01:41:40,240
Speaker 1: Haven't heard a long time.

1772
01:41:40,280 --> 01:41:44,519
Speaker 9: I listened to today on the subway, and I kid

1773
01:41:44,520 --> 01:41:46,200
Speaker 9: you not, I'm sure it has a lot to do

1774
01:41:46,280 --> 01:41:47,559
Speaker 9: with things in this life.

1775
01:41:47,560 --> 01:41:51,320
Speaker 1: I'm growing you. But I wept. I wept openly on

1776
01:41:51,360 --> 01:41:53,920
Speaker 1: the subway listening to that song.

1777
01:41:55,280 --> 01:41:58,479
Speaker 9: So I thank you for that moment. And the other

1778
01:41:58,520 --> 01:42:02,800
Speaker 9: side of that, I want to know what h what

1779
01:42:03,000 --> 01:42:05,839
Speaker 9: guitar was that what what app what do you remember?

1780
01:42:05,840 --> 01:42:09,320
Speaker 9: What combination was? This is the version that was from Moonflower.

1781
01:42:10,040 --> 01:42:13,840
Speaker 1: Okay you remember, yeah it was.

1782
01:42:15,080 --> 01:42:17,080
Speaker 6: It was the last poll that Neil Shawn and I

1783
01:42:17,160 --> 01:42:19,679
Speaker 6: got at the same time at Don Weir's music shop

1784
01:42:19,840 --> 01:42:22,280
Speaker 6: that was kind of like the Manny's of San Francisco,

1785
01:42:22,800 --> 01:42:24,479
Speaker 6: and I was fleeing. I was playing to a twin,

1786
01:42:25,000 --> 01:42:28,240
Speaker 6: straight up, straight up to a twin, you know. But

1787
01:42:28,360 --> 01:42:33,000
Speaker 6: the song, the melody came from watching somebody next to me.

1788
01:42:34,400 --> 01:42:36,479
Speaker 6: She was she was she was gonna have a bad

1789
01:42:36,520 --> 01:42:39,800
Speaker 6: acid trip, you know, and so she was starting to

1790
01:42:39,800 --> 01:42:42,080
Speaker 6: freak out and get her get get like a little

1791
01:42:42,720 --> 01:42:44,840
Speaker 6: not little, a lot, really really paranoid.

1792
01:42:45,320 --> 01:42:50,799
Speaker 7: So I went, Bam, do do dude, The mushroom Ladies

1793
01:42:50,880 --> 01:42:55,519
Speaker 7: coming to town. So it's a song about a mushroom lady,

1794
01:42:55,520 --> 01:42:56,400
Speaker 7: which is a shaman.

1795
01:42:56,880 --> 01:42:57,080
Speaker 1: You know.

1796
01:42:57,120 --> 01:42:59,960
Speaker 6: I never put the lyrics on it, but my face

1797
01:43:00,000 --> 01:43:01,599
Speaker 6: everyone is got to Barbieria.

1798
01:43:01,680 --> 01:43:04,240
Speaker 7: He got to Barberia and played an incredible version of

1799
01:43:04,360 --> 01:43:08,880
Speaker 7: Oh yeah he My mother told me, I don't want

1800
01:43:08,880 --> 01:43:11,120
Speaker 7: to hurt your feelings, but I like his version better

1801
01:43:11,160 --> 01:43:12,600
Speaker 7: than yours. I said, thanks a.

1802
01:43:12,600 --> 01:43:13,120
Speaker 1: Lot, Mom.

1803
01:43:15,000 --> 01:43:17,400
Speaker 4: Wow, did you ever play with Gatto?

1804
01:43:18,560 --> 01:43:24,759
Speaker 6: Yes, yes, we played in Chicago and uh we played

1805
01:43:24,760 --> 01:43:27,680
Speaker 6: a couple of times. Man, he knew I love him,

1806
01:43:27,680 --> 01:43:31,080
Speaker 6: I adore him. I adore him. And Pharaoh Sanders they

1807
01:43:31,120 --> 01:43:32,439
Speaker 6: both got that sound.

1808
01:43:32,600 --> 01:43:33,559
Speaker 7: You know that sound.

1809
01:43:34,920 --> 01:43:37,120
Speaker 6: But hey man, before I leave, I do want to

1810
01:43:37,160 --> 01:43:39,280
Speaker 6: let you know that I'm going to invite you to

1811
01:43:40,520 --> 01:43:43,600
Speaker 6: please know that I'm going to do my best to

1812
01:43:43,920 --> 01:43:48,240
Speaker 6: put this thing Jubilation an album for sany chirak only,

1813
01:43:48,640 --> 01:43:51,640
Speaker 6: you know, with the baddest guitar players out there. And

1814
01:43:52,120 --> 01:43:55,559
Speaker 6: I'm and I feel really really enthusiastic about it. You know,

1815
01:43:55,920 --> 01:43:58,679
Speaker 6: when you feel enthusiastic, you get a lot of energy.

1816
01:43:59,200 --> 01:44:02,639
Speaker 6: So I want to honor and celebrate my brother Sonny

1817
01:44:02,680 --> 01:44:06,160
Speaker 6: shir Rock because I totally adore him.

1818
01:44:06,320 --> 01:44:09,439
Speaker 1: Thank you, so thank you, thank you for doing our show.

1819
01:44:10,880 --> 01:44:13,680
Speaker 1: You dropped a lot of knowledge on us. Yeah it

1820
01:44:13,720 --> 01:44:17,439
Speaker 1: was and you know we're we're gobsmack because this is

1821
01:44:17,520 --> 01:44:20,519
Speaker 1: totally out of the format that we've ever done this show.

1822
01:44:20,760 --> 01:44:25,680
Speaker 1: But thank you forever you drop knowledge. And now I

1823
01:44:25,720 --> 01:44:29,880
Speaker 1: want to drop something question.

1824
01:44:29,920 --> 01:44:36,040
Speaker 6: Look Supreme, we all drop a yes, yes, put John

1825
01:44:36,560 --> 01:44:38,599
Speaker 6: and left Supreme and you be all right.

1826
01:44:38,880 --> 01:44:39,519
Speaker 2: I believe that.

1827
01:44:39,840 --> 01:44:42,200
Speaker 8: Can I just apologize to everybody, because this should have

1828
01:44:42,200 --> 01:44:43,080
Speaker 8: happened a while ago.

1829
01:44:43,439 --> 01:44:44,719
Speaker 2: But Carlo's true story.

1830
01:44:44,760 --> 01:44:47,040
Speaker 8: I saw you and Cindy and Cafe Gratitude down the

1831
01:44:47,040 --> 01:44:49,400
Speaker 8: street from my house like about a year ago, and

1832
01:44:49,439 --> 01:44:50,759
Speaker 8: I froze and I couldn't speak.

1833
01:44:50,960 --> 01:44:52,759
Speaker 2: So I'm glad everything happens for a reason.

1834
01:44:53,120 --> 01:44:54,519
Speaker 1: It's always big up.

1835
01:44:54,479 --> 01:44:57,599
Speaker 8: To Leo and Aaron for making this happen, because make

1836
01:44:57,640 --> 01:45:00,000
Speaker 8: sure it happened a little sooner. But y'all look amazing together.

1837
01:45:00,120 --> 01:45:02,680
Speaker 8: It's just a beautiful rock and roll fucking.

1838
01:45:06,560 --> 01:45:10,040
Speaker 1: Ladies and gentlemen. This is a quest love Supreme Kirk,

1839
01:45:10,680 --> 01:45:16,960
Speaker 1: thank you, thank you for joining us. Pleasure, Pleasure Captain.

1840
01:45:19,040 --> 01:45:22,360
Speaker 1: We will see you on the next go round. Thank you, yo.

1841
01:45:22,439 --> 01:45:24,840
Speaker 1: What's up? This is fante. Make sure you keep up

1842
01:45:24,840 --> 01:45:27,559
Speaker 1: with us on Instagram at QLs and let us know

1843
01:45:27,600 --> 01:45:29,120
Speaker 1: what you think and who should be next to sit

1844
01:45:29,160 --> 01:45:29,720
Speaker 1: down with us.

1845
01:45:29,920 --> 01:45:33,080
Speaker 4: Don't forget to subscribe to our podcast, all right, peace.

1846
01:45:33,720 --> 01:45:43,280
Speaker 1: M west Loft Supreme is a production of iHeart Radio.

1847
01:45:46,040 --> 01:45:49,360
Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1848
01:45:49,560 --> 01:45:52,639
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.