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

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Speaker 2: Ladies and gentlemen, Welcome to Quest Love Supreme. I'm your

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Speaker 2: host Questlove. We have Teams Supreme with us.

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Speaker 1: Uh byya. How are you today?

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Speaker 3: Trying not to shake? Kind to shake?

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Speaker 1: Really excited?

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Speaker 4: I'm really excited. Yeah.

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Speaker 2: Let me let me just add that this is the

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Speaker 2: first show on which I'm acknowledging that we actually have

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Speaker 2: a YouTube page, and should we remind our listeners that

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Speaker 2: you know you can watch quest Love Supreme.

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Speaker 3: You should watch it so you can see the beauty

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Speaker 3: of this is man. Yes, and I'm not talking about Questlove.

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Speaker 2: There you go exactly. Of course, we know you're talking

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Speaker 2: about our guests.

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Speaker 1: Bill. What's up? Broh, hey man, It's good to see.

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Speaker 1: It's good to see everybody. I'm excited to be here.

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Speaker 1: This is the mature excited because it is sir. Can

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Speaker 1: see what's up? Bro? Good share everybody.

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Speaker 4: Yeah, very excited. I'm feeling beyond the blue horizon. That's

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Speaker 4: how I can describe my feelings.

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Speaker 1: There you go, There you go. Yeah, this is going

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Speaker 1: to be a quickie.

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Speaker 2: I' gonna try and knock out sixty years worth of

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Speaker 2: magic inside of an hour.

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Speaker 1: So let's see if this goes way one could do it,

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Speaker 1: it's us let's go. Yes, of course, here we go.

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Speaker 2: I will say that you know it's been about we

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Speaker 2: last spoke like a month ago, and we couldn't ask

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Speaker 2: for a better way to come back with Today's Guests.

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Speaker 2: And Today's Guest released his first solo album sixty years ago.

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Speaker 2: Our guest today has won ten Grammys, he has topped

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Speaker 2: the charts. He's collaborated with so many legends. I mean

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Speaker 2: he's legendary himself. But of course, uh name it played,

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Speaker 2: Miles Davis, Stevie Wonder, Quincy Jones, Herbie Hancott, and recently

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Speaker 2: he's released or kind of re released, although it wasn't

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Speaker 2: officially released. I'd like to get the story behind how

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Speaker 2: do you have a lost album in the archives?

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Speaker 1: But dreams do come true?

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Speaker 2: And it came from his archive, and we are very

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Speaker 2: excited to have be incomparable Pittsburgh's own Yen's Yen's Power,

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Speaker 2: George Benson's A Quest Love Supreme.

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Speaker 1: Yeah, how you you know what?

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Speaker 2: Every My mom's from Pittsburgh, and every time I meet

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Speaker 2: someone from Pittsburgh, I try to catch.

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Speaker 1: Them saying the word YenS.

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Speaker 2: Are you that deep of a Pittsburgh or your your

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Speaker 2: you don't YenS is not in your vocabulary.

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Speaker 4: Oh that's okay. I've heard it all my life, but

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Speaker 4: now that I'm out here in the Midwest, that would

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Speaker 4: be as common as breathing.

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Speaker 2: Oh really, okay, well it's good to have you. Wait,

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Speaker 2: can you explain to me how far in the archives

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Speaker 2: was this album and what was the idea behind releasing it?

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Speaker 4: Well many years ago, after having so much success in

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Speaker 4: the music business, I said, what haven't I done? And

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Speaker 4: I thought of something that I always wanted to do,

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Speaker 4: to work with a symphony orchestra, A person who conducted

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Speaker 4: symphony orchestras for a long time, a person who's got

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Speaker 4: great control of the music and the musicians, who's very

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Speaker 4: comfortable with that situation. There's no better place than London

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Speaker 4: and the London Symphony Orchestra. But one thing was missing.

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Speaker 4: I had a lot of arrangers I had worked with

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Speaker 4: over the years. All of them were very competent and

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Speaker 4: very good at what they did. So I went to

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Speaker 4: Quincy Jones and I said, Quincy, who is the baddest

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Speaker 4: cat on the planet right now? Because you know, we

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Speaker 4: lost a few people. He said, Josh, let me tell

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Speaker 4: you man, the baddest cat in the world. There's two names,

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Speaker 4: he said. One of them is Robert Farning. I said, wow,

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Speaker 4: and where's he? He said, well, he's somewhere in London,

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Speaker 4: he said, but that's the cat I recommend. So I

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Speaker 4: went over to London and I found a guy who

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Speaker 4: was one of his best friends, and he introduced me

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Speaker 4: to him. And it went by so fast because the

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Speaker 4: man is an expert writing music and conducting orchestra. Was

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Speaker 4: like breathing with him. Okay, So we got together and

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Speaker 4: I told him what I wanted to do. I wasn't sure,

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Speaker 4: so I picked a lot of things, you know, some

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Speaker 4: popular things because I didn't want to go straight classic

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Speaker 4: orchestra and just try to be Frank Sinatra. We agreed

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Speaker 4: on some things. Next thing I know, I was in

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Speaker 4: the studio standing next to him, getting ready to do

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Speaker 4: my part, and the orchestra started playing and I said,

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Speaker 4: oh boy, oh, I'm not gonna be able to do that.

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Speaker 4: I never heard anything like that. Eighty six pieces, all

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Speaker 4: eighty seven pieces of the London Symphony Orchestra and the

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Speaker 4: greatest arranger in the world and his arrangements were so

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Speaker 4: magnificent I couldn't even speak. So I said, maybe I'll

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Speaker 4: just sit and listen to the music, take in the environment.

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Speaker 4: And I did that for a couple of days. He

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Speaker 4: did seventeen songs. He may have been two three days.

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Speaker 4: I took that stuff home to back to America, to

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Speaker 4: New York, and I just listened and I said, well,

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Speaker 4: maybe I can do this song, maybe I can do

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Speaker 4: this one. Now I have to work on this. This

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Speaker 4: is magnificent. I said, no, I better not try this.

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Speaker 4: So between me and the record company, we had an agreement.

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Speaker 4: We were not going to put it out at that time. Okay,

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Speaker 4: next thing I know, we put it in a warehouse

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Speaker 4: and forgot all about it. During that time, mister Farning

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Speaker 4: passed away and I was still hearing bits and pieces

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Speaker 4: of the music, and every time I heard it, I said, man,

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Speaker 4: I gotta find this music and put it back together.

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Speaker 4: But I never did until recently. I had left Warner Brothers.

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Speaker 4: I was with them for about twenty one years with

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Speaker 4: a lot of success. So I left the company and

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Speaker 4: started doing bits and pieces with different record companies, and

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Speaker 4: I asked some success there too. But now I went

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Speaker 4: back to Warners. I said, well, since I'm getting ready

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Speaker 4: to retire, my greatest desire would be to do another

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Speaker 4: record for Warners because they got all my good stuff

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Speaker 4: and I want this to go in with that. So

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Speaker 4: I asked my secretary to arrange a meeting with me

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Speaker 4: and the executives over there, and we had a great meeting.

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Speaker 4: He heard the music and said, wow, we got to

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Speaker 4: put this out and that was fantastic. There's a lot

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Speaker 4: more to it, but I think you got some other

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Speaker 4: questions you might want to ask.

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Speaker 2: We're nerds Paradise, so you're right now giving us catnip.

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Speaker 2: I love when a plan like that comes together, like

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Speaker 2: I love when lost albums and lost projects are finalized.

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Speaker 2: And I'm glad that you know you had completion for

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Speaker 2: our fans that listen to the show that are music heads.

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Speaker 2: You can recall when it took Brian Wilson like fifty

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Speaker 2: years to finish the Smile record.

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Speaker 4: Wow.

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Speaker 1: Yeah, so I'm glad you finished it. Wait.

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Speaker 2: I have a question, though, so are you saying that

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Speaker 2: this is the largest orchestra you've ever worked with?

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Speaker 4: I think so because I work with the New York

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Speaker 4: Symphony Orchestra, Los Angeles Symphony Orchestra, Chicago'symphony Orchestra, the spurg

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Speaker 4: Symphony Orchestra. That might have been a full orchestra. Maybe

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Speaker 4: it was eighty seven pieces. Maybe I've done that too, So.

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Speaker 1: I have a question.

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Speaker 2: I want to jump ahead too far on the timeline,

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Speaker 2: but I gotta know. For me, one of my favorite

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Speaker 2: intros of all time is the first fifteen seconds of Breazon.

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Speaker 2: Just the way that that like to me, the sound

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Speaker 2: of happiness and safety and like whatever, Like when I

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Speaker 2: think of like a good fuzzy memory, that song is

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Speaker 2: the soundtrack when I think of, like, you know, it's

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Speaker 2: something simple, you think, I mean, it could be going

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Speaker 2: to an amusement park or playing tag or whatever. But

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Speaker 2: for me, but in my mind, that was like at

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Speaker 2: least a fifty piece orchestra. Do you recall like how

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Speaker 2: big the orchestra was for the Breezing project.

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Speaker 4: No, because that was a sweetening session. Those were were

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Speaker 4: put on after the recordings got it, okay, But it

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Speaker 4: was an incredible, incredible situation that happened then. Okay. I

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Speaker 4: had a great band full of young, passionate, expert, very

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Speaker 4: creative young musicians, and we were all excited because we

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Speaker 4: hadn't been working together, you know, and we practiced all

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Speaker 4: the time, at least three days a week when we

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Speaker 4: were on the road, with practice every day. So when

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Speaker 4: we did a gig, actually the gig was so easy

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Speaker 4: after because the rehearsals was so intense, the gig was

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Speaker 4: super easy. And there was a situation that happened. People

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Speaker 4: started calling us to open for superstars, and my band

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Speaker 4: was not known yet. I had somewhat of a reputation

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Speaker 4: but no hit records yet. So whenever they called us

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Speaker 4: to open for somebody, half of the audience left when

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Speaker 4: my show was finished, and I remember I'm the opening act,

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Speaker 4: so I began to notice that, and they said, George,

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Speaker 4: too bad, we're not you know that we don't have

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Speaker 4: a hit record. That's the only thing we needed. So

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Speaker 4: through this man, Tommy Lapuma, who had heard me sing

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Speaker 4: five years ago before this record was released, he said

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Speaker 4: he couldn't understand why record companies were not using my voice.

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Speaker 4: So I selected him to be my producer at Warner Brothers,

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Speaker 4: whom I had just signed to contact with, and he

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Speaker 4: came up with the song dis Masquerade.

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Speaker 3: That's the first time your vocals were recorded with Macarade.

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Speaker 4: Well, that's the first time we had anything meaningful, and

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Speaker 4: the rest of them nobody paid my voice any attention.

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Speaker 4: Even my own manager said, George, you're one of the

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Speaker 4: world's best guitar player, but you ain't no singer. And

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Speaker 4: I said to him, you know, I wasn't insulted because

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Speaker 4: I had given up singing many years before. And I said,

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Speaker 4: you know, it's strange that we could listen to the

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Speaker 4: chipmunks and give them a work and give them a hearing,

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Speaker 4: but you won't give me one. It won't give me

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Speaker 4: a chance. And so but Tommy Lapuma found the right arranger,

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Speaker 4: which is a consistent what you were talking about earlier,

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Speaker 4: Klaus Augermann.

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Speaker 1: Yes, absolutely.

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Speaker 4: I remember Tommy Lapuma coming to me asked me, said George,

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Speaker 4: what do you think about Klaus Ogerman doing the arrangements

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Speaker 4: for your new album. I had heard some stuff he

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Speaker 4: had done earlier, and I said, yeah, that's the man.

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Speaker 4: And so he went to London, got kicked out of

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Speaker 4: the studio. You didn't book enough time, and so they

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Speaker 4: went to finish the album in Germany. So you had

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Speaker 4: two different oysters on this on this album, but the

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Speaker 4: same same arranger Klaus Owen. He sent me the test pressings.

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Speaker 4: I heard that orchestra. I said, wow, these guys said,

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Speaker 4: put a tuck seedo on me. Man, the dressed me

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Speaker 4: right up. And at first I didn't particularly care that

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Speaker 4: much for this masquerade. To me, it was just another vocal,

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Speaker 4: you know, and nicely done. I liked what the band did.

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Speaker 4: We only had one take on it. By the way,

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Speaker 4: what only there's only one take on that song? Because

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Speaker 4: Tommy Lapoom, after saying he loved he wanted to hear

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Speaker 4: me sing on the record. The instrumentals were going so good,

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Speaker 4: you know, with breezing and quite a few others, he said, no,

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Speaker 4: I'm not gonna put a vocal on this alvee. I said, man,

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Speaker 4: you made me learn this crazy song. I called it

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Speaker 4: a crazy song. I said, man, let's recall it at

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Speaker 4: least one time. So they put up a very funky

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Speaker 4: microphone something people never sing in. They use them talk programs,

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Speaker 4: you know, one of them long microphones, and you will

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Speaker 4: see on the Johnny Carson Show. And so when I

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Speaker 4: heard it back, I said, it doesn't sound that bad,

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Speaker 4: except I don't like the mid Rangers and the great engineer.

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Speaker 4: He turned the button knocked some of the low end.

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Speaker 4: I said, oh, that's better. Do it again. He did

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Speaker 4: one more click click. I said that's even better. He said,

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Speaker 4: we gonna stop right there. He said, if I do

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Speaker 4: it one more time, you'll sound like Mickey Mouse. I said,

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Speaker 4: this a leave it there. Tommy Lpuma ran out of

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Speaker 4: the studio and ran and broke up a meeting they

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Speaker 4: were having at at Warner Brothers. The big wigs were

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Speaker 4: at this long oval shaped table talking about money, you know,

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Speaker 4: and he took all of his recording equipment over because

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Speaker 4: he never does any playback without his own stuff. So

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Speaker 4: he set up the recording. He said, no, this meeting

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Speaker 4: is over. He's telling the big the money guys, this

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Speaker 4: meeting is over. You must you gotta hear this record.

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Speaker 4: So he played this Masquerade and he said, well wait

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Speaker 4: a minute, man, who is that who's singing? And they said,

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Speaker 4: he said George Benson And they said, but I thought

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Speaker 4: he was a gutsire player. He said, well yeah, but

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Speaker 4: he also sings. So he played the record and they said, well,

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Speaker 4: we're gonna get this now. This was before they put

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Speaker 4: the orchestra on. Wow, okay, he said, I'm not finished

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Speaker 4: with it. Yet you say, I got work to do

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Speaker 4: on this record, and I didn't know he was going

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Speaker 4: to do all of this. I didn't know how he

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Speaker 4: was going to get it dumb, but when he sent

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Speaker 4: me a test pressing, it was hard to believe that

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Speaker 4: it was me, all dressed up and with this fabulous

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Speaker 4: orchestra with great songs, one of the baddest bands in

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Speaker 4: the country. These young boys were energetic and fresh and

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Speaker 4: very creative. The album came out. I we'll talk about

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Speaker 4: that what happened later with that, but the album was

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Speaker 4: a monster.

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Speaker 3: I just want to know on Maskuarade where your mind

248
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Speaker 3: was when you started the song, Like when you started

249
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Speaker 3: it the way you did with I guess I would

250
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Speaker 3: say you were scatting, but you weren't, and you were

251
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Speaker 3: just doing the guitar parts right like when you first started.

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Speaker 4: I think they call it legato. I forget the word

253
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Speaker 4: they use for that. Harvey Mason one of the world's

254
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Speaker 4: greatest drummers, and he was young and energetic then still

255
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Speaker 4: going strong now he always is. I said, all right,

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Speaker 4: Harvey counted off, and he started counting one, two, and

257
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Speaker 4: I said, oh, hold it, hold it right there, I said, hooray,

258
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Speaker 4: play these changes, and I played the changes for him

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Speaker 4: and he I said, and uh, loosen it up. We're

260
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Speaker 4: gonna leave We're gonna play legato, no rhythm, I said.

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Speaker 4: And then Harvey count the time off. So we played it.

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Speaker 4: Play those things, dude. I asked Tommy Lapooma, leave the

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Speaker 4: mic up, man, I'm gonna I'm gonna do something with

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Speaker 4: the improvisations in the beginning and in the middle, okay,

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Speaker 4: And he uh, he said, okay. He didn't have much

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Speaker 4: confidence in it because he was gonna throw the record

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Speaker 4: out anyway. He had made up in his mind that

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Speaker 4: the instrumentals were too great to a sacrifice to one vocal.

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Speaker 4: So uh, they did that great intro, and that young

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Speaker 4: boy or the young man at the time, he was

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Speaker 4: like in his early twenties, and he was fresh in

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Speaker 4: the band. He had just joined the band team. Oh

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Speaker 4: you mean a gray doubt though, And I'm glad you

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Speaker 4: mentioned that, because there was a great thing about those

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Speaker 4: two playing together. But Hora did that intro and played

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Speaker 4: that semi classical accompaniment behind my vocal, which gave it

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Speaker 4: a whole new, fresh approach. And Will did it one time.

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Speaker 4: M and Tommy Lupuma said to me, George, we could

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Speaker 4: be here all night. It'll never get better than that.

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Speaker 4: I said, I think you're right. So I left it alone.

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Speaker 4: And here comes Bobby Womack getting ready to record reason

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Speaker 4: with me because I begged that he come to the

283
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Speaker 4: studio and give me something fresh to play on the record.

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Speaker 4: And he came in the studio and he said, hey,

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Speaker 4: man during the playback, who in the world? And he

286
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Speaker 4: didn't use the word world. He has had an age

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Speaker 4: on it, right right, right, right right, Who got a record?

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Speaker 4: He got a force like that? Tell me the boomer saying,

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Speaker 4: that's George Benson. Man, he said, but I thought he

290
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Speaker 4: George Benson, this guitar player he said yeah, but he

291
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Speaker 4: also and that was the beginning. It let us know

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Speaker 4: that this record was going to be something special.

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Speaker 2: I remember in my dad's band, musicians arguing the first

294
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Speaker 2: time I heard musicians sort of having like kind of

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Speaker 2: a heated debate. My dad's bass player would have put

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Speaker 2: his entire life in saying that this masquerade was Donnie Hathaway.

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Speaker 2: He's like, nah, man, that's Donnie Hathaway. And this is

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Speaker 2: the first time I'm hearing of you. And I remember

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Speaker 2: my dad's sax player, Like, no, man, I'm telling you

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Speaker 2: this George Benson, George Benson.

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Speaker 1: The guitar player. Now, man, this is Donnie Hathaway.

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Speaker 2: And they were just like that was the first time

303
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Speaker 2: I seen like almost It wasn't pugilistic, but it was

304
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Speaker 2: like almost an argument brewing. Like of course they had

305
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Speaker 2: other history of tension, but I definitely remember because I

306
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Speaker 2: was under the impression that that was Donnie Hathaway singing.

307
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Speaker 2: And that argument lasted for like almost ten minutes and

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Speaker 2: got really heated. So I always wanted to know that.

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Speaker 2: That's another thing I found out maybe two years ago.

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Speaker 2: I was not aware that Bobby Womack had written Breezing.

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Speaker 2: How did you know about that song to even ask

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Speaker 2: him for it?

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Speaker 4: It's another incredible story we're here for. I heard the

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Speaker 4: original version of it. The original version was by Goborzabo

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Speaker 4: and he was from Hungary. I remember when he first

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Speaker 4: came to the United States during the Hungarian Revolution in

317
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Speaker 4: the mid fifties, and he played with Chico Hamilton's band

318
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Speaker 4: that was a great jazz ensemble. So I heard them

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Speaker 4: play live when I was a kid, that was a teenager.

320
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Speaker 4: And then this record came out reason it was super funky.

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Speaker 4: I mean, it was really a unique record because he

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Speaker 4: played folk music basically, but he wanted to be a

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Speaker 4: jazz player. The ironic thing is my piano player was

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Speaker 4: like that about Argentine where he came from. He wanted

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Speaker 4: to be a jazz player, but he played Argentine folk

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Speaker 4: music when he grew up. So they were adding that

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Speaker 4: kind of romantic feeling to their jazz, which gave it

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Speaker 4: a unique flavor. So I would never stop catch from

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Speaker 4: being who they are. I didn't force them to be

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Speaker 4: who I wanted them to be. I let them be

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Speaker 4: who they are, and that works better. I learned that

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Speaker 4: from Miles Davis. Don't tell them what to play or

333
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Speaker 4: how to play it, just let them be themselves. So anyway,

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Speaker 4: I never thought about me playing that song because I

335
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Speaker 4: never thought anybody could come up to that that vibe

336
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Speaker 4: they had on that record. And actually the song was

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Speaker 4: written by both men, okay, written by Goboy's a bo

338
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Speaker 4: and Bobby Woomack and Giboar. He didn't want to have

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Speaker 4: nothing to do with it because he didn't care about

340
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Speaker 4: things like that. He had a little problem, some chemical problems,

341
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Speaker 4: and so he didn't care about things like that, but

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Speaker 4: that record he would have made a fortune like Bobby

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Speaker 4: Womack did. And so that's how it got off the ground.

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Speaker 4: And when tell me Lapuma asked me to record it,

345
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Speaker 4: I said, absolutely not. I'm not gonna make that record.

346
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Speaker 4: He said why not? I said, man, that's not me. Man.

347
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Speaker 4: People have been trying to get me to record it

348
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Speaker 4: or to play it live and I wouldn't do it.

349
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Speaker 4: Almost got into rumbles with people, you know, several times.

350
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Speaker 4: So when he asked me to do it, I said, oh,

351
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Speaker 4: here it comes again. And then I woke up. I've

352
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Speaker 4: had to do this many times in my career. This

353
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Speaker 4: was one of the times where it worked beautifully. I said, Tommy,

354
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Speaker 4: if you can get Bobby Womack to come to the studio,

355
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Speaker 4: maybe he can add something to the record that's not there.

356
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Speaker 4: Maybe he can help do something different to make the record,

357
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Speaker 4: give it another twist. So he called Bobby and that's

358
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Speaker 4: when Bobby entered into the studio, listening to the playback

359
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Speaker 4: of this Masquerade and asking who it was. Now it

360
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Speaker 4: was his turn. He said, there was always something I

361
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Speaker 4: wanted to put on this record, and I didn't get

362
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Speaker 4: a chance to do it. I said, what's that man,

363
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Speaker 4: He said, do it because that's what was not on

364
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Speaker 4: the original recording.

365
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Speaker 1: Right.

366
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Speaker 4: And even though I don't think my version is as

367
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Speaker 4: good as the original recording, I like it better because

368
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Speaker 4: it's another twist to this and it made it sound

369
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Speaker 4: more contemporary. So that that was the difference between that version,

370
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Speaker 4: and that's how they got off the ground.

371
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Speaker 2: The seventies were very peculiar time for jazz artists.

372
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Speaker 1: You know, after kind of.

373
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Speaker 2: Like a twenty year let's say between nineteen forty and

374
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Speaker 2: all right, let's say thirty years between nineteen forty nineteen seventy,

375
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Speaker 2: there was this like serious jazz movement. Of course, you know,

376
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Speaker 2: once certain figures in the art form were sort of

377
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Speaker 2: stretching the boundaries with you know, Coltrane stretching the vocabulary

378
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Speaker 2: and what Miles was doing and whatnot. However, I'm always

379
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Speaker 2: curious and I always ask people that were like serious,

380
00:22:35,160 --> 00:22:39,200
Speaker 2: because you know, I had to sort of work backwards.

381
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Speaker 2: It's because of hip hop that I realized how serious

382
00:22:42,720 --> 00:22:45,360
Speaker 2: of a jazz artist you were, because you know, by

383
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Speaker 2: the time I discovered you, you were already.

384
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Speaker 1: Singing, so I knew you as a singer.

385
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Speaker 2: But it wasn't until hip hop sampling that I was like,

386
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Speaker 2: oh my god, Like George Benson is one of the

387
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Speaker 2: greatest jazz guitars of all time. But let me ask

388
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Speaker 2: you when it came to the transition of doing pop music,

389
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Speaker 2: and it's not just you, James m. Toomey, Raggie, Lucas

390
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Speaker 2: Narratimichael Walden, like a lot of these serious musician cats

391
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Speaker 2: in the mid seventies sort of made this decision to

392
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Speaker 2: migrate to not even just soul music, but like to

393
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Speaker 2: pop music. So at the time, did you have any

394
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Speaker 2: trepidation whatsoever of like, wait a minute, I'm a serious

395
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Speaker 2: jazz artist and now you want me to sing pop?

396
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Speaker 2: Like were you worried at all about like if Downbeat

397
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Speaker 2: magazine was going to roast you or for going pop

398
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Speaker 2: or whatnot? Like was that even a concern?

399
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Speaker 4: It was a very trying time for a lot of musicians,

400
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Speaker 4: the ones you mentioned, the cats I worked with in

401
00:23:47,320 --> 00:23:51,359
Speaker 4: the early days. I was thinking about James Toomey. He

402
00:23:51,400 --> 00:23:54,320
Speaker 4: still owes me some money. Man Cold never did play

403
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Speaker 4: for the sessions he used to do at while house.

404
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Speaker 1: He said, I had a.

405
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Speaker 4: Recording studio in my garage and he'd bring guys over

406
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Speaker 4: and try out new stuff. And he brought Reggie Lucas

407
00:24:04,960 --> 00:24:10,000
Speaker 4: over and we became friends the whole trip. Man Norman

408
00:24:10,080 --> 00:24:15,160
Speaker 4: Connors working with the girl from my hometown, philis Simon

409
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Speaker 4: Hillo Simon.

410
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Speaker 1: She was from.

411
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Speaker 4: Pittsburgh, Pittsburgh, and she's from Philly, but yeah, from Pittsburgh, Pittsburgh, Pennsylvania.

412
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Speaker 4: And we were all going through it. There was no

413
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Speaker 4: way we were going to get the prestige that had

414
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Speaker 4: been earned by so many of those great people that

415
00:24:34,520 --> 00:24:37,440
Speaker 4: you talked about earlier, Miles Davis. They had forty years

416
00:24:37,440 --> 00:24:41,199
Speaker 4: on us, thirty years on us, twenty years on. We

417
00:24:41,200 --> 00:24:44,000
Speaker 4: were just coming up kids, you know, youngsters in New York.

418
00:24:44,359 --> 00:24:47,040
Speaker 4: We were like the new Lions, but we had know

419
00:24:47,640 --> 00:24:51,080
Speaker 4: nothing of our own that could give us, you know,

420
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Speaker 4: a seat beside these monstrous musicians that who taught us

421
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Speaker 4: how to play and set up this wonderful music called

422
00:24:59,000 --> 00:25:03,320
Speaker 4: bebop and jazz and the new stuff, you know, the

423
00:25:03,440 --> 00:25:09,000
Speaker 4: ascid what the kids called acid jazz. But that was

424
00:25:09,040 --> 00:25:13,800
Speaker 4: a very, very trying time. I learned that first thing

425
00:25:13,840 --> 00:25:17,400
Speaker 4: you need it begins with a great song. Breezon taught

426
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Speaker 4: me that I never would have been able to cross

427
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Speaker 4: over without reason. Reason was a very well loved song.

428
00:25:25,280 --> 00:25:29,399
Speaker 4: No no, not reason only the Breason album on speaking

429
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Speaker 4: of it, which the song this Masquerade came out of.

430
00:25:34,000 --> 00:25:38,040
Speaker 4: The lyric lent itself to a whole different society because

431
00:25:38,040 --> 00:25:43,119
Speaker 4: they already loved the composer of the song, and I

432
00:25:43,160 --> 00:25:46,359
Speaker 4: had never heard it before. When Tommy Lapuma asked me

433
00:25:46,359 --> 00:25:48,200
Speaker 4: if I heard it before you ever heard the song?

434
00:25:48,240 --> 00:25:51,600
Speaker 4: I said no, and I didn't particularly care about it.

435
00:25:51,600 --> 00:25:55,359
Speaker 4: I said, that's not for my kind of artists. And

436
00:25:55,359 --> 00:25:59,080
Speaker 4: when I found out who it was, Jorge, my piano players,

437
00:25:59,080 --> 00:26:03,640
Speaker 4: his wife said, oh, that's Russell, Leon Russell. I said

438
00:26:03,640 --> 00:26:06,800
Speaker 4: to myself, who there? Because Leon Russell I didn't know

439
00:26:06,840 --> 00:26:09,879
Speaker 4: anything about him, never heard her. She said, that's my

440
00:26:09,960 --> 00:26:13,400
Speaker 4: favorite artist. I said, oh, I better learned this song

441
00:26:13,720 --> 00:26:15,679
Speaker 4: because Tommy said it to me too three times and

442
00:26:15,680 --> 00:26:18,159
Speaker 4: I wouldn't even listen to it more than once. So

443
00:26:18,240 --> 00:26:20,240
Speaker 4: I learned the song. That's why when we went back

444
00:26:20,280 --> 00:26:23,440
Speaker 4: and he said we're not going to record it, I said,

445
00:26:23,800 --> 00:26:27,720
Speaker 4: what after you made me learn this crazy song? Man,

446
00:26:28,000 --> 00:26:32,240
Speaker 4: we're not going to record it? So he to get

447
00:26:32,359 --> 00:26:35,240
Speaker 4: rid of me, he said, okay, well record it one time.

448
00:26:35,880 --> 00:26:38,520
Speaker 4: Let's do it. In other words, let's get it over with.

449
00:26:40,320 --> 00:26:43,919
Speaker 4: So that song came out as the greatest surprise of

450
00:26:43,960 --> 00:26:46,879
Speaker 4: my life because it went so far and you were

451
00:26:46,880 --> 00:26:50,760
Speaker 4: speaking about Donnie Hathaway. The other guy they thought it

452
00:26:50,840 --> 00:26:55,359
Speaker 4: might be was Stevie Wonder, Yes, because he had the

453
00:26:55,440 --> 00:26:58,520
Speaker 4: record out in years. He hadn't recorded something out in

454
00:26:58,680 --> 00:27:01,680
Speaker 4: like maybe a year or two. When it came out,

455
00:27:01,920 --> 00:27:04,640
Speaker 4: they said, gotta be gotta be Stevie when that's the only

456
00:27:04,600 --> 00:27:07,600
Speaker 4: person I can think of, right, and like your dad,

457
00:27:08,080 --> 00:27:10,520
Speaker 4: they swore it was that it was him or either,

458
00:27:10,720 --> 00:27:14,000
Speaker 4: like you said, Donny halfway. So that's what got the

459
00:27:14,040 --> 00:27:16,919
Speaker 4: record the airplay that it needed. They would give the

460
00:27:16,960 --> 00:27:18,719
Speaker 4: record away if you could tell them who it was.

461
00:27:19,280 --> 00:27:21,840
Speaker 4: Very few people guessed who it was on the record.

462
00:27:22,720 --> 00:27:24,920
Speaker 4: They all said, oh, I know who that is. Everybody

463
00:27:24,920 --> 00:27:29,600
Speaker 4: knows that's Stevie Wonder. Oh that's Donny Hathaway. And that's

464
00:27:29,640 --> 00:27:32,240
Speaker 4: got us the airplay we needed in places we never

465
00:27:32,280 --> 00:27:33,480
Speaker 4: would have gotten without it.

466
00:27:34,200 --> 00:27:35,480
Speaker 1: So let me ask you.

467
00:27:36,000 --> 00:27:39,840
Speaker 2: In the winter of nineteen seventy seven, you're sitting down

468
00:27:40,240 --> 00:27:44,119
Speaker 2: in a theater and you hear this. You hear the

469
00:27:44,160 --> 00:27:48,159
Speaker 2: nominees for Record of the Year is Fifty Ways to

470
00:27:48,240 --> 00:27:54,360
Speaker 2: Leave Your Lover by Paul Simon, Afternoon Delight by Starland

471
00:27:54,440 --> 00:27:59,440
Speaker 2: Vocal Band Wow I write the songs by Barry Memory.

472
00:28:01,040 --> 00:28:03,600
Speaker 1: And if You Leave Me Now by Chicago.

473
00:28:05,520 --> 00:28:11,199
Speaker 2: When they say and the winner is previous to that moment,

474
00:28:12,200 --> 00:28:15,040
Speaker 2: did you really think you had a chance in hell

475
00:28:15,119 --> 00:28:17,919
Speaker 2: to win Record of the Year above those records?

476
00:28:18,320 --> 00:28:22,680
Speaker 4: Not a chance? N Ah, No, I didn't have a chance.

477
00:28:23,440 --> 00:28:27,200
Speaker 4: But I love the other records, the big ones. If

478
00:28:27,200 --> 00:28:30,119
Speaker 4: You Leave Me Now by Chicago. Yeah, there was a

479
00:28:30,240 --> 00:28:35,320
Speaker 4: spectacular recording. And you could not bury Manlow out of

480
00:28:35,359 --> 00:28:38,880
Speaker 4: nothing because he had nothing but multi platinum records all

481
00:28:38,920 --> 00:28:42,640
Speaker 4: of his career. Just about. So I got up early,

482
00:28:43,920 --> 00:28:46,200
Speaker 4: hoping I could beat people to the parking lot because

483
00:28:46,200 --> 00:28:48,160
Speaker 4: there was a lot of people in that place, and

484
00:28:48,200 --> 00:28:50,560
Speaker 4: I had already won two Grammys, so I was very

485
00:28:50,680 --> 00:28:52,840
Speaker 4: very happy. I said, oh man, this is I'm gonna

486
00:28:52,840 --> 00:28:55,680
Speaker 4: go home and start braging about my two Grammys. I

487
00:28:55,760 --> 00:28:58,959
Speaker 4: got up and Barbara Stradez I said, and the winner

488
00:28:59,040 --> 00:29:05,600
Speaker 4: is Jeorde Benson. I startled, man and looked around. I

489
00:29:05,640 --> 00:29:09,880
Speaker 4: couldn't just said that, you know, And I looked over

490
00:29:10,160 --> 00:29:13,120
Speaker 4: Tommy looked to find my nowies in the theater somewhere.

491
00:29:13,920 --> 00:29:16,560
Speaker 4: I went up front and when Tommy came up, I

492
00:29:16,600 --> 00:29:20,360
Speaker 4: kissed him on his bald head. I don't believe I

493
00:29:20,360 --> 00:29:24,000
Speaker 4: did that. I saw that later, but that was the

494
00:29:24,040 --> 00:29:27,360
Speaker 4: most incredible thing that ever happened to me in my life.

495
00:29:27,880 --> 00:29:32,760
Speaker 4: And it showed me that nothing is impossible. That this,

496
00:29:32,760 --> 00:29:35,560
Speaker 4: this album I came up with, this this fresh and

497
00:29:35,680 --> 00:29:41,040
Speaker 4: new called Dreams Do Come True, has a lot to

498
00:29:41,080 --> 00:29:44,160
Speaker 4: do with that, that concept, that that idea, that that

499
00:29:44,240 --> 00:29:46,800
Speaker 4: way of thinking, nothing is impossible.

500
00:29:46,800 --> 00:29:47,000
Speaker 1: Man.

501
00:29:48,120 --> 00:29:53,040
Speaker 2: So when you're in that moment and you I think

502
00:29:53,320 --> 00:29:56,000
Speaker 2: that night, you on four altogether correct.

503
00:29:57,000 --> 00:30:00,480
Speaker 4: I won three three and there were two more that

504
00:30:00,640 --> 00:30:03,120
Speaker 4: came toward the album though for other people, but the

505
00:30:03,160 --> 00:30:06,720
Speaker 4: engineer Al Schmidt, and I think Tommy Lapum a producer.

506
00:30:07,120 --> 00:30:09,240
Speaker 4: So we won five our five grammar.

507
00:30:09,000 --> 00:30:09,600
Speaker 1: I've all together.

508
00:30:10,400 --> 00:30:15,000
Speaker 2: So like, how does your life change that night when

509
00:30:15,040 --> 00:30:16,600
Speaker 2: you go to sleep and you go to bed and

510
00:30:16,600 --> 00:30:19,120
Speaker 2: you wake up the next morning as a five time

511
00:30:20,160 --> 00:30:24,280
Speaker 2: that project winning five Grammys, Like what happens to you

512
00:30:24,320 --> 00:30:24,800
Speaker 2: after that?

513
00:30:25,400 --> 00:30:28,960
Speaker 4: It's like I had been born on another planet, reborn,

514
00:30:29,960 --> 00:30:33,080
Speaker 4: and the name of the planet was George Benson. Because

515
00:30:33,160 --> 00:30:38,120
Speaker 4: everything came to me. Everything I ever imagine came to me.

516
00:30:38,760 --> 00:30:41,520
Speaker 4: They came through my management. Everybody wanted to get in

517
00:30:41,560 --> 00:30:44,960
Speaker 4: touch with us for something, and I was not used

518
00:30:45,000 --> 00:30:47,520
Speaker 4: to that kind of attention. My mind was still on

519
00:30:48,560 --> 00:30:51,800
Speaker 4: kicking butt on the guitar with my bad band.

520
00:30:51,960 --> 00:30:52,160
Speaker 1: You know.

521
00:30:52,200 --> 00:30:56,320
Speaker 4: We had a great band, you know, and I couldn't

522
00:30:56,320 --> 00:30:58,760
Speaker 4: think beyond that because I've never been that big of

523
00:30:58,800 --> 00:31:02,880
Speaker 4: a star, you know, been known by people in the

524
00:31:03,000 --> 00:31:05,680
Speaker 4: jazz world and R and B world and some of

525
00:31:05,680 --> 00:31:11,720
Speaker 4: the pop world, but that kind of fame was highly unknown.

526
00:31:11,760 --> 00:31:14,280
Speaker 4: But I begin to see the world differently after that.

527
00:31:15,360 --> 00:31:17,720
Speaker 4: There was a lot more to conquer. We were in

528
00:31:17,760 --> 00:31:20,840
Speaker 4: a position where we could either help or hurt what

529
00:31:21,000 --> 00:31:24,440
Speaker 4: was going on in the world musically. Jazz musicians were

530
00:31:24,440 --> 00:31:28,920
Speaker 4: mad at us. The R and B people didn't know

531
00:31:28,920 --> 00:31:30,480
Speaker 4: what the heck it is we were trying to do

532
00:31:30,600 --> 00:31:35,280
Speaker 4: accomplished because we weren't sounded like Motown and you couldn't anyway.

533
00:31:35,920 --> 00:31:39,280
Speaker 4: Nobody could compete with Marvin gay Man or Stevie Wonder,

534
00:31:39,440 --> 00:31:42,840
Speaker 4: So I didn't even try that stuff. One thing that

535
00:31:43,200 --> 00:31:45,600
Speaker 4: time taught me. All the time it took me to

536
00:31:45,680 --> 00:31:48,240
Speaker 4: gain the success that I got through the album, Reaching

537
00:31:48,560 --> 00:31:50,760
Speaker 4: remember I was thirty three years old when that happened,

538
00:31:50,800 --> 00:31:52,920
Speaker 4: so I considered myself in the old man. You know

539
00:31:52,920 --> 00:31:55,080
Speaker 4: what I'm saying, Man, I'm getting out of this business.

540
00:31:55,080 --> 00:31:55,640
Speaker 4: I'm tired.

541
00:31:56,040 --> 00:31:56,280
Speaker 1: You know.

542
00:31:57,000 --> 00:32:00,000
Speaker 3: No, there's many more albums after That's why.

543
00:32:00,920 --> 00:32:03,560
Speaker 4: Oh wow, man, let me see. Since that was the

544
00:32:03,600 --> 00:32:07,040
Speaker 4: first with Warners, and I think I did, I don't know,

545
00:32:07,120 --> 00:32:10,320
Speaker 4: fourteen albums with Warners, twenty one albums I can't remember now,

546
00:32:11,560 --> 00:32:14,760
Speaker 4: and with other people. In total, I think I've recorded

547
00:32:14,800 --> 00:32:18,400
Speaker 4: about seventy albums, but there are two hundred and something

548
00:32:18,440 --> 00:32:22,280
Speaker 4: with my name on the cover, so a lot is transpired.

549
00:32:22,840 --> 00:32:28,560
Speaker 4: But what a responsibility?

550
00:32:29,440 --> 00:32:31,520
Speaker 2: This is a question I always wanted to ask and

551
00:32:31,600 --> 00:32:34,080
Speaker 2: never knew the answer to because it's not in the

552
00:32:34,120 --> 00:32:34,760
Speaker 2: liner notes.

553
00:32:35,080 --> 00:32:36,840
Speaker 1: But can you please settle this for me?

554
00:32:37,760 --> 00:32:41,640
Speaker 2: Are you playing on Another Star by Stevie Wonder on

555
00:32:41,760 --> 00:32:42,840
Speaker 2: songs in the Kiev Life?

556
00:32:43,200 --> 00:32:46,120
Speaker 1: Is that you scatting at the end? That's me?

557
00:32:47,400 --> 00:32:52,160
Speaker 4: No, no, Plus I'm singing along with wonderlum la la

558
00:32:52,240 --> 00:32:52,600
Speaker 4: la la.

559
00:32:56,520 --> 00:32:58,880
Speaker 2: You're not in the liner notes, but I kept hearing

560
00:32:58,880 --> 00:33:01,320
Speaker 2: your voice because at the end you just start scatting

561
00:33:02,320 --> 00:33:04,800
Speaker 2: and right on the fade out you can keep right there.

562
00:33:04,840 --> 00:33:07,479
Speaker 1: You hear the scatting, and I was like, Yo, is

563
00:33:07,480 --> 00:33:07,880
Speaker 1: that him?

564
00:33:08,080 --> 00:33:09,920
Speaker 4: Like, does that mean it was a favor?

565
00:33:10,520 --> 00:33:12,480
Speaker 1: Well, see these to kind of just grab people.

566
00:33:12,840 --> 00:33:15,760
Speaker 4: Oh yeah, that's true too. He was that kind of guy.

567
00:33:15,800 --> 00:33:17,479
Speaker 1: But I let him be who he is. That's what

568
00:33:17,600 --> 00:33:18,400
Speaker 1: makes him so great.

569
00:33:19,200 --> 00:33:21,480
Speaker 4: He's always coming with something that you don't expect, and

570
00:33:21,520 --> 00:33:25,400
Speaker 4: it's always a one. What he does is so classy,

571
00:33:26,160 --> 00:33:28,000
Speaker 4: and I think that's why we got along very well.

572
00:33:28,480 --> 00:33:31,360
Speaker 4: He was coming to my shows when I was playing

573
00:33:31,400 --> 00:33:33,320
Speaker 4: on the Chitlin circuit. He would show up at a

574
00:33:33,400 --> 00:33:37,120
Speaker 4: nightclub somewhere in America, mostly on the East Coast, because

575
00:33:37,120 --> 00:33:41,640
Speaker 4: he was going with a girl who later married when

576
00:33:41,640 --> 00:33:46,920
Speaker 4: he did the song Isn't She Lovely? I think he

577
00:33:46,960 --> 00:33:51,040
Speaker 4: married her. I think she's from Pittsburgh, her hometown. So

578
00:33:51,160 --> 00:33:52,960
Speaker 4: one day he came to the club where I was

579
00:33:53,320 --> 00:33:57,719
Speaker 4: playing that night, and nobody believed it was him. He

580
00:33:57,840 --> 00:34:00,920
Speaker 4: was so popular you couldn't convince it anybody in the place,

581
00:34:00,960 --> 00:34:03,760
Speaker 4: even though I said, Steve, I think he might have

582
00:34:03,840 --> 00:34:07,440
Speaker 4: came up and played something for us, But nobody believed

583
00:34:07,440 --> 00:34:10,440
Speaker 4: that Stevie Wonder was in the club. But he was

584
00:34:10,480 --> 00:34:12,080
Speaker 4: on a lot of the gigs that I did, He'd

585
00:34:12,160 --> 00:34:15,399
Speaker 4: show up and he would always tooth for us and

586
00:34:15,520 --> 00:34:19,200
Speaker 4: live television shows. We'd be doing live TV in Hollywood

587
00:34:19,560 --> 00:34:22,319
Speaker 4: and he brusht out the back of the curtain and

588
00:34:22,480 --> 00:34:24,600
Speaker 4: jump on the you know, in front of the camera.

589
00:34:25,840 --> 00:34:28,600
Speaker 4: Only he could get away with that kind of thing.

590
00:34:29,360 --> 00:34:31,960
Speaker 4: I've always loved him. I loved him since I think

591
00:34:32,000 --> 00:34:33,719
Speaker 4: I first heard him when he was about fourteen or

592
00:34:33,719 --> 00:34:35,719
Speaker 4: fifteen years old. I knew he was not going to

593
00:34:35,760 --> 00:34:36,440
Speaker 4: be ordinary.

594
00:34:37,080 --> 00:34:39,439
Speaker 3: George, can I ask you about another collaboratoral Quick, because

595
00:34:39,440 --> 00:34:42,359
Speaker 3: we talked about breezing and you actually redid this song

596
00:34:42,400 --> 00:34:44,440
Speaker 3: with him with lyrics, which I thought was kind of ill.

597
00:34:44,640 --> 00:34:46,719
Speaker 3: And y'all are both to me like the voices of

598
00:34:46,760 --> 00:34:50,840
Speaker 3: our generation. Algiero. I don't hear enough stories about Algibo.

599
00:34:51,000 --> 00:34:55,480
Speaker 3: Can you just tell me, like how Wondrous was collaborating

600
00:34:55,480 --> 00:34:56,000
Speaker 3: with Alderreau.

601
00:34:57,040 --> 00:34:59,040
Speaker 4: He's one of those guys that come along. It's only

602
00:34:59,080 --> 00:35:03,520
Speaker 4: one of them lifetime. You're so original. From the time

603
00:35:03,560 --> 00:35:05,839
Speaker 4: he opened the mouth, you've got you know who it

604
00:35:05,920 --> 00:35:09,480
Speaker 4: is and you know it's going to be good. And

605
00:35:09,560 --> 00:35:13,240
Speaker 4: going on the road with him was it took some

606
00:35:13,239 --> 00:35:21,040
Speaker 4: some rough thinking because, uh, career wise, we were way ahead,

607
00:35:21,480 --> 00:35:24,560
Speaker 4: and we made a lot of money. We had a

608
00:35:24,560 --> 00:35:28,239
Speaker 4: lot of prestiges all over the world, and we were

609
00:35:28,280 --> 00:35:32,640
Speaker 4: always first on the you know, on the marquee outside

610
00:35:32,760 --> 00:35:35,400
Speaker 4: you would be George Benson and Algero. A lot of

611
00:35:35,400 --> 00:35:40,359
Speaker 4: people didn't like that because they love Algero together. What yeah,

612
00:35:40,440 --> 00:35:41,160
Speaker 4: we worked together.

613
00:35:41,840 --> 00:35:44,200
Speaker 2: Okay, after you asked this, I got a million dollar

614
00:35:44,280 --> 00:35:44,920
Speaker 2: question to ask you.

615
00:35:44,960 --> 00:35:49,759
Speaker 4: Good. Yeah, So I I felt strange about us being

616
00:35:49,760 --> 00:35:52,319
Speaker 4: on the show, and he he wasn't used to being

617
00:35:52,719 --> 00:35:57,320
Speaker 4: second to nobody. Matter of fact, we both joined Warner

618
00:35:57,360 --> 00:35:57,879
Speaker 4: Brothers on.

619
00:35:57,880 --> 00:35:59,080
Speaker 1: The same day.

620
00:36:00,120 --> 00:36:04,560
Speaker 4: We auditioned at the place where one of the Kennedys

621
00:36:04,960 --> 00:36:09,400
Speaker 4: was murdered. It was a hotel. And this was a

622
00:36:09,480 --> 00:36:11,360
Speaker 4: couple of years after that, a few years after that,

623
00:36:12,160 --> 00:36:16,320
Speaker 4: and we both sang or performed the same song, Take five,

624
00:36:16,800 --> 00:36:20,719
Speaker 4: and you know, his version was pretty sleek, moved y.

625
00:36:20,960 --> 00:36:25,600
Speaker 4: You know, he's so great. And so we went on

626
00:36:25,680 --> 00:36:28,920
Speaker 4: tour and we found some songs and a couple of

627
00:36:29,000 --> 00:36:31,440
Speaker 4: them he wasn't comfortable with. He said, George, why do

628
00:36:31,480 --> 00:36:34,359
Speaker 4: you want me to do that song? I said, oh,

629
00:36:35,400 --> 00:36:37,640
Speaker 4: it wouldn't make me do what you did. Your voice

630
00:36:37,680 --> 00:36:40,680
Speaker 4: is unique, and I think people need to hear you

631
00:36:40,719 --> 00:36:43,040
Speaker 4: do this kind of song because you're not known for this,

632
00:36:43,280 --> 00:36:45,399
Speaker 4: but they should hear you do this kind of thing

633
00:36:45,440 --> 00:36:48,920
Speaker 4: that let him know you can sing anything. And so

634
00:36:48,960 --> 00:36:53,120
Speaker 4: we ended up doing some crazy things together. They came

635
00:36:53,120 --> 00:36:56,920
Speaker 4: out great. One was that last song in the show

636
00:36:57,160 --> 00:37:00,560
Speaker 4: about seeing you again until next time. I can't remember

637
00:37:00,560 --> 00:37:03,080
Speaker 4: the title, but it was. It came out great. We

638
00:37:03,120 --> 00:37:06,520
Speaker 4: made lots of money, and we knocked them out everywhere

639
00:37:06,560 --> 00:37:10,919
Speaker 4: in the world. Pat it was great man.

640
00:37:11,239 --> 00:37:11,640
Speaker 1: Okay.

641
00:37:12,160 --> 00:37:17,080
Speaker 2: So this is mainly a question about Al Schmidt, because

642
00:37:17,400 --> 00:37:25,480
Speaker 2: I think Al Schmidt's engineering is so unique sounding that

643
00:37:26,080 --> 00:37:28,279
Speaker 2: this is what I want to know Number one for

644
00:37:28,440 --> 00:37:33,240
Speaker 2: me Your Weekend in the La album and also Algirose

645
00:37:33,480 --> 00:37:38,120
Speaker 2: looked to the Rainbow album. Both engineered by him have

646
00:37:38,360 --> 00:37:43,120
Speaker 2: such a distinct sound to it that I swear to God,

647
00:37:43,600 --> 00:37:46,440
Speaker 2: you guys recorded it in the studio and just overdubbed

648
00:37:46,440 --> 00:37:50,200
Speaker 2: the audience on top of it like I've never heard it.

649
00:37:50,200 --> 00:37:54,040
Speaker 2: It sounds too perfect to be a live album.

650
00:37:54,400 --> 00:37:58,800
Speaker 4: Al Schmidt, who used to set up the microphones for

651
00:37:58,920 --> 00:38:04,120
Speaker 4: his uncle, I believe it was when he was a youngster.

652
00:38:04,480 --> 00:38:06,960
Speaker 4: When Al was young his uncle said, well, go said,

653
00:38:06,960 --> 00:38:08,600
Speaker 4: I got a session today, go over and set up

654
00:38:08,600 --> 00:38:10,759
Speaker 4: the microphones for me, so and get it ready for me.

655
00:38:11,960 --> 00:38:16,160
Speaker 4: So he knew exactly where to place microphones to get

656
00:38:16,200 --> 00:38:18,799
Speaker 4: the sound that he wanted. And when I by the

657
00:38:18,840 --> 00:38:22,080
Speaker 4: time I got there, he was already he had finished

658
00:38:22,160 --> 00:38:24,360
Speaker 4: up all of that because he never was involved in

659
00:38:24,400 --> 00:38:27,680
Speaker 4: that while we were recording. Oh okay, he did it

660
00:38:27,719 --> 00:38:30,480
Speaker 4: all in front. He listened to go in the studio

661
00:38:30,560 --> 00:38:34,480
Speaker 4: and he go next to the drums, and they replaced

662
00:38:34,520 --> 00:38:37,800
Speaker 4: the microphone, so forth and so on. I was embarrassed

663
00:38:37,840 --> 00:38:39,720
Speaker 4: one day when I got ready to say to him,

664
00:38:40,360 --> 00:38:43,200
Speaker 4: you know, the piano sounds a little bit thin to me,

665
00:38:45,000 --> 00:38:48,040
Speaker 4: I was almost in tears. Why doesn't he puts some

666
00:38:48,160 --> 00:38:52,919
Speaker 4: bass on that microphone? Man, I'm gonna tell him about that.

667
00:38:53,480 --> 00:38:58,040
Speaker 4: Then something that said, man, leave it alone. Man. When

668
00:38:58,080 --> 00:39:00,000
Speaker 4: I heard those recordings back, I said, man, that would

669
00:39:00,080 --> 00:39:02,800
Speaker 4: have been the biggest mistake I ever made in my life,

670
00:39:03,480 --> 00:39:05,799
Speaker 4: because hisself was always right on the money. But he

671
00:39:05,880 --> 00:39:08,840
Speaker 4: told me the story of how he got to be

672
00:39:09,280 --> 00:39:14,000
Speaker 4: al Schmidt. Tell me he said that because you know,

673
00:39:14,040 --> 00:39:17,759
Speaker 4: he used to do Sam Cook records years ago. Yeah,

674
00:39:18,600 --> 00:39:22,120
Speaker 4: one day we had a big running because I'm dealing

675
00:39:22,160 --> 00:39:26,720
Speaker 4: with like you said about heated arguments or heated discussions,

676
00:39:27,920 --> 00:39:33,120
Speaker 4: there's always something like that between producers and artists. And

677
00:39:33,200 --> 00:39:37,000
Speaker 4: Tommy Lapumer, who did not like to argue. He would

678
00:39:37,080 --> 00:39:38,680
Speaker 4: keep his mouth shup, but you could tell what he

679
00:39:38,760 --> 00:39:43,520
Speaker 4: was feeling because he would hint to his feelings on things.

680
00:39:45,040 --> 00:39:48,959
Speaker 4: And so one day we were arguing about a live

681
00:39:49,000 --> 00:39:53,600
Speaker 4: album weekend in La Yes, we were at the club

682
00:39:53,719 --> 00:40:00,799
Speaker 4: in Hollywood. I forget the name of a the Roxy Theater, Yeah,

683
00:40:00,920 --> 00:40:03,640
Speaker 4: the Roxy Theater on it was either on Hollywood or

684
00:40:03,800 --> 00:40:04,960
Speaker 4: Boulevard or Sunset Villa.

685
00:40:05,080 --> 00:40:05,480
Speaker 1: Sunset.

686
00:40:06,640 --> 00:40:08,839
Speaker 4: My father who had begged me to take him out

687
00:40:08,880 --> 00:40:11,040
Speaker 4: to California with him on he heard I was going

688
00:40:11,080 --> 00:40:14,080
Speaker 4: to California. He said, man, I haven't seen my dad,

689
00:40:14,200 --> 00:40:19,160
Speaker 4: your grandfather for twenty years. And I said, okay, Dad,

690
00:40:19,200 --> 00:40:20,959
Speaker 4: come on with me now. You have a lot of fun.

691
00:40:21,960 --> 00:40:24,600
Speaker 4: So my grandfather was there, My dad was there, Chaka

692
00:40:24,680 --> 00:40:27,800
Speaker 4: Khan was there, Wretha Franklin. They were down front having

693
00:40:27,840 --> 00:40:32,239
Speaker 4: a discussion. Aretha Franklin had to fend off Shaka Khan

694
00:40:32,280 --> 00:40:33,880
Speaker 4: because she wanted to jump on the band's land and

695
00:40:33,920 --> 00:40:38,200
Speaker 4: have a battle with her. I said, not on my set. No,

696
00:40:40,560 --> 00:40:43,160
Speaker 4: it was incredible man. Well, here's the biggie with that.

697
00:40:43,640 --> 00:40:47,360
Speaker 4: The first night, the second show, we did that version

698
00:40:47,360 --> 00:40:50,440
Speaker 4: that you hear of on Broadway. Yes, I remember that

699
00:40:50,480 --> 00:40:53,239
Speaker 4: was not a song that was in my playlist outside

700
00:40:53,239 --> 00:40:56,520
Speaker 4: of the that we decided to record it, and so

701
00:40:56,640 --> 00:40:59,560
Speaker 4: I had to dream of something to do with it, right,

702
00:41:00,080 --> 00:41:04,399
Speaker 4: And it was Quincy Jones again who gave me the fop.

703
00:41:04,960 --> 00:41:07,840
Speaker 4: I said, now wait a minute, now, why should I

704
00:41:07,840 --> 00:41:09,920
Speaker 4: pay this in the attention? He gave me a clue.

705
00:41:09,960 --> 00:41:13,839
Speaker 4: He said, you know, Jarish, many years ago, everything used

706
00:41:13,840 --> 00:41:17,279
Speaker 4: to be a one bar phrase. Now it's two bar fraens.

707
00:41:18,680 --> 00:41:22,880
Speaker 4: I said, what the heck is he talking about? Because

708
00:41:23,360 --> 00:41:27,640
Speaker 4: I don't measure music. I just play it. Oh so

709
00:41:28,160 --> 00:41:29,960
Speaker 4: you know, I just play it and when it comes

710
00:41:30,040 --> 00:41:32,759
Speaker 4: to my thought my brain, I let it hang out,

711
00:41:33,160 --> 00:41:36,239
Speaker 4: Let my brain handle it, and my vibe, my feelings,

712
00:41:36,719 --> 00:41:39,520
Speaker 4: pour it out to the people, you know. So when

713
00:41:39,520 --> 00:41:44,160
Speaker 4: he said that two bar phrase, it bothered me. I

714
00:41:44,160 --> 00:41:46,560
Speaker 4: had to find out what he was talking about. Then

715
00:41:46,600 --> 00:41:50,120
Speaker 4: I heard a song by Rod Temperton a bone Be Doom,

716
00:41:50,160 --> 00:41:54,560
Speaker 4: bone bean be, do bop bang be dang first bar

717
00:41:54,760 --> 00:41:58,800
Speaker 4: with us, I said, oh, that's two bars. That phrase

718
00:41:59,280 --> 00:42:02,719
Speaker 4: finishes that the two bars first half is bomb but

719
00:42:02,840 --> 00:42:06,719
Speaker 4: on bomb be you know, four beasts, one beat again,

720
00:42:07,320 --> 00:42:13,239
Speaker 4: boom beat on four. Oh. I got it. So when

721
00:42:13,280 --> 00:42:15,640
Speaker 4: Tommy the Poomer asked me to do on Broadway, I said,

722
00:42:15,640 --> 00:42:19,080
Speaker 4: oh no, man, He said, what do you mean? I said,

723
00:42:19,640 --> 00:42:23,759
Speaker 4: I can't destroy that song, man, that's a classic. And

724
00:42:24,120 --> 00:42:28,239
Speaker 4: in my mind I was thinking it was it was

725
00:42:28,239 --> 00:42:30,279
Speaker 4: the great lead singer the sang for for the for

726
00:42:30,360 --> 00:42:33,120
Speaker 4: the UH for that group, Benny King.

727
00:42:33,400 --> 00:42:33,920
Speaker 1: Benny King.

728
00:42:34,239 --> 00:42:37,600
Speaker 4: I thought it was Benny King, but it wasn't. Okay,

729
00:42:37,880 --> 00:42:43,880
Speaker 4: the cat who sang the original version for the Drifters. Man,

730
00:42:44,200 --> 00:42:47,879
Speaker 4: what a vocalist he was. If I had remembered that,

731
00:42:47,960 --> 00:42:50,480
Speaker 4: I would not have recorded it either. But I didn't

732
00:42:50,480 --> 00:42:53,000
Speaker 4: remember who that was that sang that. His name was

733
00:42:53,080 --> 00:42:56,640
Speaker 4: Rudy Okay. He was a gospel singer and the originally.

734
00:42:57,080 --> 00:43:01,520
Speaker 4: So anyway, now I rearranged the song because it was

735
00:43:01,520 --> 00:43:06,040
Speaker 4: boring to me to go bom bomb bomb. It was

736
00:43:06,120 --> 00:43:13,680
Speaker 4: in doney, arm, let's all right, arm bom bom bomb bo.

737
00:43:13,760 --> 00:43:16,560
Speaker 4: I said, oh man, no, we can't do that for

738
00:43:16,680 --> 00:43:23,200
Speaker 4: ten minutes. So I changed it to bomb, bom bomb,

739
00:43:23,239 --> 00:43:27,040
Speaker 4: bom bomb bomb made to make it a tupa friend.

740
00:43:27,840 --> 00:43:30,800
Speaker 4: Right then I made a staccatto to give it some fire.

741
00:43:31,960 --> 00:43:40,320
Speaker 4: Boom boom boom boom boom boxed boom boom boom boom boom.

742
00:43:40,360 --> 00:43:42,360
Speaker 4: One of the guys in my band said, now, Josh,

743
00:43:42,480 --> 00:43:45,239
Speaker 4: that won't work. I said, what do you mean, What

744
00:43:45,280 --> 00:43:47,480
Speaker 4: do you mean that won't work? He said that it

745
00:43:47,520 --> 00:43:49,160
Speaker 4: won't work. Joe, that's not the way the song goes.

746
00:43:49,200 --> 00:43:52,560
Speaker 4: I said, man, you wasn't even here, You wasn't even

747
00:43:52,640 --> 00:43:59,399
Speaker 4: born yet. When you talk about it won't work. He said,

748
00:43:59,400 --> 00:44:03,000
Speaker 4: I'm talking man, it won't work. I'm just telling you.

749
00:44:03,480 --> 00:44:05,920
Speaker 4: I said, there's a reason why I'm sitting up here

750
00:44:05,920 --> 00:44:09,080
Speaker 4: in this leader's seat. I gotta find work for us.

751
00:44:09,080 --> 00:44:11,160
Speaker 4: And the way I find work and keep it up,

752
00:44:11,360 --> 00:44:13,880
Speaker 4: keep the fire going, man. I said, no, this is

753
00:44:13,880 --> 00:44:16,239
Speaker 4: the way we're gonna record it. I said, can you

754
00:44:16,280 --> 00:44:18,359
Speaker 4: play that? He said, oh, yeah, I can play it,

755
00:44:18,640 --> 00:44:20,759
Speaker 4: And he played the crap out of it. He tore

756
00:44:20,840 --> 00:44:24,640
Speaker 4: it up. The name was Stanley Banks. Okay, great great

757
00:44:24,680 --> 00:44:31,080
Speaker 4: bass player, and so Temmy Lapuma. When we went to

758
00:44:31,120 --> 00:44:34,319
Speaker 4: hear all of the tracks back. Oh, first of I

759
00:44:34,320 --> 00:44:36,880
Speaker 4: have to tell you this. When I took that track

760
00:44:37,239 --> 00:44:39,800
Speaker 4: on a cassette that Auschmidt made for me so I

761
00:44:39,800 --> 00:44:42,799
Speaker 4: could listen to what we had done that night. I

762
00:44:42,840 --> 00:44:44,920
Speaker 4: took it back to the hotel and on the patio

763
00:44:45,320 --> 00:44:48,799
Speaker 4: near the pool, somebody had a boom box and we

764
00:44:48,880 --> 00:44:51,360
Speaker 4: played it and they would not let me take it off.

765
00:44:52,200 --> 00:44:55,480
Speaker 4: Play it again. People calling from upstairs, play it again.

766
00:44:56,280 --> 00:44:58,640
Speaker 4: So we played it. I said, ah, man, I got

767
00:44:58,640 --> 00:45:01,920
Speaker 4: a hot one in my hand. The next day, Tommy,

768
00:45:01,920 --> 00:45:05,560
Speaker 4: the putman, says, and he played the first version of

769
00:45:05,600 --> 00:45:08,520
Speaker 4: it that we did on the first show. I said,

770
00:45:08,840 --> 00:45:12,440
Speaker 4: where's the where's the other version? He said, what other version?

771
00:45:13,080 --> 00:45:18,280
Speaker 4: I said, Man, come on Friday night second show. He said, George,

772
00:45:19,640 --> 00:45:23,760
Speaker 4: I think we rased it man. I said, Tommy, no,

773
00:45:25,360 --> 00:45:27,960
Speaker 4: how is that possible? He said, we needed more tape.

774
00:45:28,400 --> 00:45:30,680
Speaker 4: We kept running out of tape. So I went back

775
00:45:30,680 --> 00:45:33,880
Speaker 4: at the earlier tapes, which I thought was not not good,

776
00:45:34,360 --> 00:45:37,320
Speaker 4: and we put them on because we didn't have enough tape.

777
00:45:38,760 --> 00:45:41,759
Speaker 4: He didn't that wasn't the real story. He wanted to

778
00:45:41,800 --> 00:45:44,200
Speaker 4: take my chance.

779
00:45:45,600 --> 00:45:48,560
Speaker 1: Yes, the version he liked better.

780
00:45:48,640 --> 00:45:51,839
Speaker 2: Was it shorter or just more laid back or yeah?

781
00:45:51,840 --> 00:45:53,680
Speaker 4: He wanted it to sound like the original.

782
00:45:53,840 --> 00:45:58,479
Speaker 1: Oh, I know you got on there. Oh, he tried

783
00:45:58,480 --> 00:46:00,840
Speaker 1: to tell you. He erased, isn't that we all know?

784
00:46:01,520 --> 00:46:05,000
Speaker 4: Yeah? Oh, Now he told me he raced it. Oh.

785
00:46:05,120 --> 00:46:06,799
Speaker 4: I got up and walked out of it. I said, man,

786
00:46:06,840 --> 00:46:09,480
Speaker 4: you just you mean the best record I ever made?

787
00:46:09,600 --> 00:46:12,799
Speaker 4: You raced it. I watched him one mile back to

788
00:46:12,840 --> 00:46:15,400
Speaker 4: the hotel. When I got there, he called me and

789
00:46:15,480 --> 00:46:17,960
Speaker 4: I said, George, come on back, man, I think I

790
00:46:18,040 --> 00:46:18,520
Speaker 4: found it.

791
00:46:19,840 --> 00:46:20,480
Speaker 1: I got in there.

792
00:46:20,480 --> 00:46:25,560
Speaker 4: I didn't believe they had found it. So here I

793
00:46:25,680 --> 00:46:27,920
Speaker 4: was still apprehensive. I said, now you're gonna play me

794
00:46:27,960 --> 00:46:33,120
Speaker 4: another strange version. So I sat down. I said, no,

795
00:46:33,680 --> 00:46:37,960
Speaker 4: play me the hit Man please, and he put that on.

796
00:46:38,080 --> 00:46:40,720
Speaker 4: I heard it bloom bloom, and I could hear Chaka

797
00:46:40,800 --> 00:46:43,600
Speaker 4: Khan in the background say that said that's the one

798
00:46:43,640 --> 00:46:46,840
Speaker 4: I'm talking about, and told me, said that is better.

799
00:46:47,040 --> 00:46:50,520
Speaker 4: I said, man, get out there better. That's a knockout.

800
00:46:52,120 --> 00:46:56,560
Speaker 2: I'm gonna tell you the very first performance I ever

801
00:46:56,760 --> 00:47:01,000
Speaker 2: gave as a drummer, I'm tell you how popular the

802
00:47:01,080 --> 00:47:04,920
Speaker 2: song was in seventy seven. By the second grade, I

803
00:47:04,920 --> 00:47:08,879
Speaker 2: could actually sit and reach the drum set. And we

804
00:47:08,960 --> 00:47:13,040
Speaker 2: had to give like a recital music recital, and it

805
00:47:13,120 --> 00:47:13,680
Speaker 2: was my turn.

806
00:47:13,840 --> 00:47:16,719
Speaker 1: We went in alphabetic order, so I was last. You're

807
00:47:16,719 --> 00:47:19,000
Speaker 1: supposed to walk up too the microphone. My name is

808
00:47:19,000 --> 00:47:21,919
Speaker 1: Amir Thompson and six years old.

809
00:47:22,320 --> 00:47:26,160
Speaker 2: This is second grade, and I'm gonna play Harvey Mason

810
00:47:26,560 --> 00:47:28,400
Speaker 2: playing on Broadway.

811
00:47:28,719 --> 00:47:34,520
Speaker 1: And literally that drum break that they do boom boom

812
00:47:34,560 --> 00:47:37,120
Speaker 1: boom boom boom boom.

813
00:47:38,040 --> 00:47:40,799
Speaker 2: I did that and that was like that was a

814
00:47:40,840 --> 00:47:46,280
Speaker 2: moment in which the audience exploded like that that moment

815
00:47:46,520 --> 00:47:49,520
Speaker 2: made my life. That was the first time I like

816
00:47:49,680 --> 00:47:52,080
Speaker 2: drummed them in public. That's the first time my mom

817
00:47:52,719 --> 00:47:55,320
Speaker 2: and dad knew I had drumming talent. Like my mom's

818
00:47:55,360 --> 00:48:01,560
Speaker 2: crying like all that's that's that's literally how how powerful

819
00:48:01,800 --> 00:48:06,839
Speaker 2: on Broadway was when it came out. I have so

820
00:48:06,880 --> 00:48:09,760
Speaker 2: many questions to ask you, but I know we only

821
00:48:09,800 --> 00:48:12,719
Speaker 2: have a little bit, so we're definitely going to have

822
00:48:12,800 --> 00:48:13,759
Speaker 2: to do it again.

823
00:48:13,800 --> 00:48:15,799
Speaker 3: I mean, you can ask for one about one song,

824
00:48:15,960 --> 00:48:18,200
Speaker 3: just one song, and I just want to mention one,

825
00:48:18,239 --> 00:48:19,680
Speaker 3: and I want to ask about one. I want to

826
00:48:19,719 --> 00:48:22,520
Speaker 3: mention Moody's Mouthful Love because I want to say to you, sir,

827
00:48:22,920 --> 00:48:25,040
Speaker 3: that for some of us, you were the introduction to

828
00:48:25,120 --> 00:48:27,680
Speaker 3: that song, Like there was no James Moody, it was

829
00:48:27,760 --> 00:48:30,480
Speaker 3: just George Benson and so from then on. So thank

830
00:48:30,480 --> 00:48:31,839
Speaker 3: you for that, because I've been in love with that

831
00:48:31,880 --> 00:48:34,839
Speaker 3: song ever since and everybody's version after that. So, but

832
00:48:34,880 --> 00:48:40,240
Speaker 3: my question is about twenty twenty because the video, the video,

833
00:48:40,400 --> 00:48:42,279
Speaker 3: the song, like everything, it just felt like such a

834
00:48:42,320 --> 00:48:44,640
Speaker 3: departure from what you were used to doing. But it

835
00:48:44,680 --> 00:48:46,480
Speaker 3: was such a part of some of our childhood, Like

836
00:48:47,080 --> 00:48:48,719
Speaker 3: twenty twenty vision was like, let's hear it for the

837
00:48:48,760 --> 00:48:51,319
Speaker 3: boys for some of us, you know. So can you

838
00:48:51,400 --> 00:48:53,560
Speaker 3: just talk about twenty twenty and a decision to do

839
00:48:53,640 --> 00:48:56,160
Speaker 3: that and just tell me something about the song.

840
00:48:57,600 --> 00:49:01,680
Speaker 4: I've had the good fortune of surrounding my show geniuses,

841
00:49:03,000 --> 00:49:06,560
Speaker 4: young musicians who were extra talented, and one was a

842
00:49:06,560 --> 00:49:13,239
Speaker 4: fellow named Randy Waldman. When Randy Waldman was a kid,

843
00:49:14,080 --> 00:49:17,439
Speaker 4: his father caught him coming from school late and said,

844
00:49:17,440 --> 00:49:19,160
Speaker 4: wait a minute, No, where in the world have you

845
00:49:19,280 --> 00:49:22,640
Speaker 4: been all this time? He said, well, I stopped off

846
00:49:22,680 --> 00:49:26,160
Speaker 4: of the baseball field. I was playing baseball. He said, like,

847
00:49:26,239 --> 00:49:29,239
Speaker 4: you said you wanted to play piano. He said, well

848
00:49:29,360 --> 00:49:32,680
Speaker 4: I do. He said, well, get you in here every

849
00:49:32,800 --> 00:49:36,600
Speaker 4: day and play piano, not baseball piano. I want you

850
00:49:36,680 --> 00:49:39,920
Speaker 4: here every day, and when you hear him play, you

851
00:49:40,000 --> 00:49:43,000
Speaker 4: know how that paid off. He ended up working with

852
00:49:43,080 --> 00:49:46,160
Speaker 4: Barbara Sisan for about twenty five years as her musical

853
00:49:46,200 --> 00:49:51,800
Speaker 4: director and principal pianist, and he did some wonderful things

854
00:49:51,840 --> 00:49:54,680
Speaker 4: with an R and B group. He wrote one of

855
00:49:54,719 --> 00:49:59,439
Speaker 4: the smashes or arranged it. He's done nothing but spectacular work.

856
00:49:59,480 --> 00:50:03,719
Speaker 4: He can do it anything. So one day we're working

857
00:50:03,760 --> 00:50:07,919
Speaker 4: on an album and uh, the producer said, I got

858
00:50:07,960 --> 00:50:10,919
Speaker 4: this song here, sent to me by such and such,

859
00:50:11,840 --> 00:50:14,239
Speaker 4: and uh, they want you to see if you like it.

860
00:50:14,760 --> 00:50:17,040
Speaker 4: So they played it for me and I said, it's

861
00:50:17,040 --> 00:50:20,279
Speaker 4: got potential. He didn't pay me any money. He sent

862
00:50:20,320 --> 00:50:24,040
Speaker 4: it to Randy Waldman, who set up in his kitchen

863
00:50:24,880 --> 00:50:29,000
Speaker 4: and played all those beautiful parts. But bomp bong, but

864
00:50:29,120 --> 00:50:34,000
Speaker 4: boom bump bump boom boom boom boom, boom, bump bong boo, boom, bump, bump,

865
00:50:34,080 --> 00:50:37,520
Speaker 4: boom boom. So when he sent it to us, I said,

866
00:50:37,520 --> 00:50:40,319
Speaker 4: what I'm gonna do with this man? But once I

867
00:50:40,360 --> 00:50:42,680
Speaker 4: got into it, it fell out of my mouth all

868
00:50:42,680 --> 00:50:46,960
Speaker 4: the parts. And then we had Patty Austin, Yes, Patty Austin,

869
00:50:47,640 --> 00:50:49,839
Speaker 4: she jumped on that song. And did all of the

870
00:50:50,120 --> 00:50:54,279
Speaker 4: harmony to all my parts, all my ad libs, and man,

871
00:50:54,480 --> 00:50:57,560
Speaker 4: she knocked that song out of the park. It was

872
00:50:57,640 --> 00:51:00,520
Speaker 4: so popular. I couldn't believe it, and a pleasure to play.

873
00:51:01,320 --> 00:51:02,920
Speaker 4: Thank you, thank you, thank you.

874
00:51:03,560 --> 00:51:05,040
Speaker 1: Well, brother Vincent.

875
00:51:05,120 --> 00:51:10,239
Speaker 2: Look, our hour is up, but we absolutely must have

876
00:51:10,280 --> 00:51:14,360
Speaker 2: a part too, because I think the entire world Steve,

877
00:51:14,400 --> 00:51:15,240
Speaker 2: do you have one question?

878
00:51:16,480 --> 00:51:18,200
Speaker 1: I can wait till part two. I wanted to just

879
00:51:18,360 --> 00:51:20,400
Speaker 1: I wanted to ask some CTI questions.

880
00:51:20,480 --> 00:51:23,200
Speaker 2: Yes, exactly, we have so many of your jazz life

881
00:51:23,680 --> 00:51:24,880
Speaker 2: West Montgomery questions.

882
00:51:25,040 --> 00:51:27,040
Speaker 1: Yes, like you said, yeah.

883
00:51:26,880 --> 00:51:30,279
Speaker 2: You're almost like a nine hour episode. But unfortunately we

884
00:51:30,600 --> 00:51:31,759
Speaker 2: have to stop at this hour.

885
00:51:31,960 --> 00:51:34,600
Speaker 3: But happy retirement because he mentioned that, and this is like,

886
00:51:34,680 --> 00:51:36,560
Speaker 3: this is gonna be the last year people can see you,

887
00:51:36,760 --> 00:51:39,919
Speaker 3: right do your life may be sure about that.

888
00:51:40,080 --> 00:51:43,319
Speaker 4: I had to stop the regiment of being on the

889
00:51:43,360 --> 00:51:46,880
Speaker 4: road because I've been on the road for sixty two years. Yeah,

890
00:51:47,200 --> 00:51:48,160
Speaker 4: hop out a mirror.

891
00:51:48,760 --> 00:51:52,640
Speaker 1: Wow, exactly, We'll come to you. We'll come to you, Yes,

892
00:51:52,680 --> 00:51:53,200
Speaker 1: we will.

893
00:51:53,280 --> 00:51:56,160
Speaker 4: Yes, Yes, you know something I like this. This is fun.

894
00:51:56,680 --> 00:52:00,440
Speaker 2: Yeah, you know, I want to remind our audience definitely.

895
00:52:00,560 --> 00:52:02,359
Speaker 1: Uh, you know, dreams do come true.

896
00:52:03,200 --> 00:52:06,040
Speaker 2: Is available at your your latest album, your latest archive,

897
00:52:06,120 --> 00:52:06,959
Speaker 2: the album.

898
00:52:06,680 --> 00:52:09,000
Speaker 3: And he'll be getting Hollywood Bowl August eighteenth. One to

899
00:52:09,040 --> 00:52:10,600
Speaker 3: mention that as well, because that's going to be a hell.

900
00:52:10,480 --> 00:52:11,640
Speaker 4: Of a show, all right.

901
00:52:11,880 --> 00:52:15,400
Speaker 1: I might have to Yeah, I'm in Europe.

902
00:52:15,880 --> 00:52:17,920
Speaker 2: I might have to quit the roots then no, but

903
00:52:18,000 --> 00:52:20,680
Speaker 2: for real, thank you very much for doing this, and

904
00:52:20,719 --> 00:52:24,160
Speaker 2: again we have to have another conversation. This is way

905
00:52:24,160 --> 00:52:26,480
Speaker 2: and too important, too many memories here, but I want

906
00:52:26,520 --> 00:52:30,320
Speaker 2: behalf of I'm Big Bill and Sugar Steve and Layah

907
00:52:30,480 --> 00:52:34,080
Speaker 2: and myself Quest Love being comparable George Clinton.

908
00:52:34,120 --> 00:52:36,040
Speaker 4: Oh George, Hey, that's good enough.

909
00:52:36,160 --> 00:52:36,840
Speaker 1: I like that.

910
00:52:38,239 --> 00:52:41,160
Speaker 4: I'm writing something for George Clinton. No, I'm doing We're

911
00:52:41,160 --> 00:52:42,680
Speaker 4: going to make a record together, believe.

912
00:52:44,200 --> 00:52:45,120
Speaker 1: To do it anyway.

913
00:52:45,200 --> 00:52:48,280
Speaker 2: The incomparable George Benson, the one and only George Benson.

914
00:52:48,520 --> 00:52:50,759
Speaker 2: Thank you so much and I appreciate it and we

915
00:52:50,760 --> 00:52:52,319
Speaker 2: will see you on the next go round of Quest

916
00:52:52,320 --> 00:52:52,840
Speaker 2: Love Supreme.

917
00:52:52,920 --> 00:52:56,840
Speaker 3: Thank you, hey, thank y'all for listening to Quest Love Supreme.

918
00:52:57,600 --> 00:53:00,600
Speaker 3: This podcast is hosted by an Afro amount, a rapper,

919
00:53:01,280 --> 00:53:03,759
Speaker 3: an engineer, and a man with too many jobs aka

920
00:53:03,880 --> 00:53:05,120
Speaker 3: a mere quest Love Thompson.

921
00:53:05,120 --> 00:53:05,799
Speaker 4: Why you a Saint?

922
00:53:05,800 --> 00:53:09,960
Speaker 3: Clair Fonte Colman, Sugar, Steve Mandel and unpaid Bill Sherman.

923
00:53:10,800 --> 00:53:14,360
Speaker 3: The executive producers who get paid the big bucks. A

924
00:53:14,440 --> 00:53:18,120
Speaker 3: mere quest, Love Thompson, Sean g and Brian Calhoun ask

925
00:53:18,200 --> 00:53:21,160
Speaker 3: them for money. Produced by the people who do all

926
00:53:21,160 --> 00:53:24,919
Speaker 3: the real work Brittany Benjamin, Jake Payne and Yes, why

927
00:53:24,920 --> 00:53:27,560
Speaker 3: are You a Saint Clair? Edited by another person who

928
00:53:27,560 --> 00:53:31,040
Speaker 3: does the real work, Alex Conroy and those who approved

929
00:53:31,040 --> 00:53:34,279
Speaker 3: the real work. Produced for iHeart by Noel Brown.

930
00:53:35,960 --> 00:53:36,240
Speaker 1: West.

931
00:53:36,239 --> 00:53:43,640
Speaker 2: Love Supreme is a production of iHeart Radio. For more

932
00:53:43,680 --> 00:53:47,839
Speaker 2: podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

933
00:53:48,120 --> 00:53:50,120
Speaker 2: or wherever you listen to your favorite shows.