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

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Speaker 1: my old pal Jesse Harris. I'm just playing lo Weuy,

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Speaker 1: I'm just playing lone Weezy. Hi, Welcome to the show.

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Speaker 1: I'm Norah Jones, and with me as always is Sarah Oda.

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Speaker 2: Hello.

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Speaker 1: Hello.

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Speaker 3: Our guest today is singer, songwriter, guitarist and producer extraordinaire

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Speaker 3: and og friend.

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Speaker 1: Yes Jesse Harris.

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Speaker 3: He's released many albums as a solo artist and several

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Speaker 3: with his instrumental group Cosmo. And he also has worked

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Speaker 3: with and played with several bands and artists, including Yours

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Speaker 3: Truly me No, I'm pointing to you.

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Speaker 1: Nobody can see Yours Truly. Jesse Harris is a friend

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Speaker 1: of mine since I'm nineteen years old, and he worked

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Speaker 1: on my first album with me. He wrote Don't Know Why,

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Speaker 1: which was my breakout hint and so for me, you

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Speaker 1: know it goes pretty deep.

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Speaker 3: Yeah, He's written like an unbelievable number of songs.

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Speaker 1: He's a very prolific songwriter. He wrote four songs, I

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Speaker 1: think or five songs on my first album. So yeah,

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Speaker 1: if you know that album, you know his work. Even

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Speaker 1: if you don't know, you know, you know Jesse has.

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Speaker 4: A new album, If You Believed in Me, that just

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Speaker 4: came out on November seventh on Artwork Records, and it's

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Speaker 4: featuring an orchestra arranged and conducted by Brazilian composer Mike

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Speaker 4: and Ananias.

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Speaker 1: And we're going to start this episode with a song

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Speaker 1: I sang with him on that album called Having a Ball.

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Speaker 3: Stay tuned for a trip down memory lane.

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Speaker 1: This was fun. Please enjoy this episode with one of

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Speaker 1: my oldest friends, Jesse Harris.

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Speaker 5: Is it too late.

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Speaker 6: For me to call?

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Speaker 7: I feel so weak? It hurts to fall. It hurts

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Speaker 7: to fall. So can we talk about it?

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Speaker 8: All?

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Speaker 7: Wish that we were having wish that we were having

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Speaker 7: a ball.

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Speaker 9: You had to be.

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Speaker 7: There. I supposed it was mean. It's just a joke.

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Speaker 7: It's just a joke.

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Speaker 1: But everything.

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Speaker 7: Went up and smoked. Still you are having We say

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Speaker 7: we are having a ball.

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Speaker 5: Just start we world yesterday.

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Speaker 2: Isn't it something.

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Speaker 10: I say?

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Speaker 7: I let you go, it's time to sleep, I lie, wake.

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Speaker 6: You count and.

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Speaker 11: Cheap, I'm kind cheap. Don't go away the.

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Speaker 12: Things he keeps.

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Speaker 7: We say we are having wish that we were having

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Speaker 7: a ball. We said we will having We said we

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Speaker 7: were having a ball. We said we would have it.

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Speaker 7: Wish that we were having a ball, We said we

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Speaker 7: would have it.

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Speaker 12: Was said we were having a ball.

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Speaker 1: Awesome. Yeah island Es. Hi, friend, Hi, we had to

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Speaker 1: do this to hang out. Well, you're busy, I know,

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Speaker 1: but you're always gone. I know that you're French.

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Speaker 2: Now, I've been around you know, I've been around some.

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Speaker 1: You spend a lot of time in Paris, though, I do.

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Speaker 1: That's true because you're French.

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Speaker 2: Now, yeah, I'm working on it. I was at the

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Speaker 2: beach yesterday in the day before.

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Speaker 1: Well, I didn't get a call.

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Speaker 2: Are you going out?

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Speaker 5: And Hi?

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Speaker 1: Welcome to our dynamic.

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Speaker 2: Have we started?

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Speaker 1: Oh? Yeah? Okay? Hi, Hi, Now you're all self conscious?

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Speaker 2: No, I'm ready. I'm good.

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Speaker 1: Let's start with a song for fun? Okay, can we

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Speaker 1: do one of the first songs I used to sing

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Speaker 1: with you, sure, which is is a song that I

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Speaker 1: did record on my first album that people who liked

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Speaker 1: that album love that song. And also this is the

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Speaker 1: version I used to sing with you.

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Speaker 2: That's right.

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Speaker 1: You used to play with the Ferdnandos and you'd be

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Speaker 1: playing at the living room and I'd be there and

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Speaker 1: you just kind of like go like that with your head,

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Speaker 1: you jerk your head, And what was that a signal

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Speaker 1: for for me to come up and sing it with you?

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Speaker 1: Or am I thinking of not your fault?

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Speaker 2: No? No, no, we would do this, We would do this. Yeah.

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Speaker 2: But you sang on not your fault on the record.

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Speaker 1: But this was like one of the first ones, right,

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Speaker 1: so this came out in two thousand and one.

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Speaker 13: Well, the album came out in two thousand and one,

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Speaker 13: but we must have recorded it in two thousand ors.

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Speaker 1: Yeah, probably, yeah, but I'm not on the album.

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Speaker 2: Yes you are.

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Speaker 1: I am okay, I can't said yeah, okay, So I

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Speaker 1: sing it with you on the album?

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Speaker 2: Yeah you did?

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Speaker 1: Okay? Yeah, and that was like right after I moved

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Speaker 1: to New York. Yeah, okay, let's do it and then

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Speaker 1: we'll talk about Okay, wait, do you do it in

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Speaker 1: C minor? Yeah? Okay. For some reason, I keep having

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Speaker 1: not your Fault in my head. I don't know why.

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Speaker 13: Well, you sang on that too, and you really were yelling.

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Speaker 13: Remember in the harmonies. I remember, Okay, do you want

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Speaker 13: to come in with me? At the intro?

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Speaker 14: Okay, lines on your face, don't bother me, sit down

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Speaker 14: in my.

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Speaker 1: Shill, when you dance.

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Speaker 5: So I can't help myself.

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Speaker 12: I got to see Gay.

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Speaker 14: Late in the night.

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Speaker 5: Well, I'm all alone and I look at the cloud. Hallo,

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Speaker 5: you're not home.

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Speaker 12: I can't help myself.

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Speaker 1: I got to.

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Speaker 6: See you again. I had an almost go.

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Speaker 5: Just to watch you be seen.

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Speaker 15: I had a lomost gold there just to live in

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Speaker 15: a dream.

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Speaker 14: But no, I won't go for any of those things.

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Speaker 5: To not touch your skin is not why I see.

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Speaker 2: I can't help my.

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Speaker 6: I've got to see you and game.

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Speaker 5: I can always go there just to watch you be seen.

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Speaker 15: I can always go there just to live a.

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Speaker 16: G But no, I won't go to share with But

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Speaker 16: oh even though, no way.

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Speaker 12: I get Helmas.

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Speaker 16: I've got to see I can't helmas.

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Speaker 2: I've got to see Gay. All right.

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Speaker 1: It really brings me back.

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Speaker 2: I remember I used to do a harmonica, so one

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Speaker 2: Oh did you bring your harmonica? I didn't. I didn't

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Speaker 2: remember until this moment.

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Speaker 1: Oh, that's that's right, because I was like, well, I

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Speaker 1: didn't play piano on it.

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Speaker 2: And I haven't done that in a while.

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Speaker 1: But yeah, oh that would have been fun. That's right,

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Speaker 1: God those days.

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Speaker 2: Yeah, I was thinking about that on my way here

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Speaker 2: because I used to live her on here, and so

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Speaker 2: I was walking through the old hood and checking things out,

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Speaker 2: and looked at my old place where I used to live,

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Speaker 2: and I saw the old copy shop where I used

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Speaker 2: to make my song books.

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Speaker 1: And oh, copy shops back before you had a printer

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Speaker 1: in your house.

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Speaker 2: Yeah, wow, and they used to They would bind the

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Speaker 2: books for me too.

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Speaker 1: Really, Oh, that's so cool.

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Speaker 13: So when we did the gigs, I never did any rehearsals,

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Speaker 13: So I just bring the book to the gig, and

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Speaker 13: whoever was on bass that night would just flip, you know,

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Speaker 13: flipped to the song we were doing because they were

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Speaker 13: in alphabetical order.

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Speaker 1: That's so easy. That's so jazz of you. I know,

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Speaker 1: that's such a like jazz musician, jazz singer thing to do.

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Speaker 1: Have their own book. That's so cool.

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Speaker 2: Had a cover too.

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Speaker 1: I remember You've always been excellent at making charts, so

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Speaker 1: I remember.

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Speaker 2: That well early on. Actually remember Ben Street. Ben Street

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Speaker 2: said you said you got to start making charts.

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Speaker 1: Really is he the one who made you do?

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Speaker 2: Yeah, in the very beginning.

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Speaker 1: Yeah, this is back in the ones.

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Speaker 6: Before that.

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Speaker 1: Even Okay, man, that's so cool. Well, what I met

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Speaker 1: you in Texas in nineteen ninety eight summer.

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Speaker 2: No, it was April April.

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Speaker 1: It was right before the summer. Yeah, and I had

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Speaker 1: the big Cadillac. I'm sure some people know the story

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Speaker 1: and some people don't, but you were driving cross country

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Speaker 1: with Richard. Actually, I think we told the story when

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Speaker 1: I did the podcast with Richard.

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Speaker 2: Oh cool.

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Speaker 1: Yeah, But I met you and Richard Julian as well

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Speaker 1: as Kenny Wallison and Kurt roseen.

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Speaker 2: Winkle and Johnson.

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Speaker 1: And I don't think I ever actually met Mark Johnson

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Speaker 1: on that he was Yeah, he wasn't really around. So

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Speaker 1: I showed up in my seventy one Cadillac Cidandeville, and

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Speaker 1: you had on like your Jesse hat and your Jesse

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Speaker 1: shirt basically, and your guitar. That night at the golf course,

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Speaker 1: I showed you guys around town all day and then

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Speaker 1: that night we jammed on the golf course and that

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Speaker 1: was the first time. Do you remember what song you

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Speaker 1: sang that night?

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Speaker 2: Maybe? Was it like Mommy, you've been on my mind?

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Speaker 1: Yeah, And I was like, that's a great song. When

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Speaker 1: did you write that or something? And you're like, yeah,

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Speaker 1: that's a Dylan song. I was just so I was

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Speaker 1: multiple and you and then I moved to New York

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Speaker 1: and you kept giving me music to listen to, and you, like,

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Speaker 1: you shaped so much of my early taste, you know,

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Speaker 1: which is crazy.

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Speaker 2: But I mean you already knew a lot of.

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Speaker 1: Music I did, but I had a lot of gaps, right, yeah,

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Speaker 1: I knew a lot of jazz, yeah, and some country.

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Speaker 2: You learned Dolly Parton, right, Oh.

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Speaker 1: Yeah, I mean I knew Dolly and Willie right, but

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Speaker 1: I had a lot of gaps. I had, like Big

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Speaker 1: Bob Dylan gaps you filled in.

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Speaker 2: Yeah.

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Speaker 1: Yeah. And then that summer I came to visit you, yep,

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Speaker 1: and well visit New York, right for like a week, right,

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Speaker 1: and I came to the living room to see you

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Speaker 1: play with the Ferdinandos. Oh my god, right yeah, and

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Speaker 1: I was just like, this is fun.

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Speaker 2: Maybe I'll leave school.

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Speaker 1: Maybe I'll drive to school and move up to New

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Speaker 1: York and play for tips. And I got blamed, yeah,

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Speaker 1: well by my mom until the Grammys, and then you

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Speaker 1: were fine.

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Speaker 2: She came up and forget you know, it was actually

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Speaker 2: town Hall.

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Speaker 1: Really yeah, what did she do?

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Speaker 2: She said, I'm not mad at you anymore.

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Speaker 1: That's so funny. So I remember seeing you play with

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Speaker 1: the Ferdinandos, and that was after One's Blue, right, Yes,

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Speaker 1: so you had a band with Rebecca Martin called One's

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Speaker 1: Blue where she did most.

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Speaker 2: Of the singing pretty much all the sings. Okay, Yeah,

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Speaker 2: I sang harmonies on just a couple of songs.

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Speaker 1: Okay. You do well with with a female singer. It's

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Speaker 1: like a marriage of your songs.

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Speaker 2: Yeah, I've been doing it. It's been kind of that

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Speaker 2: way for a long time.

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Speaker 1: Yeah, well, you're good at it.

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Speaker 2: Well. The cool thing is, you know, the Fernando's Back

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Speaker 2: in the day, like when we did Crooked, we recorded

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Speaker 2: over at Tony SHARE's apartment in Carroll Gardens and uh

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Speaker 2: and it was Kenny Walls and Tony Share. And now

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Speaker 2: we've made a new record together.

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Speaker 1: Oh now cool.

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Speaker 13: Yeah, so it's the first time, you know, I did

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Speaker 13: a record with those guys on it. But it was

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Speaker 13: like a different concept of an album, and Tony was

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Speaker 13: playing upright, and it was a it was a certain thing.

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Speaker 13: But this new record is the first time since back

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Speaker 13: in those days that I really feel like the three

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Speaker 13: of us got together and made an album the way

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Speaker 13: we used to except different.

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Speaker 1: Yeah, but it sounds very different to me. Yeah, and

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Speaker 1: the album is called paper Flower, Paper Flower, Yeah, but

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Speaker 1: it's just the three of you.

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Speaker 2: No, it was because they're.

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Speaker 1: Synthesizers on it, which is totally different from the back

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Speaker 1: in the day.

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Speaker 13: That's true, that's true.

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Speaker 2: Yeah, I used to be more of a purist than

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Speaker 2: I am now, but but we kind of combined the

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Speaker 2: old way of recording, like those are all live takes,

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Speaker 2: but now just you know, adding new elements to it,

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Speaker 2: believe it or not. Some of the sense stuff is

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Speaker 2: Kenny playing.

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Speaker 1: I believe that.

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Speaker 2: Yeah, Kenny's really into experimenting with sounds. And then some

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Speaker 2: friends of mind have over in Paris, like this guy

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Speaker 2: named Julie's Cotton who's in this group called Papoos that

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Speaker 2: who I work with, and he's great a since and

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Speaker 2: doing parts and he really knows you know, old analog sense.

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Speaker 1: Really well, it's the whole world.

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Speaker 13: Yeah, and so he did a lot of that stuff

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Speaker 13: that you hear there, and then you know, added other friends.

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Speaker 2: On there like CJ. Camery aka Karm plays horns on

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Speaker 2: one tune, and there's a great singer named Anton Jones

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Speaker 2: sings harmonies throughout. She plays some piano stuff too.

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Speaker 1: Nice you want to do a song from that. Sure,

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Speaker 1: Can we do you get a Broken Heart?

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Speaker 2: Yeah?

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00:17:02,520 --> 00:17:05,919
Speaker 13: Yeah, sure, yeah, I knew you would like that one.

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Speaker 1: It's very it's very old, very old Ford. And then

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Speaker 1: we'll ease into the newer. I mean this is still

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Speaker 1: from the new record though.

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Speaker 2: Yeah.

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Speaker 1: I can tell that's Kenny. It's so great.

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Speaker 2: Yeah.

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Speaker 17: Yeah.

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Speaker 9: If you get a broken hart, lose you way, fall apart.

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Speaker 18: There's no one that's going get back on your feet again.

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Speaker 19: When you're hurting deep inside, you do your best to

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Speaker 19: try to hide, but.

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Speaker 12: It useless to disgusted. They all see.

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Speaker 20: Bing you see, there's no need to let them know.

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Speaker 20: And it's spatter. If they go, you can't learn to

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Speaker 20: see to.

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Speaker 5: Mar why was the flowers as to go.

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Speaker 18: See?

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Speaker 5: If you get a broken horse, bow's your way to

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Speaker 5: father part ask nobody.

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Speaker 2: To help you.

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Speaker 12: Get back on your feet again?

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Speaker 2: All right?

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Speaker 1: Nice, it feels familiar. They all see beneath your skin. Yeek, yikes.

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Speaker 1: It's like what we're always trying to avoid, isn't it

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Speaker 1: until you get older and then you're cool? Right?

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Speaker 2: Then revealed too much?

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Speaker 1: You're cool taking off your skin?

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Speaker 12: Right?

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Speaker 1: Wait a second, So you have so many albums, it's crazy.

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Speaker 12: I know.

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Speaker 1: Yeah, you've made so many albums. Yeah, and you've made

304
00:22:18,119 --> 00:22:20,560
Speaker 1: a lot of different albums, the stuff with Petra Hayden

305
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Speaker 1: and right John Zorn. I mean there's so many people.

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Speaker 1: You have a band, the Cosmos, Cosmo just Cosmo.

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Speaker 2: Yeah, yeah, it's all instrumental news. It's with Will Brave,

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Speaker 2: Jeremy Gustin great these days. James Buckley's playing bass and

309
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Speaker 2: Kenny plays marimba in the band.

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Speaker 1: Oh that's fine. I saw him with his little shorty

311
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Speaker 1: remember he like custom cut it.

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Speaker 2: Off right, and he installed the pickup in it.

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Speaker 1: That's so cool.

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Speaker 2: Yeah, he keeps it in my house actually, so it

315
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Speaker 2: gets ends up being used on a lot of recordings.

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Speaker 1: That's cool. And you've been recording at home a lot.

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Speaker 2: Yeah.

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Speaker 1: When did that start?

319
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Speaker 2: That started about oh, six and a half years ago. Ready,

320
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Speaker 2: that was a huge, huge development.

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Speaker 13: For the longest time, I always thought recording had to

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Speaker 13: happen in a studio, that at home it would be

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Speaker 13: a distraction or it wouldn't have the same magic or something.

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Speaker 13: And I resisted for a long time, and then he

325
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Speaker 13: actually was through making one of the.

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Speaker 2: Cosmo records that we recorded at my place, and and

327
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Speaker 2: my friend who was engineering, said you need to get

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Speaker 2: your own stuff. And finally I said, okay, fine, if

329
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Speaker 2: you can help me, yeah, and so he placed an

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Speaker 2: order for me, and then I just gave him my

331
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Speaker 2: credit card and then yeah, and all this gear showed up,

332
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Speaker 2: like sixteen boxes of stuff, and I thought, and I

333
00:23:42,520 --> 00:23:44,040
Speaker 2: called him, I said, what do I do this? He said, well,

334
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Speaker 2: you have to get it wired up.

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Speaker 1: You're like, thanks, guy, Yeah, are you going to help

336
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Speaker 1: me with it?

337
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Speaker 2: And then actually I called Matt. Yeah. But yeah, it's

338
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Speaker 2: been a it's been a life changer. It used to be.

339
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Speaker 10: You know.

340
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Speaker 13: If I got together was so one and we wanted

341
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Speaker 13: to try something, we wrote a song.

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Speaker 2: Then we had to wait until we could get into

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Speaker 2: a studio.

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Speaker 13: But yeah, now I you know, write a song, we'll

345
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Speaker 13: walk across the room and record it, or for myself too,

346
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Speaker 13: you know, make.

347
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Speaker 2: Records or do over dubs or whatever. Used to be.

348
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Speaker 2: You know, if I wanted to change that one little

349
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Speaker 2: thing in a song, I had to wait. Yeah, No,

350
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Speaker 2: I just turned on the studio and start working.

351
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Speaker 1: I mean that's kind of how everyone's doing it now,

352
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Speaker 1: and all the studios are going out of business. I

353
00:24:27,400 --> 00:24:30,480
Speaker 1: know it's our fault, which is sad, but like you know,

354
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Speaker 1: it's also cool that people can just sort of take

355
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Speaker 1: things into their old own hands.

356
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Speaker 2: Yeah. I still love the experience of going to a

357
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Speaker 2: studio and working and making an album.

358
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Speaker 9: In the studio.

359
00:24:41,240 --> 00:24:44,440
Speaker 2: Of course, there is a certain energy that happens there.

360
00:24:44,880 --> 00:24:46,920
Speaker 1: Yeah, and there's a lot of money spent doing it.

361
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Speaker 1: That's true, that's prohibitive to most people. Yeah, you know so,

362
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Speaker 1: But yeah, I feel like all the studios I know

363
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Speaker 1: that are surviving aren't making money on necessarily.

364
00:25:01,960 --> 00:25:04,960
Speaker 2: They find other means, or they have means they do

365
00:25:05,240 --> 00:25:06,159
Speaker 2: like movies, or.

366
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Speaker 1: They do Oh yeah, there's a lot of voiceover work. Yeah, totally.

367
00:25:10,320 --> 00:25:11,400
Speaker 1: All the studios are gone.

368
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Speaker 2: I mean in New York. Yeah, yeah, La still got studios.

369
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Speaker 1: There's still studios here.

370
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Speaker 2: I don't know what I'm saying, they're not as many, No,

371
00:25:19,200 --> 00:25:19,920
Speaker 2: tons of close.

372
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Speaker 1: How many songs do you think you've written?

373
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Speaker 12: Do you know?

374
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Speaker 1: Because you're very well documented human as I know you

375
00:25:27,440 --> 00:25:32,879
Speaker 1: to be. You're very you make charts, you you're an

376
00:25:33,000 --> 00:25:36,000
Speaker 1: organized person, so you must know how many songs?

377
00:25:36,040 --> 00:25:38,840
Speaker 2: Actually, I've never I've never counted.

378
00:25:38,720 --> 00:25:41,159
Speaker 1: Okay, but i'd be curious.

379
00:25:41,800 --> 00:25:43,400
Speaker 2: I just on my own records.

380
00:25:44,119 --> 00:25:46,920
Speaker 1: I mean, oh, you don't have to do math right now? Yes, okay,

381
00:25:47,040 --> 00:25:51,080
Speaker 1: it's just the thought. It's like it must be in

382
00:25:51,200 --> 00:25:51,959
Speaker 1: the thousands.

383
00:25:53,359 --> 00:25:56,120
Speaker 2: I don't know that thousands sounds a lot.

384
00:25:56,280 --> 00:25:58,399
Speaker 1: It sounds like a lot, but I feel like it

385
00:25:58,480 --> 00:26:01,920
Speaker 1: could be close to a thousand. That's possible, which is insane. Yeah,

386
00:26:02,400 --> 00:26:05,320
Speaker 1: but because when I was just looking at the number

387
00:26:05,320 --> 00:26:09,480
Speaker 1: of albums, Yeah, so Jesse Harrison, the Ferdinandoz, that's the

388
00:26:09,560 --> 00:26:11,879
Speaker 1: first album you made with the Ferdinandos, right, because so

389
00:26:11,920 --> 00:26:15,159
Speaker 1: I remember listening to that album like crazy, but I

390
00:26:15,240 --> 00:26:18,880
Speaker 1: don't remember listening to Don't Know Why. When I look

391
00:26:18,920 --> 00:26:20,960
Speaker 1: at it and I think about all those songs, I

392
00:26:21,119 --> 00:26:24,920
Speaker 1: don't remember listening to Don't Know Why, because I think

393
00:26:25,280 --> 00:26:29,679
Speaker 1: it got somehow eclipsed. Yeah, well in a weird way.

394
00:26:29,880 --> 00:26:32,680
Speaker 2: But because we started to play it, maybe and maybe

395
00:26:32,800 --> 00:26:33,880
Speaker 2: though one a life of its own.

396
00:26:33,960 --> 00:26:37,240
Speaker 1: Really, But isn't that weird how the brain works. It's

397
00:26:37,440 --> 00:26:42,399
Speaker 1: like I actually was talking to someone who recorded the

398
00:26:42,520 --> 00:26:47,840
Speaker 1: demos we made at Sony and will Will Garrett, Yeah,

399
00:26:49,320 --> 00:26:52,200
Speaker 1: and he was saying that he had the original demo

400
00:26:52,600 --> 00:26:55,240
Speaker 1: of me singing the songs that we recorded of yours

401
00:26:56,000 --> 00:26:59,280
Speaker 1: for Sony because you had a publishing deal and he's like,

402
00:26:59,400 --> 00:27:02,080
Speaker 1: I have that that demo and don't know why it's

403
00:27:02,080 --> 00:27:02,240
Speaker 1: on it.

404
00:27:02,320 --> 00:27:03,080
Speaker 2: I was like, no, it's not.

405
00:27:03,400 --> 00:27:05,760
Speaker 1: We did it for the first time at Sorcerer. I

406
00:27:05,920 --> 00:27:10,560
Speaker 1: just in my mind I had completely rewritten it. I

407
00:27:10,720 --> 00:27:11,199
Speaker 1: just forgot.

408
00:27:11,600 --> 00:27:13,560
Speaker 2: Yeah, I kind of forgot we did it.

409
00:27:13,600 --> 00:27:15,960
Speaker 1: Then I forgot we did it, or maybe I didn't

410
00:27:16,040 --> 00:27:17,960
Speaker 1: like it or the version wasn't as good. I don't know.

411
00:27:18,080 --> 00:27:20,520
Speaker 1: He didn't play it for me. But isn't that funny,

412
00:27:20,840 --> 00:27:24,440
Speaker 1: Like in my mind, I never even knew that song

413
00:27:24,600 --> 00:27:25,640
Speaker 1: until we did it at.

414
00:27:25,600 --> 00:27:28,600
Speaker 13: Sorcer, right, But that's not true at all. Yeah, I

415
00:27:28,640 --> 00:27:30,919
Speaker 13: mean we must have been performing it that whole summer.

416
00:27:31,400 --> 00:27:31,600
Speaker 7: I know.

417
00:27:32,800 --> 00:27:35,800
Speaker 1: I don't know if we performed it before we recorded

418
00:27:35,840 --> 00:27:38,720
Speaker 1: it really with me singing it. But again, I'm remembering

419
00:27:38,760 --> 00:27:43,560
Speaker 1: everything completely backwards. But I know that I'm you must

420
00:27:43,600 --> 00:27:45,720
Speaker 1: have performed it, and I must have. I know I

421
00:27:45,800 --> 00:27:46,760
Speaker 1: listened to that record, but.

422
00:27:46,800 --> 00:27:49,880
Speaker 2: We had a version because Dan had his part.

423
00:27:50,080 --> 00:27:53,800
Speaker 1: You know, in my mind, it was just all spontaneous.

424
00:27:54,600 --> 00:27:56,920
Speaker 2: I don't know, well, it happened fast, it did happen.

425
00:27:57,480 --> 00:27:58,480
Speaker 1: I think it was the first take.

426
00:27:58,480 --> 00:28:01,080
Speaker 2: It was the first take, Yeah, and that was it.

427
00:28:01,760 --> 00:28:05,760
Speaker 1: But it's just funny to me, like thinking of all that. Yeah,

428
00:28:07,040 --> 00:28:09,280
Speaker 1: I must have listened to that record that you made

429
00:28:09,359 --> 00:28:12,359
Speaker 1: with don't know why on it though a thousand times

430
00:28:12,560 --> 00:28:13,040
Speaker 1: that summer.

431
00:28:13,359 --> 00:28:16,880
Speaker 2: Sure, but we had created our own thing with it. Yeah,

432
00:28:17,280 --> 00:28:18,960
Speaker 2: and we were doing you know, we were playing the

433
00:28:19,040 --> 00:28:21,720
Speaker 2: living room and other venues that summer. Remember we drove

434
00:28:21,760 --> 00:28:25,080
Speaker 2: out to uh, Provincetown, No, not Provincetown. I forget that

435
00:28:25,240 --> 00:28:27,080
Speaker 2: town's name. We have to look up the name of

436
00:28:27,160 --> 00:28:27,560
Speaker 2: that town.

437
00:28:27,920 --> 00:28:31,720
Speaker 1: Yeah, we were playing at the living room a lot. Yeah, Yeah,

438
00:28:32,119 --> 00:28:37,320
Speaker 1: it happened really fast though, I remember, yes, but I remember,

439
00:28:37,359 --> 00:28:40,080
Speaker 1: don't know why not being like our a tune from

440
00:28:40,200 --> 00:28:43,000
Speaker 1: when we were playing live, Yes, until we did the recording,

441
00:28:43,240 --> 00:28:46,440
Speaker 1: and then it was just such a killer recording. Not

442
00:28:46,560 --> 00:28:48,840
Speaker 1: that the tune wasn't great, but it wasn't like the

443
00:28:48,920 --> 00:28:51,520
Speaker 1: one we were always playing. I didn't think.

444
00:28:52,280 --> 00:28:52,640
Speaker 3: I don't know.

445
00:28:52,880 --> 00:28:56,480
Speaker 1: I don't either, and it doesn't matter, but I just like, like,

446
00:28:56,840 --> 00:28:59,600
Speaker 1: I like to know if my memories are correct, because

447
00:28:59,640 --> 00:29:02,000
Speaker 1: I feel like you keep good record.

448
00:29:02,160 --> 00:29:04,040
Speaker 13: I'm pretty sure that we were playing it because we

449
00:29:04,200 --> 00:29:06,240
Speaker 13: came in knowing it and it was the first song

450
00:29:06,280 --> 00:29:07,360
Speaker 13: you wanted to record, or.

451
00:29:07,400 --> 00:29:11,160
Speaker 2: One of the first ones. Interesting, So you definitely had

452
00:29:11,200 --> 00:29:13,440
Speaker 2: a comfort with it already, I must have.

453
00:29:13,960 --> 00:29:14,200
Speaker 12: Yeah.

454
00:29:15,920 --> 00:29:18,000
Speaker 1: Do you find that when you play a song too

455
00:29:18,040 --> 00:29:21,000
Speaker 1: many times that recording it is difficult because you lose

456
00:29:21,080 --> 00:29:21,800
Speaker 1: the spontaneity?

457
00:29:22,760 --> 00:29:22,960
Speaker 2: Well?

458
00:29:23,800 --> 00:29:25,719
Speaker 13: I do think that when you write a song, there

459
00:29:25,880 --> 00:29:29,040
Speaker 13: is something great about recording it as soon as possible, right.

460
00:29:29,160 --> 00:29:33,120
Speaker 1: Yeah, yeah, Yeah, that's what I find more and more

461
00:29:33,560 --> 00:29:36,880
Speaker 1: after that, after learning, you know about.

462
00:29:37,640 --> 00:29:40,560
Speaker 2: Because you start to change how you sing a song once.

463
00:29:40,760 --> 00:29:43,160
Speaker 1: You know, after a while you kind of stray from

464
00:29:43,200 --> 00:29:43,680
Speaker 1: the melody.

465
00:29:43,920 --> 00:29:46,800
Speaker 13: Yeah, and if you could get it in that early moment,

466
00:29:47,000 --> 00:29:49,840
Speaker 13: you're doing some things that you probably kind of filter

467
00:29:50,000 --> 00:29:50,520
Speaker 13: out later on.

468
00:29:51,120 --> 00:29:54,440
Speaker 1: Yeah, like singing the melody accurately.

469
00:29:54,920 --> 00:29:59,240
Speaker 2: Maybe. Yeah, that's why maybe when you try to re

470
00:29:59,360 --> 00:30:01,720
Speaker 2: record the song, it had lost some kind of.

471
00:30:01,880 --> 00:30:03,920
Speaker 1: Oh yeah, well that version was just so good.

472
00:30:04,400 --> 00:30:04,600
Speaker 21: Yeah.

473
00:30:05,960 --> 00:30:09,880
Speaker 1: But I find that a lot with with all kinds

474
00:30:09,920 --> 00:30:13,880
Speaker 1: of songs, I sort of put them away now and

475
00:30:13,960 --> 00:30:17,120
Speaker 1: then when it's time to record them, I try not

476
00:30:17,240 --> 00:30:19,800
Speaker 1: to rehearse it too much.

477
00:30:19,720 --> 00:30:23,320
Speaker 2: You know, stuff like that. I think that's smart. Yeah.

478
00:30:24,760 --> 00:30:26,320
Speaker 1: Have you been playing in Paris a lot?

479
00:30:26,960 --> 00:30:27,160
Speaker 7: I have?

480
00:30:27,480 --> 00:30:30,160
Speaker 1: Yeah, So where do you play locally in Paris? Like,

481
00:30:30,280 --> 00:30:31,920
Speaker 1: what's your your spot?

482
00:30:32,120 --> 00:30:33,680
Speaker 2: I tend to do a lot of There's this strip

483
00:30:33,760 --> 00:30:39,160
Speaker 2: of jazz clubs there in Chatelat There's the Duke de Lombard,

484
00:30:39,440 --> 00:30:43,400
Speaker 2: Bese Sallet, Sunset, Sunside, and they're all kind of in

485
00:30:43,480 --> 00:30:47,160
Speaker 2: a row of Little Street, and I usually played there.

486
00:30:49,480 --> 00:30:52,720
Speaker 13: Unless I'm doing some other thing with, you know, sitting

487
00:30:52,800 --> 00:30:54,800
Speaker 13: in with an artist I work with, who you know,

488
00:30:54,880 --> 00:30:57,280
Speaker 13: playing at another venue. But those tend to be where

489
00:30:57,360 --> 00:31:00,440
Speaker 13: I do my gigs and they're fun, so fun.

490
00:31:00,560 --> 00:31:03,600
Speaker 1: Yeah, does it feel like you have that same thing

491
00:31:03,720 --> 00:31:10,280
Speaker 1: in New York now? Not really, not like it used to. Okay, Yeah,

492
00:31:10,440 --> 00:31:11,360
Speaker 1: I was curious about that.

493
00:31:13,240 --> 00:31:16,600
Speaker 2: Yeah, I don't know. Yeah, New York's a little different.

494
00:31:18,120 --> 00:31:21,160
Speaker 1: But my question is like, do you really think it's

495
00:31:21,240 --> 00:31:23,720
Speaker 1: different or are we just not in a new phase

496
00:31:23,880 --> 00:31:25,840
Speaker 1: in the phase that's doing that.

497
00:31:26,480 --> 00:31:29,880
Speaker 2: You know, that's a valid question.

498
00:31:30,040 --> 00:31:32,400
Speaker 13: I just I think for sure that what's happened in

499
00:31:32,440 --> 00:31:35,000
Speaker 13: New York is that it's really spread out. You got

500
00:31:35,160 --> 00:31:40,560
Speaker 13: venues in Ridgewood, in Bushwick, in you know, Crown Heights

501
00:31:40,760 --> 00:31:45,080
Speaker 13: in Bedstye, uh, you know, like they're just all over

502
00:31:45,160 --> 00:31:48,080
Speaker 13: the place, or Lower east Side, you know, New Blue

503
00:31:49,760 --> 00:31:53,080
Speaker 13: and so there isn't this sense of there being a spot,

504
00:31:53,280 --> 00:31:55,920
Speaker 13: like a little area where you can go and bounce around.

505
00:31:55,680 --> 00:31:58,280
Speaker 1: To different places, kind of like how the Lower east

506
00:31:58,280 --> 00:31:58,720
Speaker 1: Side was.

507
00:31:58,960 --> 00:32:01,920
Speaker 13: Yeah, yeah, now it's you kind of have to make

508
00:32:01,960 --> 00:32:05,440
Speaker 13: a choice about your evening now, yeah, and where you're

509
00:32:05,440 --> 00:32:06,080
Speaker 13: going to spend it.

510
00:32:06,440 --> 00:32:09,960
Speaker 2: Yeah, things are just really spread out. But there are

511
00:32:10,000 --> 00:32:12,000
Speaker 2: a lot of cool places for sure.

512
00:32:12,440 --> 00:32:14,680
Speaker 1: This one song from your album, it has kind of

513
00:32:14,720 --> 00:32:15,760
Speaker 1: a Parisian vibe.

514
00:32:16,640 --> 00:32:20,680
Speaker 2: Oh, paper Flower, I thought you were going to say that. Yeah,

515
00:32:21,840 --> 00:32:22,360
Speaker 2: that's true.

516
00:32:22,520 --> 00:32:25,240
Speaker 1: Yeah, you'll play it.

517
00:32:25,520 --> 00:32:28,520
Speaker 2: Yeah, okay, let's do it. You're going to sing with me?

518
00:32:28,880 --> 00:32:31,400
Speaker 1: What do you want me to sing? Harmony or murmur?

519
00:32:31,680 --> 00:32:33,560
Speaker 1: I can do whatever you want, okay.

520
00:32:33,520 --> 00:32:36,040
Speaker 2: Yes, yes, singing throughout.

521
00:32:36,400 --> 00:32:40,560
Speaker 22: I'll chime in, Okay as much as you want.

522
00:32:40,640 --> 00:32:40,920
Speaker 2: Okay.

523
00:32:55,400 --> 00:33:03,040
Speaker 8: If you give a paper flower, better say it's.

524
00:33:03,000 --> 00:33:07,560
Speaker 6: From the hard flowers all.

525
00:33:09,000 --> 00:33:10,680
Speaker 8: Fall the pond.

526
00:33:13,200 --> 00:33:16,440
Speaker 6: And rite over the time.

527
00:33:19,720 --> 00:33:26,960
Speaker 5: I would take a paper flower if you tell me

528
00:33:27,320 --> 00:33:28,680
Speaker 5: that it's real.

529
00:33:30,480 --> 00:33:31,920
Speaker 8: All I need.

530
00:33:33,680 --> 00:33:35,200
Speaker 17: Is to feel.

531
00:33:37,680 --> 00:33:48,280
Speaker 6: A push from behind. It's funy. How will losion.

532
00:33:49,680 --> 00:34:01,479
Speaker 5: Soon becomes the truth? You can't and that the fact inspite.

533
00:34:01,200 --> 00:34:09,040
Speaker 11: Of this soul confusion, I don't want to paper flower.

534
00:34:11,520 --> 00:34:14,760
Speaker 6: Touch it to a mass chaperns.

535
00:34:16,040 --> 00:34:17,760
Speaker 12: When will lie.

536
00:34:19,239 --> 00:34:26,800
Speaker 6: Ever how to read the signe?

537
00:34:53,719 --> 00:34:57,600
Speaker 2: It's funny how we lose.

538
00:34:59,640 --> 00:35:03,359
Speaker 6: So and becomes the truth.

539
00:35:05,680 --> 00:35:13,960
Speaker 10: You get and not the fact inspie this soul confusion

540
00:35:15,320 --> 00:35:18,800
Speaker 10: out of wall of paper flower.

541
00:35:21,320 --> 00:35:24,560
Speaker 6: Touch it to latch, it burns.

542
00:35:25,800 --> 00:35:27,480
Speaker 1: When will lie.

543
00:35:28,960 --> 00:35:36,759
Speaker 6: Ever have to read the sign.

544
00:35:44,480 --> 00:35:48,840
Speaker 12: This paper flowers blind?

545
00:35:59,160 --> 00:36:03,200
Speaker 2: All right? That was sweet? Yeah, that was good. You

546
00:36:03,280 --> 00:36:05,600
Speaker 2: sound beautiful. So fun to play these with you.

547
00:36:06,000 --> 00:36:06,200
Speaker 12: Yeah.

548
00:36:06,320 --> 00:36:10,279
Speaker 1: I feel like over the years, anytime I need a

549
00:36:10,320 --> 00:36:12,360
Speaker 1: good acoustic guitar part, I call you.

550
00:36:12,840 --> 00:36:15,920
Speaker 2: Yeah, but yeah, you've been doing a lot of your

551
00:36:15,960 --> 00:36:17,759
Speaker 2: own guitar stuff. Yeah, that which is cool.

552
00:36:17,920 --> 00:36:20,320
Speaker 1: Well, I learned a lot from you and Richard, I

553
00:36:20,360 --> 00:36:23,719
Speaker 1: feel like early on and you can. I mean, I

554
00:36:23,840 --> 00:36:25,840
Speaker 1: can't play acoustic like you. You can do all the

555
00:36:25,920 --> 00:36:29,800
Speaker 1: fingerpicky stuff, but I don't practice enough for that. But

556
00:36:30,440 --> 00:36:32,800
Speaker 1: I feel like the way I play guitar is basically

557
00:36:32,960 --> 00:36:37,560
Speaker 1: equal parts you, Richard, Julian and Tony share, except way

558
00:36:37,640 --> 00:36:40,080
Speaker 1: worse than all of you because I don't practice enough.

559
00:36:40,480 --> 00:36:41,040
Speaker 2: But it works.

560
00:36:41,160 --> 00:36:41,879
Speaker 1: Yeah, but it works.

561
00:36:42,040 --> 00:36:45,480
Speaker 2: You've cobbled together a very useful it's my own thing.

562
00:36:45,680 --> 00:36:48,160
Speaker 1: Yeah, Yeah, it's cool.

563
00:36:48,320 --> 00:36:51,600
Speaker 2: Yeah, you sounded you guys sounded great at Brooklyn Paramount.

564
00:36:51,960 --> 00:36:55,080
Speaker 1: Thanks, it was fun. Yeah, you and Richard came. It

565
00:36:55,160 --> 00:37:02,080
Speaker 1: was nice. I know it's the old crew. So what

566
00:37:02,160 --> 00:37:03,840
Speaker 1: are you gonna do this year? Are you going to

567
00:37:03,880 --> 00:37:05,319
Speaker 1: be on tour it all? Or do you just sort

568
00:37:05,360 --> 00:37:05,680
Speaker 1: of play?

569
00:37:07,000 --> 00:37:07,520
Speaker 2: What are you doing?

570
00:37:07,560 --> 00:37:08,200
Speaker 1: Are you sible?

571
00:37:08,239 --> 00:37:11,960
Speaker 2: And and yeah, it's a bunch of different things, right,

572
00:37:12,160 --> 00:37:12,279
Speaker 2: you know.

573
00:37:12,320 --> 00:37:14,480
Speaker 13: I'm doing a few shows right now with Kenny and

574
00:37:14,560 --> 00:37:17,240
Speaker 13: Tony and this keyboard play named Frank Lakrasto.

575
00:37:17,760 --> 00:37:18,640
Speaker 1: Oh yeah, he's great.

576
00:37:18,840 --> 00:37:23,000
Speaker 2: Yeah, And I just played over in Paris. I've been

577
00:37:23,080 --> 00:37:25,440
Speaker 2: going back and forth there and promoting the album and

578
00:37:25,480 --> 00:37:27,719
Speaker 2: doing some radio shows and stuff like that. But in

579
00:37:27,880 --> 00:37:31,360
Speaker 2: terms of touring, not that much. I do little sporadic shows.

580
00:37:31,440 --> 00:37:33,120
Speaker 2: I'm going to go to Japan and do a tour.

581
00:37:33,320 --> 00:37:35,680
Speaker 1: Ooh fun, are you playing in Tokyo.

582
00:37:36,760 --> 00:37:39,879
Speaker 2: We're gonna play this club called Duo Music Exchange. Oh cool.

583
00:37:40,040 --> 00:37:41,799
Speaker 13: Yeah, when I do my own thing lately, I've been

584
00:37:41,840 --> 00:37:44,120
Speaker 13: going there, but like I played the Blue Note with

585
00:37:45,480 --> 00:37:50,839
Speaker 13: Gabby Hartman recently. But but yeah, it's either like Blue

586
00:37:50,880 --> 00:37:53,960
Speaker 13: Note or Duo in Tokyo and then but this time

587
00:37:53,960 --> 00:37:55,400
Speaker 13: we're going to go around. I think we're going to

588
00:37:55,600 --> 00:37:59,640
Speaker 13: go to Fukuoka, do you not. Usually I've done a

589
00:37:59,680 --> 00:38:02,400
Speaker 13: bunch of tours like that, but sometimes, you know, you

590
00:38:02,520 --> 00:38:04,560
Speaker 13: go over and you just play Tokyo and come home.

591
00:38:04,760 --> 00:38:07,279
Speaker 22: Yeah, so it's way more fun to that's so fun

592
00:38:07,360 --> 00:38:09,880
Speaker 22: travel around. Yeah, the bullet train is my favorite.

593
00:38:10,040 --> 00:38:10,239
Speaker 7: Yeah.

594
00:38:10,480 --> 00:38:17,080
Speaker 1: My favorite snacking in this earth is Japanese train stations. Yeah,

595
00:38:17,400 --> 00:38:19,920
Speaker 1: this is the most delicious. I love it of snacking.

596
00:38:21,000 --> 00:38:25,239
Speaker 13: But I'm you know, I'm producing some different artists. So

597
00:38:25,520 --> 00:38:28,680
Speaker 13: we're going at you know, at my studio and also

598
00:38:29,040 --> 00:38:32,919
Speaker 13: in Paris with Smartest over there. I'm doing my first

599
00:38:32,960 --> 00:38:33,959
Speaker 13: photography show.

600
00:38:34,160 --> 00:38:34,200
Speaker 18: What.

601
00:38:34,719 --> 00:38:38,959
Speaker 2: Yeah in Montalk this summer really oh cool? Yeah? Where

602
00:38:39,480 --> 00:38:43,279
Speaker 2: at have you been to the ranch that? Oh it's

603
00:38:43,360 --> 00:38:43,960
Speaker 2: cool gallery.

604
00:38:44,080 --> 00:38:44,560
Speaker 1: That's cool.

605
00:38:44,719 --> 00:38:47,879
Speaker 2: Yeah, what do you guys? How long you in town?

606
00:38:49,920 --> 00:38:52,840
Speaker 1: Another couple of weeks and then go back out.

607
00:38:52,920 --> 00:38:56,440
Speaker 2: Cool road through a lot more shows this summer.

608
00:38:56,680 --> 00:39:00,160
Speaker 1: About a month and a half, about a month fish know,

609
00:39:01,320 --> 00:39:02,239
Speaker 1: you know you lose track.

610
00:39:02,480 --> 00:39:07,640
Speaker 2: Yeah, but just in the States, outdoor sheds some I.

611
00:39:07,760 --> 00:39:10,239
Speaker 1: Kind of had to ask them to stop booking me

612
00:39:10,560 --> 00:39:14,959
Speaker 1: in certain places in the summer because my crew almost died.

613
00:39:15,040 --> 00:39:15,879
Speaker 1: It was just too hot.

614
00:39:16,480 --> 00:39:16,680
Speaker 21: Wow.

615
00:39:16,880 --> 00:39:18,719
Speaker 1: You know, we played a show in Nashville a couple

616
00:39:18,760 --> 00:39:21,880
Speaker 1: of years ago outside in probably July.

617
00:39:21,880 --> 00:39:23,960
Speaker 2: And it you know, it's like a hundred degrees.

618
00:39:24,120 --> 00:39:26,960
Speaker 1: It's just too much for people to work outside all day.

619
00:39:27,280 --> 00:39:31,560
Speaker 1: The sequence on my my outfit that night melted, Oh

620
00:39:31,600 --> 00:39:33,920
Speaker 1: my god, on my neck. It was weird. Who it

621
00:39:34,000 --> 00:39:36,440
Speaker 1: was just very hot and for people to sit outside

622
00:39:36,520 --> 00:39:39,040
Speaker 1: it was too much. So I want to hit the

623
00:39:39,080 --> 00:39:43,600
Speaker 1: hot places, like in the winter, indoors or something. Yeah,

624
00:39:43,800 --> 00:39:45,120
Speaker 1: so I've tried to plan it a little.

625
00:39:45,320 --> 00:39:48,560
Speaker 2: Oh okay, like cool both. What about Brazil? It's ever

626
00:39:48,680 --> 00:39:49,399
Speaker 2: going to happen again?

627
00:39:49,560 --> 00:39:49,719
Speaker 3: God?

628
00:39:49,840 --> 00:39:52,120
Speaker 1: Yeah, it's my favorite place to go with you. I know,

629
00:39:52,600 --> 00:39:53,840
Speaker 1: you have to always come with me.

630
00:39:54,280 --> 00:39:55,839
Speaker 2: I know, we got to do another one. It's been

631
00:39:55,880 --> 00:39:58,080
Speaker 2: a long time, not really, has it not?

632
00:39:58,239 --> 00:40:00,880
Speaker 1: Well, if you think about the pandemic, it was right

633
00:40:00,960 --> 00:40:02,960
Speaker 1: before it was in twenty nineteen.

634
00:40:03,120 --> 00:40:03,520
Speaker 2: That's true.

635
00:40:03,520 --> 00:40:06,400
Speaker 1: Okay, so ye's not so long well yeah, but it

636
00:40:06,520 --> 00:40:08,080
Speaker 1: is if you erase those two years.

637
00:40:08,080 --> 00:40:08,279
Speaker 18: I know.

638
00:40:08,560 --> 00:40:10,160
Speaker 2: Yeah, right, you have to adjust.

639
00:40:10,520 --> 00:40:13,359
Speaker 1: Yeah, yeah, I'd love to God, that would be so fun.

640
00:40:13,480 --> 00:40:14,200
Speaker 2: I know I miss it.

641
00:40:14,680 --> 00:40:17,560
Speaker 1: I do kind of think that that is the best audience.

642
00:40:18,000 --> 00:40:21,360
Speaker 1: No offense to any other audiences, but they're just so

643
00:40:21,640 --> 00:40:26,680
Speaker 1: into music. But they're so vocal with their love, but

644
00:40:27,000 --> 00:40:30,160
Speaker 1: not Heckley. You know, it's not like they're just yelling

645
00:40:30,560 --> 00:40:31,840
Speaker 1: random stuff at you, Like.

646
00:40:32,000 --> 00:40:35,400
Speaker 2: Music in Brazil is like food in Italy. Yeah, it's

647
00:40:35,560 --> 00:40:38,000
Speaker 2: just deeply ingrained in the culture.

648
00:40:38,200 --> 00:40:40,239
Speaker 1: It's so incredible and it feels like you're having a

649
00:40:40,280 --> 00:40:43,680
Speaker 1: real exchange because they're really getting it or something. I

650
00:40:43,719 --> 00:40:46,960
Speaker 1: don't know. Yep, I do feel like it's probably the

651
00:40:47,040 --> 00:40:47,840
Speaker 1: best audience.

652
00:40:48,480 --> 00:40:49,680
Speaker 2: Yeah, I think so.

653
00:40:51,160 --> 00:40:53,560
Speaker 1: Yeah, let's go all right, all right, cool.

654
00:40:54,960 --> 00:40:55,440
Speaker 2: Already?

655
00:40:56,520 --> 00:41:02,160
Speaker 1: Growing up? Did you Okay, one more question because this

656
00:41:02,280 --> 00:41:05,399
Speaker 1: next this next song we're going to do, I feel

657
00:41:05,400 --> 00:41:08,239
Speaker 1: like it has hints of stuff that I know you

658
00:41:08,360 --> 00:41:11,240
Speaker 1: listened to growing up. So I want to ask you, okay,

659
00:41:12,080 --> 00:41:16,120
Speaker 1: growing up, Yes, where did you learn music from? Was

660
00:41:16,160 --> 00:41:17,640
Speaker 1: it your dad's record collection.

661
00:41:18,560 --> 00:41:20,399
Speaker 2: My dad's and my mom and your mom?

662
00:41:20,840 --> 00:41:24,560
Speaker 13: My father was a much more avid music listener, he was, right,

663
00:41:24,640 --> 00:41:28,480
Speaker 13: I remember this, Yeah, okay, Yeah, So I continue to

664
00:41:28,600 --> 00:41:30,799
Speaker 13: pill for his record collection to this day.

665
00:41:30,960 --> 00:41:33,480
Speaker 1: It's great that you have it. Yeah, So what did

666
00:41:33,560 --> 00:41:34,120
Speaker 1: he listen to?

667
00:41:35,000 --> 00:41:38,560
Speaker 2: Well, he went through phases. You know, he really loved

668
00:41:38,640 --> 00:41:43,480
Speaker 2: jazz and and he started listening to jazz in the sixties, so,

669
00:41:43,880 --> 00:41:48,160
Speaker 2: and he had his favorite artists, Miles Davis and then

670
00:41:48,320 --> 00:41:51,719
Speaker 2: all the offshoots and Miles Davis, you know, Bill Evans, Cannonball,

671
00:41:51,760 --> 00:41:52,319
Speaker 2: Adder Lee.

672
00:41:52,640 --> 00:41:53,400
Speaker 1: All the good stuff.

673
00:41:53,760 --> 00:41:56,960
Speaker 13: Yeah, some Cold Trane. But he loved the modern jazz quartet.

674
00:41:58,440 --> 00:42:01,000
Speaker 13: And then later he got into the seventies, he got

675
00:42:01,120 --> 00:42:04,000
Speaker 13: super into everything that was popular then. So he really followed,

676
00:42:04,120 --> 00:42:05,720
Speaker 13: you know a lot of these artists into their fusion

677
00:42:05,840 --> 00:42:08,040
Speaker 13: records and then new artists.

678
00:42:07,719 --> 00:42:09,400
Speaker 2: Do infusion and that was you growing up.

679
00:42:10,320 --> 00:42:12,560
Speaker 13: And then of course we listened to Steely Dan, earth

680
00:42:12,600 --> 00:42:15,319
Speaker 13: Wind and Fire, Stevie Wonder.

681
00:42:16,719 --> 00:42:18,440
Speaker 2: And you know that was Yeah, that's a lot of

682
00:42:18,480 --> 00:42:21,560
Speaker 2: what I heard growing up. And my mom.

683
00:42:21,640 --> 00:42:22,960
Speaker 1: Also, what did your mom listen to?

684
00:42:23,320 --> 00:42:24,360
Speaker 2: She really loved the Police.

685
00:42:24,920 --> 00:42:27,080
Speaker 1: She loved the punk rock.

686
00:42:27,360 --> 00:42:31,400
Speaker 2: Yeah, yeah, she had more popular tastes.

687
00:42:31,480 --> 00:42:33,879
Speaker 1: I guess, okay, I guess the Police. Yeah, I said

688
00:42:33,920 --> 00:42:36,759
Speaker 1: punk rock. But well it became more mainstream.

689
00:42:36,880 --> 00:42:40,000
Speaker 13: Yeah, well, I mean they were, you know, they weren't

690
00:42:40,080 --> 00:42:44,040
Speaker 13: really they became mainstream later and actually, yeah, their last

691
00:42:44,080 --> 00:42:46,000
Speaker 13: album was their most mainstream before that.

692
00:42:46,600 --> 00:42:47,640
Speaker 2: That was the stuff she liked.

693
00:42:47,680 --> 00:42:50,400
Speaker 1: Actually, okay, those earlier records.

694
00:42:50,920 --> 00:42:53,200
Speaker 2: But yeah, she listened to a lot of like quote

695
00:42:53,280 --> 00:42:58,800
Speaker 2: unquote cooler kind of stuff, you know, and uh, and

696
00:42:58,920 --> 00:43:01,120
Speaker 2: then I just started listening to music on my own.

697
00:43:01,160 --> 00:43:04,040
Speaker 2: And of course I went through many different phases.

698
00:43:04,600 --> 00:43:06,760
Speaker 1: When did you what was your first phase of playing?

699
00:43:08,040 --> 00:43:13,360
Speaker 22: I started the piano when I was ten, Okay, lessons, traditional.

700
00:43:13,440 --> 00:43:17,920
Speaker 2: Piano lessons, classical practicing, scales and arpeggios, and I hated

701
00:43:17,960 --> 00:43:23,480
Speaker 2: it and I didn't practice same and I was I was,

702
00:43:24,120 --> 00:43:28,279
Speaker 2: you know, music I guess came easily to me, and

703
00:43:28,440 --> 00:43:30,200
Speaker 2: so I wouldn't practice, and then I'd show up for

704
00:43:30,200 --> 00:43:31,680
Speaker 2: the lesson and I would do well at the lesson.

705
00:43:31,800 --> 00:43:33,960
Speaker 2: My teacher would say, Jesse, if you just practiced, you

706
00:43:34,200 --> 00:43:36,960
Speaker 2: really could do a lot better. And I'd say, yes,

707
00:43:37,040 --> 00:43:38,200
Speaker 2: I know, I'm going to do it, and then I

708
00:43:38,239 --> 00:43:41,520
Speaker 2: wouldn't do it. And finally, after four years, you know,

709
00:43:42,120 --> 00:43:47,000
Speaker 2: I stopped. But I still had this desire to play music,

710
00:43:47,160 --> 00:43:50,080
Speaker 2: and so I started playing harmonica, you know, just going

711
00:43:50,080 --> 00:43:52,560
Speaker 2: around with a harmonica, playing with people before the guitar.

712
00:43:52,680 --> 00:43:55,200
Speaker 2: Before the guitar. I did not know that, yeah, And

713
00:43:55,320 --> 00:43:59,799
Speaker 2: so I would buy I would go you know, like sixteens,

714
00:44:00,080 --> 00:44:03,040
Speaker 2: seventeen years old and New York City and so I

715
00:44:03,080 --> 00:44:06,280
Speaker 2: started going around, you know, I buy all the diatonic

716
00:44:06,360 --> 00:44:08,520
Speaker 2: harmonicas and all the keys and play with friends who

717
00:44:08,560 --> 00:44:09,120
Speaker 2: played guitar.

718
00:44:09,360 --> 00:44:09,640
Speaker 1: Okay.

719
00:44:09,920 --> 00:44:12,719
Speaker 13: And there was a guitar in my closet which my

720
00:44:12,880 --> 00:44:16,520
Speaker 13: mother had found because she moved to California for several

721
00:44:16,600 --> 00:44:19,080
Speaker 13: years and when she came back, the people she sub

722
00:44:19,160 --> 00:44:22,000
Speaker 13: letter places to left a guitar there and that was

723
00:44:22,080 --> 00:44:24,640
Speaker 13: my first guitar. Said I'm going to learn some Bob

724
00:44:24,719 --> 00:44:28,120
Speaker 13: Dylan songs and so, you know, and Neil Young songs,

725
00:44:28,160 --> 00:44:32,439
Speaker 13: and so I started. I bought some songbooks and learned

726
00:44:32,440 --> 00:44:35,279
Speaker 13: the chords out of the books at like seventeen yeah, okay,

727
00:44:35,680 --> 00:44:35,960
Speaker 13: and that.

728
00:44:36,200 --> 00:44:39,480
Speaker 2: You know, and then started writing songs almost immediately immediately.

729
00:44:39,719 --> 00:44:43,320
Speaker 1: Did you feel did you think I want to be

730
00:44:43,360 --> 00:44:47,080
Speaker 1: a songwriter? Did you think that way? Because I remember

731
00:44:47,320 --> 00:44:49,400
Speaker 1: the first time I met you and Richard, it was

732
00:44:49,400 --> 00:44:53,280
Speaker 1: the first time I'd ever met anyone who was a songwriter,

733
00:44:53,400 --> 00:44:55,160
Speaker 1: And in fact, I said, what do you guys do?

734
00:44:55,440 --> 00:44:57,879
Speaker 1: What do you guys do? And you said, we're songwriters,

735
00:44:58,560 --> 00:45:01,840
Speaker 1: so definitively, and I never thought of that as like

736
00:45:01,920 --> 00:45:05,120
Speaker 1: an offshoot option. You didn't say we're musicians, right, You

737
00:45:05,200 --> 00:45:09,840
Speaker 1: said we're songwriters. Yeah, and that felt so intentional to me.

738
00:45:10,719 --> 00:45:13,279
Speaker 1: So is that how you did you like shift the

739
00:45:13,360 --> 00:45:16,120
Speaker 1: way you think like, I'm going to be I'm a songwriter?

740
00:45:16,600 --> 00:45:16,799
Speaker 2: Well?

741
00:45:16,920 --> 00:45:17,840
Speaker 1: Did you think that early on?

742
00:45:18,360 --> 00:45:18,920
Speaker 2: Pretty much?

743
00:45:19,040 --> 00:45:21,120
Speaker 13: I mean when I first Yeah, from the moment I

744
00:45:21,160 --> 00:45:23,719
Speaker 13: started writing songs, I didn't really want to do anything else.

745
00:45:24,040 --> 00:45:24,279
Speaker 12: Yeah.

746
00:45:25,680 --> 00:45:28,520
Speaker 2: But then it was when I was in Once Blue

747
00:45:28,560 --> 00:45:30,760
Speaker 2: that I started to have to think about writing songs

748
00:45:30,880 --> 00:45:31,839
Speaker 2: that I wouldn't sing.

749
00:45:32,080 --> 00:45:33,480
Speaker 1: Yeah, that's a whole other thing.

750
00:45:33,560 --> 00:45:36,120
Speaker 13: That had to be solid, you know, that had to

751
00:45:36,200 --> 00:45:39,719
Speaker 13: be good enough for someone else to put themselves into,

752
00:45:39,840 --> 00:45:41,520
Speaker 13: both melodically and lyrically.

753
00:45:43,120 --> 00:45:44,920
Speaker 2: And so that was a, you know, the beginning of

754
00:45:44,960 --> 00:45:47,640
Speaker 2: a lot of work to start to understand what that

755
00:45:47,800 --> 00:45:48,160
Speaker 2: would be.

756
00:45:49,440 --> 00:45:51,719
Speaker 1: Was there somebody that you saw that did that that

757
00:45:51,840 --> 00:45:54,200
Speaker 1: you kind of thought about it in that way, like

758
00:45:54,800 --> 00:45:59,479
Speaker 1: did you think of a specific songwriter who's a good question?

759
00:46:00,200 --> 00:46:02,320
Speaker 1: Or it just kind of sort of all came around it.

760
00:46:02,480 --> 00:46:05,160
Speaker 13: Kind of it was more of the latter, But you know,

761
00:46:05,520 --> 00:46:07,239
Speaker 13: I mean, of course I was well aware that a

762
00:46:07,280 --> 00:46:09,640
Speaker 13: lot of people sang Bob Dylan songs, but I didn't

763
00:46:09,640 --> 00:46:11,359
Speaker 13: really model my songwriting after him.

764
00:46:11,480 --> 00:46:13,600
Speaker 1: But I don't did you feel like he ever wrote

765
00:46:13,640 --> 00:46:15,600
Speaker 1: for other people. He probably just wrote.

766
00:46:15,840 --> 00:46:18,440
Speaker 2: Yeah, I think he's just churning out tunes and people just.

767
00:46:18,480 --> 00:46:20,920
Speaker 1: Plucking them, and you know, not like a real building

768
00:46:21,040 --> 00:46:24,040
Speaker 1: thing where they were specifically writing for other right, like

769
00:46:24,160 --> 00:46:25,120
Speaker 1: Carol King or something.

770
00:46:25,280 --> 00:46:30,640
Speaker 2: Yeah, no, yeah, it's funny.

771
00:46:30,680 --> 00:46:30,839
Speaker 1: Though.

772
00:46:31,160 --> 00:46:34,239
Speaker 2: Later on I came to discover that, like in the

773
00:46:34,320 --> 00:46:38,680
Speaker 2: Brazilian world, they were doing more of this people. You know,

774
00:46:38,719 --> 00:46:41,440
Speaker 2: a lot of singers like Gal Costa would cover Kaitanos

775
00:46:41,520 --> 00:46:44,280
Speaker 2: songs about Jill Bert Jill's songs for example.

776
00:46:45,280 --> 00:46:47,520
Speaker 13: But I was kind of the same. I wasn't really

777
00:46:47,640 --> 00:46:51,080
Speaker 13: writing for other people. I was still writing songs, but

778
00:46:51,280 --> 00:46:53,600
Speaker 13: trying to write songs that other people could sing, yeah,

779
00:46:54,160 --> 00:46:56,520
Speaker 13: or that would you know, work for another person.

780
00:46:56,600 --> 00:46:58,719
Speaker 2: And a lot of that came down to lyric writing too,

781
00:47:00,600 --> 00:47:03,400
Speaker 2: and melody of course, as I said before, but making

782
00:47:03,480 --> 00:47:06,759
Speaker 2: lyrics that that another person could put themselves into.

783
00:47:07,120 --> 00:47:10,839
Speaker 1: Yeah, do you ever feel like you're taking yourself out

784
00:47:10,880 --> 00:47:15,279
Speaker 1: of songs? Like just one word here, one specific word there,

785
00:47:15,560 --> 00:47:15,759
Speaker 1: you know.

786
00:47:16,040 --> 00:47:18,920
Speaker 2: Like, no, I don't. I've never filtered myself like that.

787
00:47:19,200 --> 00:47:24,719
Speaker 1: Yeah, it's not that it's more than that, like or yeah.

788
00:47:25,360 --> 00:47:28,479
Speaker 13: No, it's it's more that I try to let the song,

789
00:47:28,600 --> 00:47:32,600
Speaker 13: whatever it is, be its own, have its own life, Yeah,

790
00:47:33,920 --> 00:47:37,800
Speaker 13: to have its own logic and its own story.

791
00:47:37,920 --> 00:47:40,279
Speaker 2: And I feel like songs do have their own intention.

792
00:47:40,360 --> 00:47:43,320
Speaker 1: Yeah, and they kind of grab you and pull you

793
00:47:43,440 --> 00:47:44,799
Speaker 1: along the path, right.

794
00:47:44,960 --> 00:47:47,160
Speaker 2: Yeah, I feel like you just have to kind of

795
00:47:47,760 --> 00:47:49,560
Speaker 2: help them become what they're supposed to be.

796
00:47:49,960 --> 00:47:50,160
Speaker 11: Yeah.

797
00:47:50,640 --> 00:47:52,279
Speaker 1: I think that's the right way to think about it.

798
00:47:52,920 --> 00:47:53,759
Speaker 2: But I think I was.

799
00:47:53,920 --> 00:47:55,320
Speaker 13: There was also a period where I think I was

800
00:47:55,320 --> 00:47:57,279
Speaker 13: a little bit lazy and I didn't work hard enough

801
00:47:57,480 --> 00:48:00,360
Speaker 13: on certain things that later I decided.

802
00:48:00,400 --> 00:48:02,520
Speaker 2: Really yeah, like what like lyrics.

803
00:48:03,560 --> 00:48:05,759
Speaker 13: I listened to some of my records some of the

804
00:48:05,880 --> 00:48:09,040
Speaker 13: other one older ones or middle ones or whatever. Some

805
00:48:09,239 --> 00:48:11,200
Speaker 13: songs work, and then others are like, come on, I

806
00:48:11,280 --> 00:48:12,640
Speaker 13: tuld have done so much better.

807
00:48:12,920 --> 00:48:15,480
Speaker 1: Oh, I hate that it's like on record.

808
00:48:16,120 --> 00:48:18,239
Speaker 2: Yeah, that's out there in the world. There's nothing you

809
00:48:18,320 --> 00:48:21,719
Speaker 2: can do. But that's cool. I mean, it's cool for

810
00:48:21,800 --> 00:48:25,720
Speaker 2: people to see things that you know that all sides

811
00:48:25,760 --> 00:48:27,920
Speaker 2: of it, you know, whatt you grow a person or

812
00:48:27,920 --> 00:48:28,319
Speaker 2: an artist?

813
00:48:28,440 --> 00:48:28,600
Speaker 11: Yeah?

814
00:48:28,680 --> 00:48:31,960
Speaker 1: Yeah, Well I think it's funny because I think the

815
00:48:32,640 --> 00:48:35,080
Speaker 1: you know, I didn't really write songs when I met you.

816
00:48:35,640 --> 00:48:37,600
Speaker 1: I had written a couple of songs in high school

817
00:48:37,640 --> 00:48:41,040
Speaker 1: that were stinky, so I stopped. And then after I

818
00:48:41,160 --> 00:48:43,160
Speaker 1: met you, you would send me. You sent me one

819
00:48:43,239 --> 00:48:46,000
Speaker 1: flight down right, Yes, I do, when I still lived

820
00:48:46,040 --> 00:48:46,480
Speaker 1: in Texas.

821
00:48:46,560 --> 00:48:47,839
Speaker 2: Yeah, I send it to you in the mail.

822
00:48:48,719 --> 00:48:51,080
Speaker 1: You sent me a chord chart and lyrics.

823
00:48:51,000 --> 00:48:52,279
Speaker 2: And the melody was written on there.

824
00:48:52,360 --> 00:48:54,480
Speaker 1: Yeah, but not not a recording, no recording.

825
00:48:54,520 --> 00:48:54,719
Speaker 3: Yeah.

826
00:48:54,719 --> 00:48:55,080
Speaker 2: It was a leader.

827
00:48:55,200 --> 00:48:56,279
Speaker 1: She was just the lead sheep.

828
00:48:56,400 --> 00:49:00,719
Speaker 2: Yeah. Yeah, and I had I was like, oh, okay, cool.

829
00:49:01,200 --> 00:49:03,520
Speaker 1: Yeah, and I think I played it, but I never

830
00:49:03,640 --> 00:49:05,480
Speaker 1: played it on a gig until we started doing her.

831
00:49:05,680 --> 00:49:08,120
Speaker 2: Right. You send me a letter back and you said,

832
00:49:08,200 --> 00:49:09,120
Speaker 2: my mom really likes you.

833
00:49:09,440 --> 00:49:10,360
Speaker 1: My mom likes yourself.

834
00:49:10,640 --> 00:49:12,760
Speaker 2: Yeah, a lot of people don't.

835
00:49:12,600 --> 00:49:15,280
Speaker 1: Know about you, Okay, that you're really good at.

836
00:49:15,640 --> 00:49:19,360
Speaker 2: Sight reading melodies and singing them off the page.

837
00:49:19,480 --> 00:49:21,279
Speaker 1: Yeah, I am, because I learned how to do that

838
00:49:21,600 --> 00:49:26,040
Speaker 1: very early. I took a weird music theory class in

839
00:49:26,280 --> 00:49:30,239
Speaker 1: elementary school along with my classical class, which I never

840
00:49:30,440 --> 00:49:33,800
Speaker 1: practiced for. But the site reading stuff, I had to

841
00:49:34,400 --> 00:49:36,359
Speaker 1: do it all in high school at the performing arts

842
00:49:36,400 --> 00:49:38,280
Speaker 1: high school, and then all in college, and I tested

843
00:49:38,360 --> 00:49:39,800
Speaker 1: out of it because I had already done all that

844
00:49:40,760 --> 00:49:44,640
Speaker 1: but I'm not great at reading reading full music, like

845
00:49:44,760 --> 00:49:45,520
Speaker 1: classical music.

846
00:49:45,920 --> 00:49:47,120
Speaker 2: Just a line of melody.

847
00:49:47,520 --> 00:49:49,440
Speaker 1: A line of melody is so easy for me. But

848
00:49:49,640 --> 00:49:52,120
Speaker 1: to read like, you know, a bunch of like the

849
00:49:52,200 --> 00:49:54,320
Speaker 1: whole thing, the whole thing with the bass cleft, is

850
00:49:54,400 --> 00:49:56,719
Speaker 1: still a little tricky. Sure, but I got really good

851
00:49:56,760 --> 00:49:57,400
Speaker 1: at reading courtes.

852
00:49:57,600 --> 00:49:59,880
Speaker 13: You could do those gigs where you just open up

853
00:49:59,880 --> 00:50:02,719
Speaker 13: the real book, Yeah, any song and sing it.

854
00:50:03,239 --> 00:50:05,080
Speaker 1: Yeah. So that's why you sent me that, because you

855
00:50:05,160 --> 00:50:05,640
Speaker 1: knew I did that.

856
00:50:06,360 --> 00:50:10,080
Speaker 13: I guess, yeah, I mean maybe I guess I knew

857
00:50:10,120 --> 00:50:12,000
Speaker 13: because Kenny had gone to.

858
00:50:12,040 --> 00:50:13,000
Speaker 2: See you perform.

859
00:50:13,120 --> 00:50:14,279
Speaker 1: That's right. You hadn't seen me.

860
00:50:14,400 --> 00:50:16,200
Speaker 2: I didn't. I hadn't even gone yet. Yeah.

861
00:50:16,560 --> 00:50:19,440
Speaker 1: Yeah, he came to the restaurant Popolo's in Dallas.

862
00:50:19,520 --> 00:50:21,760
Speaker 13: But I could tell that you knew you were talking

863
00:50:21,800 --> 00:50:24,279
Speaker 13: about because when we were doing that at first little

864
00:50:24,360 --> 00:50:26,879
Speaker 13: jam session, you were calling out the chords in your key.

865
00:50:28,239 --> 00:50:33,319
Speaker 1: What a precocious little yeah, totally. Yeah.

866
00:50:33,360 --> 00:50:37,799
Speaker 2: I was eighteen, eighteen or nineteen yeah, I was nineteen yeah,

867
00:50:38,000 --> 00:50:39,760
Speaker 2: just turned yeah.

868
00:50:39,880 --> 00:50:40,480
Speaker 1: That's crazy.

869
00:50:40,800 --> 00:50:41,000
Speaker 2: Yeah.

870
00:50:41,120 --> 00:50:46,239
Speaker 1: And so when we started playing together, I could I

871
00:50:46,360 --> 00:50:49,200
Speaker 1: came at it from a jazz place, and you always

872
00:50:49,239 --> 00:50:51,239
Speaker 1: have had a lot of jazz influence, but you came

873
00:50:51,280 --> 00:50:56,240
Speaker 1: at it from a more structured place, right, Yeah, well that's.

874
00:50:56,080 --> 00:50:57,560
Speaker 2: What was so cool. That was cool.

875
00:50:57,600 --> 00:51:01,600
Speaker 13: Here you play piano over these chords and bring them

876
00:51:01,640 --> 00:51:04,200
Speaker 13: to life in a different way that I hadn't heard before.

877
00:51:04,480 --> 00:51:05,359
Speaker 1: No, it was cool.

878
00:51:05,440 --> 00:51:06,560
Speaker 2: I mean we did it.

879
00:51:07,480 --> 00:51:12,640
Speaker 1: It was awesome. Yeah, that's crazy. Those were the days.

880
00:51:15,000 --> 00:51:17,080
Speaker 1: Let's do you another song from your new album. This

881
00:51:17,239 --> 00:51:21,480
Speaker 1: one reminds me that seventies kind of stuff, the influence.

882
00:51:21,719 --> 00:51:24,520
Speaker 2: Yeah that's true. Okay, you get to sing with me, right.

883
00:51:24,920 --> 00:51:28,560
Speaker 1: Yeah, Okay, I can do this one. Okay, Yeah, all

884
00:51:28,640 --> 00:51:36,200
Speaker 1: right yeah Angular Angular Baby.

885
00:51:37,160 --> 00:51:37,480
Speaker 2: All right?

886
00:51:38,440 --> 00:51:38,680
Speaker 7: Three?

887
00:51:48,920 --> 00:51:51,720
Speaker 5: We got nowhere we're going.

888
00:51:53,760 --> 00:51:56,320
Speaker 6: Oh else, we could lose alway.

889
00:51:58,440 --> 00:52:08,880
Speaker 5: If we fund, we'll have ourselves sublame. We gotta know

890
00:52:09,200 --> 00:52:10,400
Speaker 5: what we do.

891
00:52:10,719 --> 00:52:15,920
Speaker 15: It's easy to make chase.

892
00:52:17,360 --> 00:52:19,280
Speaker 6: With no one's looking.

893
00:52:20,080 --> 00:52:28,040
Speaker 23: That's when the world can change. We got and know

894
00:52:29,480 --> 00:52:33,760
Speaker 23: what we god because if we lose.

895
00:52:33,920 --> 00:52:35,319
Speaker 14: We lose a lot.

896
00:52:36,280 --> 00:52:43,120
Speaker 1: We got and know win to stop searching fall.

897
00:52:45,320 --> 00:52:46,160
Speaker 3: We got.

898
00:52:55,200 --> 00:52:58,080
Speaker 5: We gotta know what we're thinking.

899
00:52:59,840 --> 00:53:00,719
Speaker 12: It sees it.

900
00:53:01,239 --> 00:53:08,640
Speaker 15: Thanks you much, and keep bone pushing until we're allowed

901
00:53:08,840 --> 00:53:09,399
Speaker 15: to tell.

902
00:53:14,080 --> 00:53:16,880
Speaker 12: We got and know what.

903
00:53:17,320 --> 00:53:23,719
Speaker 2: We got because if we lose we lose a lot we.

904
00:53:23,960 --> 00:53:33,960
Speaker 5: Got and know when to stop searching fall we got.

905
00:53:42,560 --> 00:53:49,439
Speaker 16: We got, and know what we got because if we lose.

906
00:53:49,640 --> 00:53:55,239
Speaker 7: We lose a lote we got and know when to

907
00:53:55,520 --> 00:53:58,319
Speaker 7: stop searching for.

908
00:54:00,960 --> 00:54:01,600
Speaker 1: We go.

909
00:54:25,200 --> 00:54:27,680
Speaker 2: Yeah right, I like that. That's fun Yeah.

910
00:54:28,120 --> 00:54:32,480
Speaker 1: Well it's funny because I came to music singing other

911
00:54:32,520 --> 00:54:36,960
Speaker 1: people's songs, mostly through jazz, singing the old songs, being

912
00:54:37,000 --> 00:54:41,960
Speaker 1: afraid of songwriting, singing your songs. And then the more

913
00:54:43,040 --> 00:54:46,160
Speaker 1: and more I wrote, I feel like the harder it's

914
00:54:46,239 --> 00:54:49,560
Speaker 1: become to sing other people's songs, which is such a

915
00:54:49,640 --> 00:54:53,879
Speaker 1: weird thing. Well, I mean, I get it, but it's

916
00:54:54,000 --> 00:54:57,000
Speaker 1: it's a funny thing. It's like an evolution of sure things.

917
00:54:57,200 --> 00:55:01,080
Speaker 13: If you grow accustom also to expressing yourself that way, yeah,

918
00:55:01,360 --> 00:55:04,520
Speaker 13: then you're gonna want that opportunity for yourself, you know.

919
00:55:05,360 --> 00:55:05,600
Speaker 2: Yeah.

920
00:55:05,640 --> 00:55:07,680
Speaker 1: I mean it's funny because I feel like early on,

921
00:55:09,600 --> 00:55:11,520
Speaker 1: like on my second and third record, you know, I

922
00:55:11,640 --> 00:55:14,480
Speaker 1: wrote more and more, but I was still writing, like,

923
00:55:14,719 --> 00:55:19,600
Speaker 1: still very timid about it, still crafting the songs in

924
00:55:19,680 --> 00:55:24,319
Speaker 1: a way that I was into, you know. But then

925
00:55:24,480 --> 00:55:27,400
Speaker 1: the more years of past, I feel like it's just

926
00:55:28,080 --> 00:55:31,320
Speaker 1: the emotion. It's more emotion in it now than I

927
00:55:31,440 --> 00:55:36,279
Speaker 1: used to put in it, and I don't know how

928
00:55:36,400 --> 00:55:41,600
Speaker 1: to capture that emotion singing other people's songs interesting, but

929
00:55:41,719 --> 00:55:43,320
Speaker 1: I know that I used to be able to do that,

930
00:55:43,960 --> 00:55:46,399
Speaker 1: and I feel like it's almost like a skill I've

931
00:55:46,520 --> 00:55:49,560
Speaker 1: lost a little bit, really a little bit.

932
00:55:50,480 --> 00:55:53,359
Speaker 13: I feel that you get an opportunity to be an

933
00:55:53,400 --> 00:55:55,919
Speaker 13: interpret or sometimes in outside projects though.

934
00:55:57,040 --> 00:56:02,480
Speaker 1: Yeah, but I don't completely feel the rawness as much

935
00:56:02,520 --> 00:56:05,759
Speaker 1: as I I mean, because I used to not think

936
00:56:05,800 --> 00:56:06,160
Speaker 1: about it.

937
00:56:06,320 --> 00:56:08,919
Speaker 2: Maybe because it was because you didn't write as many things.

938
00:56:08,960 --> 00:56:12,160
Speaker 2: Maybe you would pour everything into the songs that you sang.

939
00:56:12,360 --> 00:56:15,640
Speaker 1: Maybe or I would relate to it. Yes, that's exactly

940
00:56:15,719 --> 00:56:19,239
Speaker 1: what I'm thinking, damn it. And now I can write

941
00:56:19,320 --> 00:56:21,600
Speaker 1: what I'm thinking. But isn't that weird?

942
00:56:22,280 --> 00:56:25,320
Speaker 2: It's funny, you know, we're all evolving and changing.

943
00:56:25,719 --> 00:56:31,000
Speaker 1: Yeah, ideally hopefully hopefully, but uh yeah, I do feel

944
00:56:31,080 --> 00:56:35,480
Speaker 1: like I'm not good at it anymore, like, which is

945
00:56:35,520 --> 00:56:36,040
Speaker 1: a weird thing.

946
00:56:36,239 --> 00:56:37,279
Speaker 2: I don't think that's true.

947
00:56:39,200 --> 00:56:41,360
Speaker 1: I disagree, but you know what it is. It's honesty.

948
00:56:41,560 --> 00:56:43,840
Speaker 1: I feel like when I when I was young, I

949
00:56:43,920 --> 00:56:48,040
Speaker 1: felt very honest singing all those songs, and I still

950
00:56:48,120 --> 00:56:50,879
Speaker 1: feel honest singing them because I have to sing them

951
00:56:50,960 --> 00:56:53,520
Speaker 1: like I wrote them, because like when I sing, don't

952
00:56:53,560 --> 00:56:56,719
Speaker 1: know why, and people get so excited. I feel like

953
00:56:56,760 --> 00:56:58,520
Speaker 1: I wrote it. I always give you credit, but I

954
00:56:59,200 --> 00:57:01,400
Speaker 1: feel like, but I hear a song now, but I

955
00:57:01,600 --> 00:57:03,719
Speaker 1: feel like I have to sing it like it's mine.

956
00:57:03,800 --> 00:57:04,960
Speaker 1: But I don't even think about it.

957
00:57:05,000 --> 00:57:05,520
Speaker 2: I just do it.

958
00:57:05,880 --> 00:57:09,880
Speaker 1: I own it in my heart. And I feel that

959
00:57:09,960 --> 00:57:12,880
Speaker 1: way with the songs I've done in the past that

960
00:57:13,000 --> 00:57:15,759
Speaker 1: I still do now. But I find it harder to

961
00:57:15,920 --> 00:57:18,760
Speaker 1: adopt a new songs that I didn't write.

962
00:57:19,280 --> 00:57:20,600
Speaker 2: Yeah, a new friend or something.

963
00:57:20,680 --> 00:57:23,960
Speaker 1: Yeah, yeah, Well, isn't it funny? You keep thinking, yeah,

964
00:57:24,040 --> 00:57:26,320
Speaker 1: I don't need any more friends, and then you get

965
00:57:26,320 --> 00:57:28,640
Speaker 1: into the next decade of your life and you realize

966
00:57:28,720 --> 00:57:29,960
Speaker 1: you have a whole new said friends.

967
00:57:30,080 --> 00:57:32,320
Speaker 2: Yeah, but that's interesting.

968
00:57:32,720 --> 00:57:33,800
Speaker 1: I thought it was interesting.

969
00:57:33,960 --> 00:57:37,600
Speaker 2: Yeah. Yeah, well, you know, it is something you've been

970
00:57:37,680 --> 00:57:41,320
Speaker 2: working on and it wasn't there before. Yeah, and it

971
00:57:41,560 --> 00:57:42,120
Speaker 2: makes sense.

972
00:57:42,760 --> 00:57:45,880
Speaker 1: It's funny. But I still own your songs in.

973
00:57:45,960 --> 00:57:49,960
Speaker 2: My heart, but you certainly own them when you sing them,

974
00:57:50,040 --> 00:57:50,600
Speaker 2: that's for sure.

975
00:57:50,720 --> 00:57:53,080
Speaker 1: I love them. People get so happy when they hear them.

976
00:57:53,840 --> 00:57:56,200
Speaker 1: It just like it brings people joy and it makes

977
00:57:56,240 --> 00:58:00,360
Speaker 1: me so happy. People always ask like, do you ever

978
00:58:00,400 --> 00:58:03,160
Speaker 1: get sick of singing the same songs from your first record?

979
00:58:03,360 --> 00:58:06,640
Speaker 1: And I never do because the amount of like good

980
00:58:06,800 --> 00:58:09,640
Speaker 1: energy it generates it makes me so happy.

981
00:58:09,920 --> 00:58:11,840
Speaker 2: You kind of rearrange them each time you do them.

982
00:58:12,320 --> 00:58:14,560
Speaker 1: I don't even mean to. I think they just evolved.

983
00:58:15,200 --> 00:58:17,560
Speaker 13: I like that groove you guys do with brian On.

984
00:58:18,120 --> 00:58:20,960
Speaker 13: Don't know why kind of gospel groove that.

985
00:58:21,040 --> 00:58:21,640
Speaker 2: It has now.

986
00:58:21,880 --> 00:58:24,880
Speaker 1: Yeah, I like it too, but I hope people aren't

987
00:58:24,880 --> 00:58:26,360
Speaker 1: bummed that it's a little different.

988
00:58:26,760 --> 00:58:28,040
Speaker 2: I don't seem bummed, but you.

989
00:58:28,080 --> 00:58:30,120
Speaker 1: Know what I mean. Sometimes you don't want to change

990
00:58:30,120 --> 00:58:33,320
Speaker 1: it too much, right. I did sing it once. I

991
00:58:33,440 --> 00:58:36,320
Speaker 1: sing it once at a festival and I realized I

992
00:58:36,400 --> 00:58:39,560
Speaker 1: was phrasing the bridge differently, and the audience started singing

993
00:58:39,640 --> 00:58:44,320
Speaker 1: along and I wasn't singing with them correctly, and so

994
00:58:44,480 --> 00:58:48,480
Speaker 1: I checked myself because I didn't even realize I was

995
00:58:48,560 --> 00:58:50,280
Speaker 1: doing it. So I went back to the old way.

996
00:58:51,280 --> 00:58:54,120
Speaker 1: It's just funny things. Things drift off the off the

997
00:58:54,200 --> 00:58:56,640
Speaker 1: map sometimes you don't know that they are.

998
00:58:57,600 --> 00:59:00,040
Speaker 2: Yeah, that's true. You used to start doing it a

999
00:59:00,120 --> 00:59:03,800
Speaker 2: different way of thinking about it. But I think audience.

1000
00:59:04,000 --> 00:59:06,280
Speaker 13: It depends on the performer, you know, like if James

1001
00:59:06,360 --> 00:59:08,440
Speaker 13: Taylor sings Fire and Rain, it has to be the

1002
00:59:08,480 --> 00:59:10,120
Speaker 13: same every single time pretty much.

1003
00:59:10,440 --> 00:59:15,520
Speaker 2: But Dylan, Yeah, if the audience even figures.

1004
00:59:15,120 --> 00:59:18,120
Speaker 24: Out what song he's singing, they're so exciting there as

1005
00:59:18,160 --> 00:59:20,520
Speaker 24: soon as they realize what, like, you know, oh, that's

1006
00:59:20,560 --> 00:59:22,640
Speaker 24: the groom still waiting at the altars, then they're really

1007
00:59:22,720 --> 00:59:25,240
Speaker 24: exciting that they know it, and then they'll start chanting

1008
00:59:25,280 --> 00:59:27,600
Speaker 24: along to the lyrics even though they're not even close

1009
00:59:27,680 --> 00:59:29,120
Speaker 24: to being in his phrasing.

1010
00:59:29,360 --> 00:59:33,000
Speaker 1: I know, it's funny. Yeah, it's something I don't think

1011
00:59:33,000 --> 00:59:36,280
Speaker 1: about much, but hopefully it's cool that it's a little different.

1012
00:59:37,040 --> 00:59:39,000
Speaker 2: Well, yeah, it's totally cool.

1013
00:59:40,280 --> 00:59:41,280
Speaker 1: Well, thanks for doing this.

1014
00:59:42,240 --> 00:59:43,400
Speaker 2: I thought that we could.

1015
00:59:44,000 --> 00:59:45,760
Speaker 1: I was wondering if you wanted to try a World

1016
00:59:45,840 --> 00:59:51,000
Speaker 1: of Trouble because this is the first song that is

1017
00:59:51,080 --> 00:59:53,760
Speaker 1: from like one of those demos we made Sony. Yeah,

1018
00:59:54,080 --> 00:59:56,880
Speaker 1: but it's actually it got me. It helped get me

1019
00:59:56,960 --> 00:59:59,600
Speaker 1: signed because I gave Bruce a blue note. I gave

1020
00:59:59,680 --> 01:00:03,400
Speaker 1: him a recording of me doing a jazz tune, actually

1021
01:00:03,480 --> 01:00:07,120
Speaker 1: two jazz tunes, and World of Trouble. So and then

1022
01:00:08,000 --> 01:00:12,120
Speaker 1: we recorded it for the Hottest State the movie. Yeah,

1023
01:00:12,200 --> 01:00:15,480
Speaker 1: you you did the soundtrack to that film, and that

1024
01:00:15,600 --> 01:00:18,640
Speaker 1: was much later. That was much later, but I still

1025
01:00:18,680 --> 01:00:22,560
Speaker 1: remember which album is it on? Of yours? It's on Cricolize,

1026
01:00:22,560 --> 01:00:24,720
Speaker 1: because I loved that album so much and I used

1027
01:00:24,720 --> 01:00:26,600
Speaker 1: to just sing along with it, and so it was

1028
01:00:26,640 --> 01:00:30,640
Speaker 1: one of my favorites of yours from the olden days. Yeah, okay,

1029
01:00:30,680 --> 01:00:31,800
Speaker 1: we have a key discrepancy.

1030
01:00:31,920 --> 01:00:34,360
Speaker 2: You sure do. Yeah, you're very far away from I'm.

1031
01:00:34,160 --> 01:00:37,920
Speaker 1: Really surprised because you have a high timber and I

1032
01:00:38,640 --> 01:00:40,880
Speaker 1: I feel like I don't get it. I don't get

1033
01:00:40,920 --> 01:00:43,680
Speaker 1: the key to Oh you know, I know why, because

1034
01:00:43,720 --> 01:00:45,640
Speaker 1: it's it starts off slow.

1035
01:00:45,760 --> 01:00:47,880
Speaker 2: Right, and then it goes high.

1036
01:00:48,080 --> 01:00:48,280
Speaker 12: Yeah.

1037
01:00:49,200 --> 01:00:52,320
Speaker 1: Yeah, so you said d flat, I mean I was

1038
01:00:52,360 --> 01:00:54,160
Speaker 1: singing flat. What about seeing?

1039
01:00:54,960 --> 01:00:55,120
Speaker 17: Yeah?

1040
01:00:55,160 --> 01:00:58,040
Speaker 2: Yeah, you see your time, you see I see.

1041
01:00:58,040 --> 01:01:00,560
Speaker 1: I don't need a k I don't get why we're

1042
01:01:00,640 --> 01:01:01,200
Speaker 1: so different.

1043
01:01:01,880 --> 01:01:06,320
Speaker 13: That's a weird song to sing. Basically, it's a hard song. Yeah,

1044
01:01:06,560 --> 01:01:08,920
Speaker 13: I kind of I did a disservice to all of us.

1045
01:01:09,520 --> 01:01:12,120
Speaker 1: No, it's a great song. It's just a hard song.

1046
01:01:12,640 --> 01:01:15,960
Speaker 2: The story of the recording from Crooked Lines is funny

1047
01:01:16,480 --> 01:01:18,720
Speaker 2: because we, as I said, made that record at Tony's

1048
01:01:18,760 --> 01:01:22,520
Speaker 2: house and we had recorded that song early on, and

1049
01:01:23,880 --> 01:01:25,680
Speaker 2: after we did it, we were like, cool, that's good,

1050
01:01:25,760 --> 01:01:28,480
Speaker 2: but we can do it better. And for a solid

1051
01:01:28,680 --> 01:01:29,120
Speaker 2: year we.

1052
01:01:29,240 --> 01:01:32,280
Speaker 13: Kept recording that song and every time we did her like,

1053
01:01:32,440 --> 01:01:34,640
Speaker 13: I don't know, we just don't. She's not quite getting

1054
01:01:34,720 --> 01:01:37,520
Speaker 13: that one. And one day Tony because it was all

1055
01:01:37,600 --> 01:01:40,760
Speaker 13: real to reel, Oh he on tape. Yeah, we were

1056
01:01:40,800 --> 01:01:43,400
Speaker 13: on half inch. It was eight track, half inch, And

1057
01:01:43,760 --> 01:01:47,800
Speaker 13: one day he put up a reel because he, you know,

1058
01:01:47,960 --> 01:01:52,000
Speaker 13: Tony like he doesn't he wasn't really marking the boxes

1059
01:01:52,120 --> 01:01:53,360
Speaker 13: very well, so we didn't even know what.

1060
01:01:53,480 --> 01:01:55,480
Speaker 2: Was on this reel. So he put the reel up

1061
01:01:55,520 --> 01:01:56,520
Speaker 2: to see what was there.

1062
01:01:57,400 --> 01:02:00,960
Speaker 13: And all of a sudden, because all the tracks are open,

1063
01:02:01,400 --> 01:02:03,800
Speaker 13: there were the songs started to play and there were

1064
01:02:03,800 --> 01:02:04,760
Speaker 13: two vocals playing.

1065
01:02:04,800 --> 01:02:06,760
Speaker 1: Oh that's right, it's got a double vocal.

1066
01:02:06,960 --> 01:02:08,040
Speaker 2: But it was never meant to be.

1067
01:02:08,240 --> 01:02:10,920
Speaker 13: That was just two different takes of the vocal where

1068
01:02:11,280 --> 01:02:12,600
Speaker 13: I sang it live, and then I was like, can

1069
01:02:12,640 --> 01:02:14,440
Speaker 13: I do it again? And I did it again, and

1070
01:02:14,560 --> 01:02:17,080
Speaker 13: then we heard them together and then we said, oh,

1071
01:02:17,160 --> 01:02:18,040
Speaker 13: let's just leave it like that.

1072
01:02:18,360 --> 01:02:20,760
Speaker 1: Yeah, so you had to take you just we had

1073
01:02:20,840 --> 01:02:23,960
Speaker 1: it for a year. It needed a double vocal. H. Well,

1074
01:02:24,040 --> 01:02:27,000
Speaker 1: it's such a slow song. Yes, And I find that

1075
01:02:27,200 --> 01:02:30,360
Speaker 1: songs this slow and vibe are really hard to just

1076
01:02:30,480 --> 01:02:33,640
Speaker 1: get because if you don't just get them, you can't

1077
01:02:33,720 --> 01:02:36,280
Speaker 1: labor over them. Right, Yeah, they have to have that

1078
01:02:36,360 --> 01:02:41,200
Speaker 1: little bit of magicness. Yeah, let's see if d works.

1079
01:02:41,600 --> 01:02:43,080
Speaker 1: We're going to meet somewhere in the middle.

1080
01:02:43,480 --> 01:02:45,440
Speaker 2: High PARTI high, but I think I can't do it.

1081
01:02:45,880 --> 01:02:48,960
Speaker 1: Why don't you do the first verse and I'll sing

1082
01:02:49,040 --> 01:02:53,960
Speaker 1: harmony on the bridge, and then I'll do night Night

1083
01:02:54,000 --> 01:02:54,880
Speaker 1: when the phone rings?

1084
01:02:55,120 --> 01:02:55,400
Speaker 2: Okay?

1085
01:02:55,520 --> 01:02:55,960
Speaker 1: Is that cool?

1086
01:02:56,160 --> 01:02:59,480
Speaker 2: Sure? Okay? And then what the last one? We do together?

1087
01:03:00,080 --> 01:03:03,560
Speaker 2: This is the last thing? Yeah, okay, okay, cool?

1088
01:03:03,960 --> 01:03:07,160
Speaker 1: Yeah, all right? Yeah, and sing on World of Trouble

1089
01:03:07,200 --> 01:03:11,880
Speaker 1: with me even on the verse I do yep, yeah, yeah, totally.

1090
01:03:13,160 --> 01:03:13,440
Speaker 2: Okay.

1091
01:03:24,240 --> 01:03:27,240
Speaker 5: It starts off snow with the.

1092
01:03:29,000 --> 01:03:31,000
Speaker 1: Kiss of folly.

1093
01:03:32,320 --> 01:03:36,920
Speaker 5: And you don't see is more.

1094
01:03:40,800 --> 01:03:41,960
Speaker 12: But after.

1095
01:03:43,280 --> 01:03:53,160
Speaker 5: Wowing of the dogs, see sneaking in Little.

1096
01:03:53,120 --> 01:04:03,920
Speaker 6: Bad you don't will lay tell you.

1097
01:04:06,840 --> 01:04:09,440
Speaker 5: You don't really.

1098
01:04:15,240 --> 01:04:16,600
Speaker 6: Down the world.

1099
01:04:20,400 --> 01:04:25,360
Speaker 12: Shot, it's all.

1100
01:04:26,760 --> 01:04:29,440
Speaker 20: You say.

1101
01:04:34,440 --> 01:04:42,360
Speaker 25: I swear the phone rings, and it's so easy to

1102
01:04:42,600 --> 01:04:46,960
Speaker 25: get up and go back again.

1103
01:04:51,120 --> 01:04:53,440
Speaker 6: You don't stop, you.

1104
01:04:53,680 --> 01:04:58,280
Speaker 1: Don't think to leave without it.

1105
01:05:00,320 --> 01:05:04,960
Speaker 12: No way, you are no wid.

1106
01:05:08,840 --> 01:05:08,880
Speaker 1: It.

1107
01:05:09,120 --> 01:05:14,200
Speaker 15: Don't blieve will they tell you.

1108
01:05:17,760 --> 01:05:20,120
Speaker 12: You don't believe?

1109
01:05:26,080 --> 01:05:27,480
Speaker 23: The world.

1110
01:05:31,280 --> 01:05:36,080
Speaker 12: Shop it's old.

1111
01:05:39,880 --> 01:06:22,560
Speaker 9: See this is the last.

1112
01:06:22,440 --> 01:06:29,280
Speaker 2: Time, all the beginning, whenever.

1113
01:06:30,320 --> 01:06:42,720
Speaker 21: You say enough, why each today, each month rolls out

1114
01:06:43,080 --> 01:06:44,160
Speaker 21: behind you.

1115
01:06:45,680 --> 01:06:56,600
Speaker 8: The last time is coming your blood. You don't really

1116
01:06:58,040 --> 01:07:00,400
Speaker 8: re They tell you you.

1117
01:07:03,600 --> 01:07:06,000
Speaker 2: Don't really.

1118
01:07:11,800 --> 01:07:13,120
Speaker 14: Then word.

1119
01:07:14,480 --> 01:07:17,680
Speaker 1: Now, chop.

1120
01:07:21,080 --> 01:07:21,880
Speaker 5: It's all.

1121
01:07:23,400 --> 01:07:26,160
Speaker 20: You see.

1122
01:07:30,040 --> 01:07:30,960
Speaker 6: A word.

1123
01:07:34,840 --> 01:07:39,240
Speaker 12: Cho it's.

1124
01:07:41,440 --> 01:07:41,480
Speaker 21: You.

1125
01:07:59,240 --> 01:08:00,840
Speaker 2: I thought that word. It was great.

1126
01:08:01,000 --> 01:08:04,360
Speaker 1: Yeah, boy, she brings me back that song. That was

1127
01:08:04,440 --> 01:08:08,240
Speaker 1: the special thing about that little time. Yeah, and going

1128
01:08:08,320 --> 01:08:10,160
Speaker 1: to see everybody at the living room is they would

1129
01:08:10,200 --> 01:08:13,080
Speaker 1: actually just play their songs and you would get to

1130
01:08:13,200 --> 01:08:16,240
Speaker 1: know them before you'd even hear a recording.

1131
01:08:17,000 --> 01:08:20,479
Speaker 2: Yeah. In fact, I would often bring new songs to

1132
01:08:20,640 --> 01:08:24,560
Speaker 2: the gig, to my gigs and do them for the

1133
01:08:24,600 --> 01:08:27,719
Speaker 2: first time at the gig. Same with you. I remember

1134
01:08:27,800 --> 01:08:29,640
Speaker 2: the first time that we did the Long Day Is

1135
01:08:29,720 --> 01:08:31,920
Speaker 2: Over was live at Fez.

1136
01:08:32,479 --> 01:08:34,439
Speaker 1: Oh, yeah, that one gig, same thing.

1137
01:08:34,640 --> 01:08:36,160
Speaker 2: I brought you a lead sheet. I was like, let's

1138
01:08:36,200 --> 01:08:38,560
Speaker 2: do this new song tonight, you know, and you and

1139
01:08:38,640 --> 01:08:41,840
Speaker 2: I had no way. It wasn't Long Days Over.

1140
01:08:42,439 --> 01:08:46,280
Speaker 1: It was what was I don't know what was it?

1141
01:08:47,439 --> 01:08:49,160
Speaker 2: It was another song or.

1142
01:08:49,160 --> 01:08:51,120
Speaker 13: Maybe it was long days over, but we had just

1143
01:08:51,160 --> 01:08:53,360
Speaker 13: written it. We had just written it, but I brought

1144
01:08:53,400 --> 01:08:54,920
Speaker 13: the lead sheet and we did it for the first

1145
01:08:54,960 --> 01:08:55,639
Speaker 13: time on the gig.

1146
01:08:55,840 --> 01:08:59,160
Speaker 1: Maybe oh, you brought the lead sheet for Lee maybe

1147
01:08:59,760 --> 01:09:00,840
Speaker 1: but on the bass.

1148
01:09:00,880 --> 01:09:04,360
Speaker 2: But maybe the lyrics hadn't been written yet or something.

1149
01:09:04,560 --> 01:09:06,280
Speaker 1: I don't know, but I just remember that time being

1150
01:09:06,360 --> 01:09:10,719
Speaker 1: so special because like I wasn't I was barely writing songs.

1151
01:09:10,760 --> 01:09:13,360
Speaker 1: And it's why I started writing songs. I came home

1152
01:09:13,400 --> 01:09:15,840
Speaker 1: from seeing like you guys and Tony at the living

1153
01:09:15,920 --> 01:09:17,720
Speaker 1: room and I wrote come Away with Me in my

1154
01:09:17,880 --> 01:09:20,920
Speaker 1: room alone with a guitar that I could barely play

1155
01:09:21,200 --> 01:09:22,840
Speaker 1: because I was inspired, you know.

1156
01:09:23,760 --> 01:09:25,599
Speaker 2: Yeah, in that room that had a bed.

1157
01:09:26,320 --> 01:09:29,320
Speaker 1: Oh yeah, my little rock bedrock. We called it bedrock.

1158
01:09:30,160 --> 01:09:30,280
Speaker 19: Hi.

1159
01:09:30,360 --> 01:09:32,000
Speaker 1: Would you like to come hang out in my bed

1160
01:09:32,120 --> 01:09:33,880
Speaker 1: with me? Because that's the only place I have to

1161
01:09:33,960 --> 01:09:40,479
Speaker 1: hang out, not romantically, just we'll rock out, play some songs. Yeah,

1162
01:09:40,560 --> 01:09:45,479
Speaker 1: that's right, oh those days. Well, I love you, thanks too,

1163
01:09:45,680 --> 01:09:46,280
Speaker 1: This is fun.

1164
01:09:46,720 --> 01:09:48,760
Speaker 2: Yeah, thanks so much, all right.

1165
01:09:48,680 --> 01:10:05,040
Speaker 1: Cool, all right, yeah, thanks Jesse, thank you. That was

1166
01:10:05,160 --> 01:10:05,719
Speaker 1: so fun.

1167
01:10:06,200 --> 01:10:08,479
Speaker 3: I love the story of how you guys met it's

1168
01:10:08,520 --> 01:10:10,960
Speaker 3: so special that you've stayed connected for so long.

1169
01:10:11,240 --> 01:10:12,479
Speaker 1: Yeah, it's a good story.

1170
01:10:12,560 --> 01:10:15,760
Speaker 3: Actually, you finish each other's sandwiches.

1171
01:10:17,640 --> 01:10:18,160
Speaker 6: It's sweet.

1172
01:10:18,439 --> 01:10:21,639
Speaker 1: It was sweet. I'll never forget the day I met

1173
01:10:21,760 --> 01:10:24,920
Speaker 1: him and those guys. It was a special day for me.

1174
01:10:26,160 --> 01:10:27,960
Speaker 1: It was really great to play music. We never really

1175
01:10:28,000 --> 01:10:31,080
Speaker 1: get to play together anymore, just like old times. Yeah,

1176
01:10:32,000 --> 01:10:34,320
Speaker 1: Jesse's got a lot of new stuff coming out all

1177
01:10:34,439 --> 01:10:39,160
Speaker 1: the time, So check his pages and go see him live.

1178
01:10:39,280 --> 01:10:43,320
Speaker 1: He plays a lot obviously in Paris as we went over,

1179
01:10:43,640 --> 01:10:46,240
Speaker 1: and a lot sometimes in New York City and he

1180
01:10:46,360 --> 01:10:49,200
Speaker 1: goes on tour, so check him out wherever he is.

1181
01:10:50,160 --> 01:10:51,600
Speaker 1: If you want to know what songs we played on

1182
01:10:51,640 --> 01:10:54,080
Speaker 1: this episode. The first song was called Having a Ball.

1183
01:10:54,479 --> 01:10:56,040
Speaker 1: It's a song I sang with Jesse on his new

1184
01:10:56,080 --> 01:10:58,120
Speaker 1: album If You Believed in Me that just came out

1185
01:10:58,200 --> 01:11:01,040
Speaker 1: earlier this month. Second song I've Got to See You Again,

1186
01:11:01,160 --> 01:11:03,400
Speaker 1: which I did record on my first album, Come Away

1187
01:11:03,439 --> 01:11:06,479
Speaker 1: with Me, but he also recorded it on his album

1188
01:11:06,800 --> 01:11:10,479
Speaker 1: Crooked Lines by Jesse Harrison the Ferdinandos in two thousand

1189
01:11:10,479 --> 01:11:13,599
Speaker 1: and one, and then again on another album, Songs Never Sung.

1190
01:11:14,120 --> 01:11:16,920
Speaker 1: Third song was a newer song of Jesse's called if

1191
01:11:16,960 --> 01:11:19,559
Speaker 1: You Get a Broken Heart from the album Paper Flower

1192
01:11:19,800 --> 01:11:23,080
Speaker 1: twenty twenty four. Fourth song was paper Flower from the

1193
01:11:23,120 --> 01:11:26,160
Speaker 1: same album. The fifth song we did was We Got

1194
01:11:26,280 --> 01:11:29,600
Speaker 1: to Know from Paper Flower, and the sixth song is

1195
01:11:29,720 --> 01:11:31,519
Speaker 1: World of Trouble, which has been on a lot of

1196
01:11:31,560 --> 01:11:36,600
Speaker 1: different albums. My demos from the Come Away with Me

1197
01:11:36,680 --> 01:11:41,320
Speaker 1: Deluxe album, The Crooked Lines, Jesse Harris and the Ferdinandos

1198
01:11:41,360 --> 01:11:43,919
Speaker 1: album from two thousand and one, and from the soundtrack

1199
01:11:44,000 --> 01:11:46,880
Speaker 1: to the movie The Hottest State two thousand and seven.

1200
01:11:48,280 --> 01:11:51,240
Speaker 1: Special thanks Jesse Harris for joining us today. Next week

1201
01:11:51,280 --> 01:11:54,120
Speaker 1: we'll be back with Sam Smith. Norah Jones is playing

1202
01:11:54,120 --> 01:11:56,800
Speaker 1: along as a production of iHeart Podcasts. I'm your Host

1203
01:11:56,880 --> 01:12:00,320
Speaker 1: Norah Jones. This episode was recorded by Matt Marinelli, mixed

1204
01:12:00,360 --> 01:12:04,360
Speaker 1: by Jamie Landry, edited by Sarah Oda. Additional engineering by

1205
01:12:04,400 --> 01:12:08,559
Speaker 1: Greg Tobler. Additional recording by Jamie Landry. Artwork by Eliza Frye,

1206
01:12:08,720 --> 01:12:12,759
Speaker 1: Photography by Shervin Lennaz. Produced by Me and Sarah Oda.

1207
01:12:13,160 --> 01:12:17,400
Speaker 1: Executive producers Aaron Wang Kaufman and Jordan Rundag, Marketing League

1208
01:12:17,600 --> 01:12:19,720
Speaker 1: Queen and a Key Toodles