1
00:00:00,160 --> 00:00:03,080
Speaker 1: Quest Love Supreme is a production of iHeartRadio.

2
00:00:08,640 --> 00:00:12,879
Speaker 2: Ladies and gentlemen, Welcome to another episode of Quest Love Supreme.

3
00:00:13,160 --> 00:00:15,480
Speaker 2: I'm your host Quest Love. We have Team Supreme with

4
00:00:15,560 --> 00:00:20,360
Speaker 2: us today. Uh yeah, how are you good?

5
00:00:20,440 --> 00:00:20,800
Speaker 3: I'm good.

6
00:00:20,800 --> 00:00:22,479
Speaker 4: I'm excited about this episode. Good.

7
00:00:22,600 --> 00:00:24,959
Speaker 2: I like to wait. Are these are the same glasses

8
00:00:25,000 --> 00:00:26,880
Speaker 2: you always wear? I always feel like you have a

9
00:00:26,920 --> 00:00:29,200
Speaker 2: new pair of glasses on every time I see you.

10
00:00:29,200 --> 00:00:32,200
Speaker 4: No, I got like four or five different movies, you know,

11
00:00:32,360 --> 00:00:33,920
Speaker 4: because I'm feeling okay.

12
00:00:34,520 --> 00:00:37,280
Speaker 5: I see where the money that.

13
00:00:41,360 --> 00:00:41,960
Speaker 2: Came through.

14
00:00:48,240 --> 00:00:53,040
Speaker 3: When I'm waiting for folks, wait for both, I see Steve.

15
00:00:53,120 --> 00:00:59,920
Speaker 2: What's up man? Uh? Nothing, that's great to know. I

16
00:01:00,120 --> 00:01:05,680
Speaker 2: appreciate it. On paid bill Man, everything is good. You

17
00:01:05,720 --> 00:01:07,840
Speaker 2: mentioned earlier that you are fasting.

18
00:01:09,080 --> 00:01:12,240
Speaker 6: No, I'm not fasting. Thank you for pointing out my

19
00:01:12,360 --> 00:01:13,720
Speaker 6: lack of religious fervor.

20
00:01:15,240 --> 00:01:15,520
Speaker 3: Thank you.

21
00:01:16,080 --> 00:01:17,560
Speaker 7: Yeah, he's just not drinking.

22
00:01:17,959 --> 00:01:18,800
Speaker 2: I'm just not drinking.

23
00:01:19,200 --> 00:01:23,600
Speaker 5: So that's the same thing as sort of day today. Fonticolo,

24
00:01:24,319 --> 00:01:26,240
Speaker 5: I'm chilling man. I'm chilling man. Been looking forward to

25
00:01:26,240 --> 00:01:28,920
Speaker 5: this one. I'm a big Terry Splancher fan, So yes,

26
00:01:29,200 --> 00:01:30,880
Speaker 5: he's been waiting on this one.

27
00:01:30,880 --> 00:01:33,040
Speaker 7: Man, for real, you just gave away the guests.

28
00:01:33,280 --> 00:01:36,119
Speaker 2: But well, that's good. That makes my way, that makes

29
00:01:36,120 --> 00:01:40,400
Speaker 2: me inenter away shorter on the episode too. Our guest

30
00:01:40,440 --> 00:01:46,240
Speaker 2: today is a renowned composer, musician, trumpeter, one time member

31
00:01:46,720 --> 00:01:50,960
Speaker 2: of the Lonel Hampton Orchestra and the world famous art

32
00:01:50,960 --> 00:01:56,120
Speaker 2: blinky Jazz Messengers. Not to mention composer of to well

33
00:01:56,160 --> 00:02:01,200
Speaker 2: received operas. But it's his near thirty years with the

34
00:02:01,360 --> 00:02:05,680
Speaker 2: great Oscar winner. I'm sorry, I was like Spike Lee

35
00:02:05,760 --> 00:02:13,919
Speaker 2: winning Yeah yes with Oscar winner Spike Lee. His association

36
00:02:14,000 --> 00:02:16,640
Speaker 2: with him for the last thirty years is probably, in

37
00:02:16,720 --> 00:02:22,639
Speaker 2: my opinion, probably one of the best combo of film

38
00:02:22,639 --> 00:02:26,600
Speaker 2: scorer and director. Thank you that I know for real

39
00:02:27,120 --> 00:02:32,160
Speaker 2: in cinema history. And that's just not blowing smoke. He's

40
00:02:32,240 --> 00:02:36,359
Speaker 2: up for his second Oscar nomination for scoring. Duh yes,

41
00:02:36,520 --> 00:02:41,600
Speaker 2: five bloods. Duh. Ladies and gentlemen, please welcome to quest

42
00:02:41,600 --> 00:02:45,639
Speaker 2: Loft Supreme, the Great Terrence Blanchard. How are you, yes man?

43
00:02:45,680 --> 00:02:46,200
Speaker 3: What's happening?

44
00:02:46,200 --> 00:02:48,760
Speaker 2: How you guys doing doing good? Brother? Good to see

45
00:02:48,800 --> 00:02:49,120
Speaker 2: you again.

46
00:02:49,160 --> 00:02:49,359
Speaker 3: Man.

47
00:02:49,440 --> 00:02:52,359
Speaker 5: We met like years ago at the Grammys. This is

48
00:02:52,360 --> 00:02:55,640
Speaker 5: probably twenty ten. My group deported to change nominated and

49
00:02:55,680 --> 00:02:57,880
Speaker 5: we met it like the little dinner or whatever, and

50
00:02:58,080 --> 00:03:00,200
Speaker 5: oh you were still You're one of the coolest. It

51
00:03:00,240 --> 00:03:02,359
Speaker 5: was there, man, like you were just super chill. And

52
00:03:02,400 --> 00:03:04,000
Speaker 5: everyone else I remember a lot of those people they

53
00:03:04,000 --> 00:03:05,520
Speaker 5: were kind of I don't know whatever, but you were

54
00:03:05,560 --> 00:03:07,840
Speaker 5: just super down to earth for novels, remember that very

55
00:03:07,880 --> 00:03:08,520
Speaker 5: houghty tody.

56
00:03:08,600 --> 00:03:11,160
Speaker 2: But you was folks. So I really appreciate that. Man, Wait,

57
00:03:11,560 --> 00:03:15,440
Speaker 2: can I can I ask a question? Was a wait

58
00:03:15,480 --> 00:03:17,959
Speaker 2: the Grammys threw they threw dinners.

59
00:03:18,760 --> 00:03:21,400
Speaker 5: Well it's after the joint so like so at the

60
00:03:21,440 --> 00:03:23,280
Speaker 5: time when I went, the one and only time I

61
00:03:23,280 --> 00:03:24,840
Speaker 5: went because I ain't I don't really need to do

62
00:03:24,840 --> 00:03:27,280
Speaker 5: that ship no more so the time it was in

63
00:03:27,320 --> 00:03:29,920
Speaker 5: the Staples Center and like it was they have the

64
00:03:30,000 --> 00:03:31,880
Speaker 5: pre tail a little dinner.

65
00:03:32,800 --> 00:03:39,880
Speaker 2: Yeah yeah, oh I was about I'm like, wait a minute, yeah, yeah, okay,

66
00:03:39,880 --> 00:03:42,680
Speaker 2: the Governor's okay, that okay, that makes sense. I thought

67
00:03:44,280 --> 00:03:47,680
Speaker 2: the nomination dinner thing that I never knew about. And

68
00:03:47,880 --> 00:03:50,320
Speaker 2: I've been in this join for twenty years, but.

69
00:03:50,280 --> 00:03:53,040
Speaker 6: They should make a documentary about the pre awards because

70
00:03:53,160 --> 00:03:54,080
Speaker 6: in that room.

71
00:03:54,080 --> 00:03:57,960
Speaker 2: It's like the guys, the people were.

72
00:03:57,720 --> 00:04:02,040
Speaker 6: Best liner notes like yeah, like it's the fucking craziest

73
00:04:02,120 --> 00:04:03,160
Speaker 6: room you've ever been in.

74
00:04:03,200 --> 00:04:05,280
Speaker 2: I met Amy Mann in that room and she was

75
00:04:05,360 --> 00:04:07,960
Speaker 2: just like chilling. She got nominated for Best Liner Notes.

76
00:04:07,960 --> 00:04:09,840
Speaker 6: We're like, what'd you get nominated for? She's like best

77
00:04:09,880 --> 00:04:12,520
Speaker 6: Liner Notes. I was like, that's not a thing. She

78
00:04:12,600 --> 00:04:15,240
Speaker 6: was like, it is this. And that was the first

79
00:04:15,280 --> 00:04:16,919
Speaker 6: time I met Jimmy jam because he had to be

80
00:04:16,960 --> 00:04:18,240
Speaker 6: my Grammy Best day ever.

81
00:04:18,520 --> 00:04:20,800
Speaker 3: You know. You know what's funny saying that, Man, I've

82
00:04:20,800 --> 00:04:22,599
Speaker 3: been going to the Grammys a number of years, and

83
00:04:22,640 --> 00:04:25,400
Speaker 3: I remember when the pre show was just that. Man,

84
00:04:25,440 --> 00:04:27,680
Speaker 3: it was a pre show, not too many people. But

85
00:04:27,800 --> 00:04:33,760
Speaker 3: now it's like the hang dude, yeah, and.

86
00:04:33,680 --> 00:04:36,200
Speaker 2: Like people get fully dressed up, like and it's.

87
00:04:36,080 --> 00:04:39,520
Speaker 6: Like two in the afternoon and you're like fully, I

88
00:04:39,560 --> 00:04:43,200
Speaker 6: was like, guys are like bright red, they're ready to go,

89
00:04:43,440 --> 00:04:44,360
Speaker 6: Like everybody's ready to.

90
00:04:46,040 --> 00:04:49,400
Speaker 2: Like, yeah, I was going to say. I was going

91
00:04:49,520 --> 00:04:53,520
Speaker 2: to say that in my maybe six times that I've

92
00:04:53,560 --> 00:04:56,960
Speaker 2: done that, I always wind up sitting uh in the

93
00:04:57,040 --> 00:05:00,640
Speaker 2: Latin section, and that's what he and I was going

94
00:05:00,720 --> 00:05:05,159
Speaker 2: to say that the snark and energy that that section

95
00:05:05,320 --> 00:05:14,760
Speaker 2: has every time jose Feliciano wins their role. Now it's

96
00:05:14,800 --> 00:05:17,720
Speaker 2: better now. But there was a point where, like I

97
00:05:19,080 --> 00:05:21,640
Speaker 2: by my fourth year, I was like, I couldn't wait.

98
00:05:21,640 --> 00:05:24,240
Speaker 2: I was looking forward to just sitting in the Latin

99
00:05:24,279 --> 00:05:26,520
Speaker 2: section so I could hear them all get mad, because

100
00:05:27,120 --> 00:05:31,600
Speaker 2: you know sometimes when you well, the voting system is

101
00:05:31,640 --> 00:05:34,000
Speaker 2: way different now, but there was a point where everyone

102
00:05:34,080 --> 00:05:39,840
Speaker 2: had access to everyone's category, and this like before twenty ten,

103
00:05:40,040 --> 00:05:41,800
Speaker 2: and you just vote for the name, you know, So

104
00:05:41,839 --> 00:05:44,400
Speaker 2: in the Latin section, it's like, oh, I know Felice Navid.

105
00:05:44,640 --> 00:05:46,800
Speaker 2: I know Jose Feliciano, so let me vote for him.

106
00:05:47,160 --> 00:05:50,520
Speaker 2: And that's how he would, like twenty years in a row,

107
00:05:50,640 --> 00:05:53,760
Speaker 2: just win the category. Meanwhile, like the most popular artist

108
00:05:53,880 --> 00:05:56,800
Speaker 2: of that genre. Just like even though he put out

109
00:05:56,800 --> 00:05:59,000
Speaker 2: a record that year, he had no idea. He just

110
00:05:59,240 --> 00:06:02,880
Speaker 2: he definitely had no I did, he didn't. Where are

111
00:06:02,880 --> 00:06:03,800
Speaker 2: you right now, Terrence?

112
00:06:04,360 --> 00:06:07,280
Speaker 3: I'm in New Orleans, man. I mean I moved to LA,

113
00:06:07,839 --> 00:06:09,800
Speaker 3: you know, because I was teaching at duc LA. But

114
00:06:10,760 --> 00:06:12,719
Speaker 3: you know, my home is not really ready yet and

115
00:06:12,760 --> 00:06:15,200
Speaker 3: I needed to work and begin at the beginning of

116
00:06:15,240 --> 00:06:18,200
Speaker 3: the pandemic. Man, I just came back home. I came back.

117
00:06:18,680 --> 00:06:21,200
Speaker 3: I've been here for a year. I'm going anywhere.

118
00:06:20,800 --> 00:06:24,440
Speaker 2: Okay, wait, I'm glad you mentioned New Orleans. So I

119
00:06:24,480 --> 00:06:28,840
Speaker 2: will say that the last time that a musical giant

120
00:06:28,839 --> 00:06:33,440
Speaker 2: from New Orleans was on our show, which was Branford Marcellus.

121
00:06:34,839 --> 00:06:37,000
Speaker 2: If you know him, you already know what I'm about

122
00:06:37,040 --> 00:06:40,080
Speaker 2: to say is true. No one loves to deflate the

123
00:06:40,120 --> 00:06:46,000
Speaker 2: air out of any jazz urban legend balloons that I

124
00:06:46,080 --> 00:06:51,080
Speaker 2: fantasize about more than Branford. So like every everything that,

125
00:06:52,200 --> 00:06:54,800
Speaker 2: you know, everything that I tried to romanticize over, like

126
00:06:54,920 --> 00:06:58,560
Speaker 2: what I thought music and jazz and musicianship, was like

127
00:06:58,600 --> 00:07:02,720
Speaker 2: he was just glee fully deflate that. No, that wasn't

128
00:07:02,760 --> 00:07:02,960
Speaker 2: you know.

129
00:07:03,080 --> 00:07:05,480
Speaker 3: And my boy, you know, and I think I always

130
00:07:05,480 --> 00:07:07,239
Speaker 3: messed with him. I said, man, you must have failed

131
00:07:07,240 --> 00:07:13,240
Speaker 3: the bate class in high school, you know what I mean?

132
00:07:13,400 --> 00:07:19,160
Speaker 2: Yeah, yeah, so I was saying. But basically, the one

133
00:07:19,160 --> 00:07:24,120
Speaker 2: thing that he totally deflated my balloon on was this

134
00:07:24,960 --> 00:07:27,680
Speaker 2: notion that I was fed when I was a kid

135
00:07:27,800 --> 00:07:35,960
Speaker 2: about obsessively practicing. And you know, I brought up a

136
00:07:36,000 --> 00:07:38,720
Speaker 2: story about the time when his brother won a Grammy

137
00:07:39,600 --> 00:07:42,720
Speaker 2: and thanked his dad for like making me practice, and

138
00:07:42,760 --> 00:07:44,920
Speaker 2: da da da da dah. So you know, I grew

139
00:07:45,000 --> 00:07:46,840
Speaker 2: up with this thing where my dad was like, Yo,

140
00:07:47,760 --> 00:07:50,640
Speaker 2: five to ten hours, no practice, practice practice, like you know,

141
00:07:50,920 --> 00:07:55,640
Speaker 2: straight backstage dad stuff. And you know, for the record,

142
00:07:56,000 --> 00:07:59,480
Speaker 2: I'll say that David Murray is probably the only jazz

143
00:07:59,520 --> 00:08:03,320
Speaker 2: figure that I met that has lived up to that

144
00:08:03,600 --> 00:08:05,840
Speaker 2: myth where he told me like he practices eight to

145
00:08:05,920 --> 00:08:09,640
Speaker 2: ten hours a day with his acts. So I'm just

146
00:08:09,840 --> 00:08:11,920
Speaker 2: this is my first question. I'm just asking from the gate.

147
00:08:12,560 --> 00:08:16,840
Speaker 2: Is the notion of the obsessive musician waking up at

148
00:08:16,840 --> 00:08:20,920
Speaker 2: five am and practicing the scales and exercise and going

149
00:08:21,000 --> 00:08:23,600
Speaker 2: till nine pm like before gig? Is that just some

150
00:08:23,800 --> 00:08:26,800
Speaker 2: myth that's been planned in my head that was never real,

151
00:08:27,840 --> 00:08:29,440
Speaker 2: you know, just to keep me off the streets by

152
00:08:29,440 --> 00:08:29,880
Speaker 2: my dad.

153
00:08:30,160 --> 00:08:39,240
Speaker 3: Or but he's single and don't have kids, you heard, Yeah, no, no, no, no, man.

154
00:08:39,360 --> 00:08:41,520
Speaker 3: I look, I get up early, and I do get

155
00:08:41,559 --> 00:08:43,360
Speaker 3: to work. I mean, I'll come in here and I'll

156
00:08:43,360 --> 00:08:46,000
Speaker 3: start working because my studio is kind of separate from

157
00:08:46,000 --> 00:08:47,480
Speaker 3: the house, so I can make some noise and I

158
00:08:47,559 --> 00:08:50,720
Speaker 3: disturb people. But it depends on it depends on what

159
00:08:50,760 --> 00:08:52,679
Speaker 3: you're dealing with at the time. Man. There are moments

160
00:08:52,679 --> 00:08:55,559
Speaker 3: where I get up and I practice all day because

161
00:08:55,600 --> 00:08:57,560
Speaker 3: I know that I'm trying to get in shape to

162
00:08:57,600 --> 00:09:00,360
Speaker 3: do certain things, you know. And then with my career,

163
00:09:00,440 --> 00:09:02,880
Speaker 3: since I'm composing a lot, man, there are moments when

164
00:09:02,880 --> 00:09:04,880
Speaker 3: I'm just sitting in here writing, you know what I mean.

165
00:09:06,120 --> 00:09:09,199
Speaker 3: I had to do some rewrites for the opera. I'm

166
00:09:09,200 --> 00:09:11,679
Speaker 3: sitting here working on the television show right now, and

167
00:09:11,720 --> 00:09:14,040
Speaker 3: I'm getting ready to start working on a film, and

168
00:09:15,480 --> 00:09:17,400
Speaker 3: you know, so this is why I spend a lot

169
00:09:17,400 --> 00:09:20,120
Speaker 3: of my time. I think. I think the most important

170
00:09:20,120 --> 00:09:22,640
Speaker 3: thing about it all, bro, is just to figure out

171
00:09:22,679 --> 00:09:24,880
Speaker 3: what's the best way for you to be effected. Because

172
00:09:25,240 --> 00:09:27,640
Speaker 3: you can sit down in practice for five hours, bro,

173
00:09:27,720 --> 00:09:29,480
Speaker 3: but if you ain't really focused, and you're not.

174
00:09:30,320 --> 00:09:32,360
Speaker 8: You know, and if you're not applying it the right way.

175
00:09:32,440 --> 00:09:34,560
Speaker 3: No, thirty minutes to do you a lot better, you

176
00:09:34,559 --> 00:09:38,839
Speaker 3: know what I mean? Thirty minutes like really focus, accomplish something,

177
00:09:38,880 --> 00:09:39,440
Speaker 3: you know what I mean?

178
00:09:41,160 --> 00:09:41,520
Speaker 7: Really?

179
00:09:42,720 --> 00:09:45,160
Speaker 2: Yeah, Yeah, someone told me to practice what.

180
00:09:45,160 --> 00:09:49,720
Speaker 3: I don't know which, Well there's a theory behind that.

181
00:09:49,920 --> 00:09:54,120
Speaker 2: Yeah, but what about muscle memory? What about you know,

182
00:09:54,920 --> 00:09:58,800
Speaker 2: whenever you see someone practicing in a movie or already

183
00:09:58,800 --> 00:10:02,040
Speaker 2: hear the answer my head. It's real stupid, but whenever

184
00:10:02,080 --> 00:10:05,320
Speaker 2: you see anyone like that. The myth of practicing is

185
00:10:05,360 --> 00:10:08,880
Speaker 2: like they start their scales and see and then they

186
00:10:08,880 --> 00:10:12,600
Speaker 2: go half note D D D. Right, But it is

187
00:10:12,679 --> 00:10:19,920
Speaker 2: practicing muscle memory or is it strictly just exploring What

188
00:10:20,000 --> 00:10:21,520
Speaker 2: you don't know is.

189
00:10:21,960 --> 00:10:25,240
Speaker 3: There's two forms. There is the muscle memory part, but

190
00:10:25,320 --> 00:10:27,400
Speaker 3: the thing about it you try to build up that

191
00:10:27,520 --> 00:10:30,760
Speaker 3: vocabulary to the point where you become flexible. So there

192
00:10:30,760 --> 00:10:34,120
Speaker 3: are other aspects of practicing where it's all mental, where

193
00:10:34,160 --> 00:10:36,400
Speaker 3: you try to sing yourself in different directions and see

194
00:10:36,400 --> 00:10:39,800
Speaker 3: if your body can respond. And if your body can't respond,

195
00:10:39,840 --> 00:10:41,920
Speaker 3: that's when you go back to the muscle memory part

196
00:10:42,280 --> 00:10:44,160
Speaker 3: to kind of really figure out what is it that

197
00:10:44,200 --> 00:10:47,480
Speaker 3: I'm not doing. Oh, it's this interval that's hanging me up.

198
00:10:47,520 --> 00:10:50,120
Speaker 3: So let me come back here and work on this interval,

199
00:10:50,360 --> 00:10:52,240
Speaker 3: you know what I mean, until I get that muscle

200
00:10:52,840 --> 00:10:55,520
Speaker 3: memory down in my brain and then I could go

201
00:10:55,559 --> 00:10:58,600
Speaker 3: back to doing the improvised stuff. Because the thing about it, Bro,

202
00:10:59,000 --> 00:11:00,840
Speaker 3: I like it. This is what I tell my students.

203
00:11:00,840 --> 00:11:01,000
Speaker 4: Bro.

204
00:11:01,480 --> 00:11:04,480
Speaker 3: It's like being It's like being Kyrie Irving, Bro, you

205
00:11:04,520 --> 00:11:06,679
Speaker 3: know what I mean. Of course he knows how to dribble,

206
00:11:06,880 --> 00:11:08,760
Speaker 3: but man, does he really know what he's going to

207
00:11:08,840 --> 00:11:10,920
Speaker 3: do when he's coming down on a fast break? You

208
00:11:10,960 --> 00:11:13,040
Speaker 3: know what I mean, right in the heat of the moment.

209
00:11:13,520 --> 00:11:16,080
Speaker 3: But he has to have the skills to execute anything

210
00:11:16,120 --> 00:11:18,720
Speaker 3: that happens in his brain within the split second, you know.

211
00:11:18,800 --> 00:11:21,640
Speaker 3: So that's what you're trying to achieve by practicing and

212
00:11:22,200 --> 00:11:24,480
Speaker 3: breaking it down into the various elements.

213
00:11:25,080 --> 00:11:27,640
Speaker 2: Wow, Branford, to say that to.

214
00:11:27,600 --> 00:11:34,720
Speaker 4: Me, it's about to be a good class, a good class.

215
00:11:34,720 --> 00:11:36,599
Speaker 3: I'm always relating stuff to the sports, you know what

216
00:11:36,600 --> 00:11:41,320
Speaker 3: I mean. Repelicans are playing the Lakers right now, but

217
00:11:41,360 --> 00:11:42,439
Speaker 3: I'm not looking at the screen.

218
00:11:46,679 --> 00:11:50,200
Speaker 2: We appreciate your attention, thinking, well, okay, So I do

219
00:11:50,280 --> 00:11:53,360
Speaker 2: have a trumpet question though, because the amount of times

220
00:11:53,400 --> 00:11:57,920
Speaker 2: that I've played with serious trumpet players, and I always

221
00:11:58,040 --> 00:12:02,040
Speaker 2: notice that usually, I mean, if they're they're they're sort

222
00:12:02,080 --> 00:12:06,040
Speaker 2: of going, you know, hard in the paint. If they'll

223
00:12:06,120 --> 00:12:10,079
Speaker 2: usually tire out in forty minutes, like they'll start holding

224
00:12:10,120 --> 00:12:12,800
Speaker 2: their lip. All right, So can you explain that whole thing,

225
00:12:12,880 --> 00:12:14,160
Speaker 2: like the umbisure?

226
00:12:16,400 --> 00:12:21,120
Speaker 3: Yeah, yeah, the umbature. Well, think about it like this.

227
00:12:21,679 --> 00:12:23,720
Speaker 3: You know, you have a piece of metal that's pressed

228
00:12:23,760 --> 00:12:26,400
Speaker 3: up against your lips. Other than like a red instrument.

229
00:12:26,480 --> 00:12:28,640
Speaker 3: Right now, I'm taking anything away from read instrument. I'm

230
00:12:28,679 --> 00:12:31,920
Speaker 3: just talking about brass, right. It's a very strenuous thing

231
00:12:32,000 --> 00:12:35,360
Speaker 3: to have that thing up against your lips and use

232
00:12:35,440 --> 00:12:39,720
Speaker 3: these muscles right on both sides of your umber shore.

233
00:12:40,480 --> 00:12:43,079
Speaker 3: So look, man, that's why, that's the only reason why

234
00:12:43,120 --> 00:12:45,080
Speaker 3: you need to practice. You got to condition yourself. You

235
00:12:45,120 --> 00:12:48,120
Speaker 3: have to get strong, you know, And it's there's no

236
00:12:48,160 --> 00:12:49,760
Speaker 3: way around that. That's the thing I try to tell

237
00:12:49,800 --> 00:12:53,240
Speaker 3: my students. Bro. Then Charlie Parker said, it ain't magic.

238
00:12:53,280 --> 00:12:54,839
Speaker 3: It just seems like it is, you.

239
00:12:54,760 --> 00:12:55,280
Speaker 2: Know what I mean.

240
00:12:55,800 --> 00:12:58,400
Speaker 3: So I mean that part you have to just put

241
00:12:58,440 --> 00:13:01,400
Speaker 3: in the time and f to build up the muscles.

242
00:13:01,440 --> 00:13:04,320
Speaker 3: And that's the thing. Like, that's like scaring me to

243
00:13:04,320 --> 00:13:07,040
Speaker 3: death right now, because man, I've been in pandemic mode.

244
00:13:07,080 --> 00:13:10,360
Speaker 3: I've been sitting here chilling and right. You know, I

245
00:13:10,400 --> 00:13:12,040
Speaker 3: got some shows coming up, so I got to get

246
00:13:12,040 --> 00:13:14,680
Speaker 3: back in you know, practice mode and set the build

247
00:13:14,720 --> 00:13:17,200
Speaker 3: back up so I can be in condition to play.

248
00:13:17,800 --> 00:13:20,360
Speaker 5: For a show that you do about how long would

249
00:13:20,360 --> 00:13:22,800
Speaker 5: you say you played by yourself?

250
00:13:23,760 --> 00:13:24,840
Speaker 7: What do you have to work up to?

251
00:13:25,559 --> 00:13:28,440
Speaker 3: Oh? Man, I'm you know. The goal is always to

252
00:13:28,480 --> 00:13:31,560
Speaker 3: try to build up to play two hours. Wow, that's

253
00:13:31,600 --> 00:13:34,640
Speaker 3: impossible because you know you never really played two hours straight.

254
00:13:34,720 --> 00:13:37,160
Speaker 3: But that's that's what you try to put in your mind.

255
00:13:37,480 --> 00:13:40,040
Speaker 3: And then when it comes time to do the show. Listen, man,

256
00:13:40,280 --> 00:13:43,400
Speaker 3: some of the old musicians, Brother used to always, you know,

257
00:13:43,520 --> 00:13:46,000
Speaker 3: pull my coke and stuff. You know, say, look, man,

258
00:13:46,040 --> 00:13:47,560
Speaker 3: why you got to be the first cat to play

259
00:13:47,600 --> 00:13:48,000
Speaker 3: the solo?

260
00:13:48,080 --> 00:13:48,200
Speaker 4: Bro?

261
00:13:48,400 --> 00:13:50,720
Speaker 3: Let them dudes jump out there. You just played the melody.

262
00:13:50,840 --> 00:13:53,679
Speaker 3: That's a very strenuous melody on your chops. You need

263
00:13:53,720 --> 00:13:55,920
Speaker 3: to let them and you take a break, go on

264
00:13:55,960 --> 00:13:57,960
Speaker 3: the side and look cool and just wait your time.

265
00:13:58,600 --> 00:14:02,040
Speaker 3: You know, it's loved like that brouh over the course

266
00:14:02,080 --> 00:14:05,200
Speaker 3: of time. It really helped you to maintain because when

267
00:14:05,240 --> 00:14:07,599
Speaker 3: you looked at Miles man, you know, look, bro, my

268
00:14:07,960 --> 00:14:11,240
Speaker 3: Miles had it. You know, Miles used to play some freak.

269
00:14:11,720 --> 00:14:13,840
Speaker 3: He would stop, bro, he would take a break, you know.

270
00:14:13,880 --> 00:14:16,720
Speaker 3: And when he would take that break, it was doing

271
00:14:16,720 --> 00:14:19,160
Speaker 3: two things. It was doing something musically and it was

272
00:14:19,200 --> 00:14:21,680
Speaker 3: also doing something physically. He was allowing himself to recover.

273
00:14:22,560 --> 00:14:24,400
Speaker 8: Yeah, I was a trumpet player.

274
00:14:24,440 --> 00:14:27,400
Speaker 5: I played trumpet like in like middle school, high school

275
00:14:27,440 --> 00:14:30,360
Speaker 5: and stuff, and so I would always go and watch,

276
00:14:31,480 --> 00:14:33,280
Speaker 5: you know, I would just watch how they would keep

277
00:14:33,320 --> 00:14:35,040
Speaker 5: that when you talk about the amateur and my band

278
00:14:35,040 --> 00:14:37,240
Speaker 5: teacher would always say that it's like a muscle and

279
00:14:37,280 --> 00:14:39,240
Speaker 5: you had to work it. And so a good friend

280
00:14:39,240 --> 00:14:42,240
Speaker 5: of mine, Cy Smith, she's a singer and she's been

281
00:14:42,280 --> 00:14:46,080
Speaker 5: touring before. Prior to COVID and everything, she had been

282
00:14:46,080 --> 00:14:49,640
Speaker 5: touring with Chris Body and so, and so I went

283
00:14:49,680 --> 00:14:52,600
Speaker 5: and saw her at Body Show and Body he does

284
00:14:52,760 --> 00:14:55,480
Speaker 5: exactly what you're saying, like he'll play a little bit

285
00:14:55,720 --> 00:14:57,680
Speaker 5: and then you'll have a girl come out, play the violin,

286
00:14:58,680 --> 00:15:02,400
Speaker 5: play a little more sousing, play a little bit, you

287
00:15:02,400 --> 00:15:04,920
Speaker 5: know what I mean. It's it's total like attack and releases.

288
00:15:05,160 --> 00:15:11,040
Speaker 2: So that's them serving their chops. That's not just yeah selectively, Wow.

289
00:15:10,640 --> 00:15:11,960
Speaker 4: That's exclusive. People don't think.

290
00:15:12,080 --> 00:15:12,640
Speaker 3: Don't think that.

291
00:15:12,960 --> 00:15:14,760
Speaker 4: They just think you're taking an artistic break.

292
00:15:15,160 --> 00:15:17,200
Speaker 3: Well, it is both. I mean, it's both things. I

293
00:15:17,200 --> 00:15:20,320
Speaker 3: mean because part of it is, you know, it's it's

294
00:15:20,520 --> 00:15:23,160
Speaker 3: ingrained in us, because that's part of the orientation of

295
00:15:23,200 --> 00:15:25,840
Speaker 3: what what you've heard on all of the records that

296
00:15:25,920 --> 00:15:28,200
Speaker 3: you've study, you know what I mean. It's like Miles

297
00:15:28,240 --> 00:15:30,920
Speaker 3: always knew how to use space. So that's always a

298
00:15:30,960 --> 00:15:34,040
Speaker 3: part of my thinking just musically. But it but it

299
00:15:34,120 --> 00:15:37,240
Speaker 3: serves two purposes, you know, it serves an autistic money

300
00:15:37,240 --> 00:15:38,880
Speaker 3: and it also serves a physical mind.

301
00:15:39,280 --> 00:15:43,920
Speaker 4: So exercises, you guys.

302
00:15:42,360 --> 00:15:44,880
Speaker 3: Oh yeah, there are a lot of experts. They're things

303
00:15:44,920 --> 00:15:47,640
Speaker 3: that I do, you know, to sit down and just

304
00:15:47,760 --> 00:15:49,560
Speaker 3: and it has nothing to do with music. It's just

305
00:15:49,600 --> 00:15:52,479
Speaker 3: simply the strengthen these muscles.

306
00:15:52,880 --> 00:15:55,400
Speaker 2: So okay, I was going to say, how damaging is

307
00:15:55,440 --> 00:16:00,320
Speaker 2: it to reach that? Okay, let's let's take a a

308
00:16:00,360 --> 00:16:04,840
Speaker 2: cat like I was gonna say, Minard Ferguson, uh like

309
00:16:05,280 --> 00:16:09,720
Speaker 2: Monard is uh you would know is the sample at

310
00:16:09,760 --> 00:16:16,200
Speaker 2: the beginning of Lords of the Underground Funky Child, That's

311
00:16:16,360 --> 00:16:19,360
Speaker 2: that's Minard. That's Monard on a soft day, That's that's

312
00:16:19,400 --> 00:16:23,040
Speaker 2: like that's Manard playing Mary had a little lamb. So

313
00:16:23,160 --> 00:16:27,080
Speaker 2: he's just you know, Minard is closer to like the

314
00:16:27,080 --> 00:16:30,960
Speaker 2: Clayton Gunnles rebel without a pause, squeal t squeal, like

315
00:16:31,600 --> 00:16:35,880
Speaker 2: he just plays in for the longest time. What what

316
00:16:36,960 --> 00:16:40,600
Speaker 2: muscles or like what powers have to be activated in

317
00:16:40,720 --> 00:16:44,160
Speaker 2: order to assisted or hit that out the part Because

318
00:16:44,200 --> 00:16:47,920
Speaker 2: even even when playing with Doc Severnson, who's well within

319
00:16:48,000 --> 00:16:51,120
Speaker 2: his eighties now. He he goes from zero.

320
00:16:50,920 --> 00:16:55,040
Speaker 3: To that's one hundred crazy. It's crazy watching him play Bro.

321
00:16:55,120 --> 00:16:56,600
Speaker 3: If I knew that, Bro, I'll be doing it, you

322
00:16:56,680 --> 00:17:01,680
Speaker 3: know what I mean. Okay, I'm It's just a difference

323
00:17:01,680 --> 00:17:05,119
Speaker 3: set of muscles. The interesting thing that I was a

324
00:17:05,400 --> 00:17:07,080
Speaker 3: guy like that, and I think a lot of it

325
00:17:07,119 --> 00:17:09,800
Speaker 3: has to do with the formulation here. I'm not. This

326
00:17:10,000 --> 00:17:12,840
Speaker 3: just means speculated because when you watch guys who have

327
00:17:13,000 --> 00:17:16,919
Speaker 3: that high high range, the lord register sounds a little different,

328
00:17:17,240 --> 00:17:20,480
Speaker 3: you know what I mean, And it's a it's a

329
00:17:20,520 --> 00:17:24,600
Speaker 3: different and it's a different approach. So you know, for me, man,

330
00:17:24,640 --> 00:17:27,840
Speaker 3: I've always been like Miles Davis, Clark, Terry Freddy Hubber,

331
00:17:27,880 --> 00:17:30,480
Speaker 3: Woody Shaw type of du you know. I like those

332
00:17:30,560 --> 00:17:33,359
Speaker 3: nice brown tones when you when you listen to Miles

333
00:17:33,440 --> 00:17:36,639
Speaker 3: Davis playing that poor game best record, Bro, his tone

334
00:17:36,720 --> 00:17:40,760
Speaker 3: is just immaculate and just I've been hooked since I

335
00:17:40,880 --> 00:17:44,200
Speaker 3: was sixteen, you know. That's back in the days when

336
00:17:44,200 --> 00:17:46,879
Speaker 3: we used to have the faux bar, you know in

337
00:17:46,960 --> 00:17:48,960
Speaker 3: our house that had like the flickering lights, when you

338
00:17:49,000 --> 00:17:50,399
Speaker 3: had the record player under knee.

339
00:17:50,520 --> 00:17:56,120
Speaker 2: Yes, yes, I have those oh God, I just myself, Yes.

340
00:17:58,680 --> 00:18:06,160
Speaker 3: Come on, it's so good and put on Miles Man

341
00:18:06,200 --> 00:18:08,560
Speaker 3: and I would sitting down in my room in the

342
00:18:08,560 --> 00:18:10,919
Speaker 3: front of the house and just listening to Miles Davis

343
00:18:10,960 --> 00:18:13,359
Speaker 3: with those lights on all night long.

344
00:18:14,160 --> 00:18:17,680
Speaker 2: Okay, So with Okay, I'm glad you answered that question

345
00:18:17,760 --> 00:18:22,480
Speaker 2: because sometimes I'll look at a at a musician and

346
00:18:22,600 --> 00:18:25,920
Speaker 2: kind of side eye them because I didn't realize that,

347
00:18:26,640 --> 00:18:28,560
Speaker 2: you know, you need a certain amount of tune or

348
00:18:29,119 --> 00:18:32,080
Speaker 2: or lungs to hit certain things.

349
00:18:32,240 --> 00:18:35,800
Speaker 4: Now for drummle listen to this, be shocked, and you

350
00:18:35,800 --> 00:18:36,199
Speaker 4: didn't know that.

351
00:18:36,640 --> 00:18:39,440
Speaker 2: No. I mean sometimes I just feel like in my head,

352
00:18:39,520 --> 00:18:41,400
Speaker 2: my first thing is like, okay, are you just being

353
00:18:41,440 --> 00:18:44,879
Speaker 2: psychosomatic right now? Like wow, just play the note? Like

354
00:18:45,000 --> 00:18:46,840
Speaker 2: I'm just thinking that there is.

355
00:18:46,800 --> 00:18:48,800
Speaker 3: A part to that, you know what there is? I mean,

356
00:18:48,880 --> 00:18:50,480
Speaker 3: there was a mental side tur It Man, there's a

357
00:18:50,480 --> 00:18:53,600
Speaker 3: great classical trumpet playing Charlitie Salutter who was played in

358
00:18:53,640 --> 00:18:56,480
Speaker 3: Boston Cops for years as a good friend of mine. Man,

359
00:18:57,040 --> 00:18:59,879
Speaker 3: I was backstage before showing the night and I was

360
00:19:00,080 --> 00:19:03,280
Speaker 3: want something, and when I went up to hit this

361
00:19:03,400 --> 00:19:05,760
Speaker 3: high seat I was playing for him, I missed it,

362
00:19:05,800 --> 00:19:07,720
Speaker 3: and he goes oh, man, stop thinking about it. You

363
00:19:07,800 --> 00:19:09,520
Speaker 3: just work because I'm standing there, Just go ahead, do

364
00:19:09,600 --> 00:19:12,240
Speaker 3: the thing. And when I when he said that, you know,

365
00:19:12,400 --> 00:19:14,760
Speaker 3: came out just as clear as a bell. So it

366
00:19:14,800 --> 00:19:16,800
Speaker 3: is a part of the psychological part of it.

367
00:19:17,119 --> 00:19:20,720
Speaker 5: I mean in terms of like Dizzy because he would

368
00:19:20,760 --> 00:19:23,320
Speaker 5: always you know, blow his cheeks out. And I remember

369
00:19:23,359 --> 00:19:26,160
Speaker 5: as a as a kid, when I would play my bands,

370
00:19:26,160 --> 00:19:27,920
Speaker 5: you should always say like, you don't do that. I

371
00:19:27,960 --> 00:19:33,520
Speaker 5: don't do that, you know what I'm saying. He was like, nah,

372
00:19:33,520 --> 00:19:35,920
Speaker 5: don't do that, Dan, That's gonna mess you up. So

373
00:19:36,119 --> 00:19:39,280
Speaker 5: what is it about? What is it about that that

374
00:19:39,400 --> 00:19:42,040
Speaker 5: makes for I guess for bad playing or improper form?

375
00:19:42,200 --> 00:19:44,000
Speaker 3: Well, you know what the thing about it it was

376
00:19:44,119 --> 00:19:46,320
Speaker 3: Dizney was such a freaking nature man. Because when you

377
00:19:46,359 --> 00:19:50,280
Speaker 3: play the trumpet, most people think you try to bring

378
00:19:50,320 --> 00:19:52,439
Speaker 3: your lips backward. You don't want to do that because

379
00:19:52,440 --> 00:19:55,159
Speaker 3: that creates a thin layer of skin, right, what you

380
00:19:55,200 --> 00:19:58,560
Speaker 3: try to try to focus forward, right, and we try

381
00:19:58,600 --> 00:20:00,600
Speaker 3: to do what you try to create what we call

382
00:20:00,680 --> 00:20:04,919
Speaker 3: a pucker. Right. Well, Dizzy, he blew all of the

383
00:20:04,920 --> 00:20:10,480
Speaker 3: blood vessels in his cheeks, right yeah. Wow. And then

384
00:20:10,520 --> 00:20:12,840
Speaker 3: after he did that, that's why his cheeks could expand.

385
00:20:13,320 --> 00:20:16,919
Speaker 3: But when this could expand, what happened He created a

386
00:20:16,960 --> 00:20:19,360
Speaker 3: perfect pucker on the.

387
00:20:19,320 --> 00:20:21,000
Speaker 4: Mouth because he had no choice.

388
00:20:21,040 --> 00:20:23,919
Speaker 7: Okay, wow, it.

389
00:20:24,000 --> 00:20:26,160
Speaker 3: Worked for him. You know what I mean? I don't.

390
00:20:26,240 --> 00:20:27,080
Speaker 3: I don't.

391
00:20:28,480 --> 00:20:30,080
Speaker 2: No, I ain't trying to blow all the blood.

392
00:20:30,119 --> 00:20:30,800
Speaker 3: This is my cheek.

393
00:20:30,840 --> 00:20:31,720
Speaker 8: That don't sound fun.

394
00:20:32,560 --> 00:20:34,800
Speaker 4: Nobody ever told us kids that we would have stopped.

395
00:20:35,240 --> 00:20:39,600
Speaker 3: Oh man.

396
00:20:40,560 --> 00:20:47,080
Speaker 2: So as a drummer, I know the texture and tone

397
00:20:47,119 --> 00:20:52,359
Speaker 2: preferences that I have when I judge or do my

398
00:20:52,680 --> 00:20:56,040
Speaker 2: whatever ten second judgment on Okay, they have a good sound,

399
00:20:56,040 --> 00:21:00,240
Speaker 2: they have a good tone, but how is that? How

400
00:21:00,240 --> 00:21:05,359
Speaker 2: do you judge that for trumpet players? All right? So

401
00:21:05,440 --> 00:21:08,600
Speaker 2: you mentioned Dizzy and I'll give you a weird R

402
00:21:08,640 --> 00:21:13,000
Speaker 2: and B example. So you know eighty one when did

403
00:21:13,480 --> 00:21:16,399
Speaker 2: original music Aquarium come out? Eighty one? All right? So

404
00:21:16,440 --> 00:21:19,159
Speaker 2: I was ten years old when Stevie Wonders Do I Do?

405
00:21:20,000 --> 00:21:20,600
Speaker 3: Comes out?

406
00:21:21,480 --> 00:21:24,200
Speaker 2: And of course you know he does this big ass

407
00:21:24,359 --> 00:21:30,600
Speaker 2: build up ladies and gentleman and then Disney sort of

408
00:21:30,920 --> 00:21:35,040
Speaker 2: in my mind, I'm thinking, damn, with that sort of introduction,

409
00:21:35,240 --> 00:21:37,240
Speaker 2: I would expect Dizzey to come out the gate like

410
00:21:37,280 --> 00:21:41,800
Speaker 2: Evil Knievel, like to live up to that thing. Instead,

411
00:21:42,640 --> 00:21:47,840
Speaker 2: he held back and always wanted to, always wanted to

412
00:21:47,880 --> 00:21:50,280
Speaker 2: know and not like I know, in my world, I've

413
00:21:50,320 --> 00:21:54,880
Speaker 2: made a living out of less is more. As much

414
00:21:54,920 --> 00:21:57,840
Speaker 2: as I could hold back, I've made. And that takes

415
00:21:57,880 --> 00:22:00,520
Speaker 2: a lot of faith to not want to show up

416
00:22:00,520 --> 00:22:02,760
Speaker 2: and outdo drummers and you know, let your egos start

417
00:22:02,800 --> 00:22:06,800
Speaker 2: talking to you. But how do you so okay, why

418
00:22:06,800 --> 00:22:10,840
Speaker 2: would you in choosing poor game best? Like, what is

419
00:22:10,880 --> 00:22:14,720
Speaker 2: it about that album that tells you, like, the tone

420
00:22:14,800 --> 00:22:18,439
Speaker 2: is immaculate? And I'm assuming that you're speaking from a

421
00:22:18,440 --> 00:22:21,800
Speaker 2: A Jordan Game sixth level of perfection, Like he's just

422
00:22:22,720 --> 00:22:24,040
Speaker 2: hitting it out the park.

423
00:22:24,600 --> 00:22:27,480
Speaker 3: Yeah, it's a it's a well listen, it's a it's

424
00:22:27,480 --> 00:22:33,119
Speaker 3: that perfect marriage between like tone and expression like it.

425
00:22:33,640 --> 00:22:36,480
Speaker 3: For me, I prefer Miles because I love that tone,

426
00:22:36,560 --> 00:22:39,280
Speaker 3: but I also love Dizzy, and I also loved a

427
00:22:39,280 --> 00:22:42,399
Speaker 3: lot of other guys that had like a more edgy

428
00:22:42,480 --> 00:22:46,199
Speaker 3: or sharper tone, you know. But the thing about Miles

429
00:22:46,200 --> 00:22:49,359
Speaker 3: that got me bro was, man, the dude say boo

430
00:22:51,040 --> 00:22:53,639
Speaker 3: and just you just got a whole bunch of information

431
00:22:54,240 --> 00:22:56,280
Speaker 3: in those three notes, just the way he played it.

432
00:22:56,680 --> 00:22:59,720
Speaker 3: And I think it's because he was so kinder to

433
00:22:59,800 --> 00:23:02,439
Speaker 3: every anything else that was going on. Everybody else was

434
00:23:02,440 --> 00:23:05,600
Speaker 3: trying to, like you said, prove how much they could play,

435
00:23:05,800 --> 00:23:09,439
Speaker 3: and for him, it was really just about expressing, you know,

436
00:23:10,160 --> 00:23:14,520
Speaker 3: the lyrics behind those those those beautiful songs, you know.

437
00:23:15,320 --> 00:23:19,480
Speaker 3: And it just took me. It just caught me, caught

438
00:23:19,520 --> 00:23:21,400
Speaker 3: my attention from the time that I was like fifteen,

439
00:23:21,520 --> 00:23:25,080
Speaker 3: sixteen years old, and I've just been hooked ever since.

440
00:23:25,560 --> 00:23:29,119
Speaker 3: Now that's my first impression. Now when you listen to

441
00:23:29,119 --> 00:23:32,760
Speaker 3: Clifton Brown, Clifton Brown has a totally different type of sound,

442
00:23:33,200 --> 00:23:36,440
Speaker 3: but man, there's a thing that's connected to the way

443
00:23:36,480 --> 00:23:40,960
Speaker 3: he's phrasing the notes. You know what I mean. This

444
00:23:41,119 --> 00:23:43,320
Speaker 3: is just an honesty and a purity about it.

445
00:23:43,359 --> 00:23:43,439
Speaker 4: Bro.

446
00:23:43,560 --> 00:23:45,840
Speaker 3: It just hits me right in my soul. And I

447
00:23:45,880 --> 00:23:47,479
Speaker 3: got to say this brother, the same thing with you.

448
00:23:47,520 --> 00:23:47,600
Speaker 4: Bro.

449
00:23:47,840 --> 00:23:51,240
Speaker 3: Look man, with that snaw drum sound bruh, Yes, snaw

450
00:23:51,320 --> 00:23:54,879
Speaker 3: drum sound bruh had me jacked up for a long time.

451
00:23:57,960 --> 00:24:01,440
Speaker 3: Yeah no, seriously, seriously, man, Yeah no, seriously.

452
00:24:01,480 --> 00:24:01,600
Speaker 4: Bro.

453
00:24:01,640 --> 00:24:03,399
Speaker 3: It's like you know, then you said, don you got

454
00:24:03,480 --> 00:24:04,959
Speaker 3: to do a movie and stuff you try to put

455
00:24:05,200 --> 00:24:06,800
Speaker 3: grus then said, damn, I get that.

456
00:24:08,840 --> 00:24:12,640
Speaker 6: You don't have pluggins that have like the quest love plugins, right,

457
00:24:12,720 --> 00:24:13,560
Speaker 6: you know that those exist.

458
00:24:14,640 --> 00:24:17,159
Speaker 2: I've heard, like if you want that's there, there's like

459
00:24:17,160 --> 00:24:21,119
Speaker 2: a plug. Yeah, I've I've seen it. Yeah. Okay, well

460
00:24:21,240 --> 00:24:23,960
Speaker 2: track Masters knows about it very well. Oh Jesus Christ. Right,

461
00:24:24,640 --> 00:24:30,199
Speaker 2: So okay, this this is the I guess, the perfect segue. Now, okay,

462
00:24:30,400 --> 00:24:35,040
Speaker 2: since you're talking about your fandom for Miles Davis in

463
00:24:35,080 --> 00:24:38,000
Speaker 2: real time discovering at fourteen fifteen, First of all, how

464
00:24:38,000 --> 00:24:41,320
Speaker 2: old were you when you got serious about the trumpet?

465
00:24:41,640 --> 00:24:44,160
Speaker 3: When I was about that age. You know, I had

466
00:24:44,200 --> 00:24:45,920
Speaker 3: a trumpet from the time I was in about fourth

467
00:24:45,920 --> 00:24:46,960
Speaker 3: grade elementary school.

468
00:24:46,960 --> 00:24:47,120
Speaker 2: Man.

469
00:24:47,160 --> 00:24:49,560
Speaker 3: But look, I thought I was going to be an athlete.

470
00:24:49,600 --> 00:24:52,159
Speaker 3: I thought I was going to play football. And you know,

471
00:24:53,960 --> 00:24:56,080
Speaker 3: I went to one of those BYU classics, Bro, and

472
00:24:56,119 --> 00:24:59,439
Speaker 3: I saw Grandma's team come off the bus. That was

473
00:24:59,480 --> 00:25:02,240
Speaker 3: it for me. Bro. I was like, big guys followed

474
00:25:02,280 --> 00:25:02,760
Speaker 3: me around.

475
00:25:03,640 --> 00:25:04,640
Speaker 2: What position you play?

476
00:25:05,400 --> 00:25:07,680
Speaker 3: When I was playing Little league? Man, I played linebacker?

477
00:25:07,680 --> 00:25:16,200
Speaker 3: And you know what about high school? At least? No, no, no, no, no,

478
00:25:16,200 --> 00:25:18,680
Speaker 3: no no no. By the time I got the high school,

479
00:25:18,720 --> 00:25:21,240
Speaker 3: I already made that decision. I knew I was going

480
00:25:21,320 --> 00:25:23,720
Speaker 3: to be as big as those dudes. I just knew

481
00:25:23,760 --> 00:25:27,080
Speaker 3: it wasn't gonna happen, you know what I'm saying. So wow, No,

482
00:25:27,520 --> 00:25:30,200
Speaker 3: it was. I was about fourteen fifteen round the same time,

483
00:25:30,280 --> 00:25:31,880
Speaker 3: and that was at the same time that I wound

484
00:25:31,960 --> 00:25:34,760
Speaker 3: up going to the Arch High School in New Orleans,

485
00:25:34,760 --> 00:25:37,280
Speaker 3: New Orleans Center for the Creative Arts. And that's where

486
00:25:37,320 --> 00:25:40,920
Speaker 3: my life changed, man, because it just introduced me to everything.

487
00:25:41,200 --> 00:25:44,680
Speaker 3: You know, I just clutching brown on and coming everything.

488
00:25:44,880 --> 00:25:47,920
Speaker 3: I just I learned so much. That was the first time. Man,

489
00:25:48,760 --> 00:25:51,399
Speaker 3: I remember wanting to go to school every day, you know.

490
00:25:51,480 --> 00:25:54,440
Speaker 3: I remember I got sick one day and I had

491
00:25:54,480 --> 00:25:56,400
Speaker 3: to catch myself. My mom was said, boy, you should

492
00:25:56,440 --> 00:25:57,920
Speaker 3: stay home, and I was like, no, I got to

493
00:25:57,920 --> 00:26:02,280
Speaker 3: go to school, Damn, I just said. But it was

494
00:26:02,359 --> 00:26:04,680
Speaker 3: like that because I was lying so much every day.

495
00:26:05,080 --> 00:26:09,439
Speaker 2: Okay, So I have a miles question for you now, Okay,

496
00:26:09,720 --> 00:26:13,199
Speaker 2: I'll compare it or at least parallel with all Right,

497
00:26:13,280 --> 00:26:15,960
Speaker 2: let me My north star is Prince. So I'll say that,

498
00:26:16,280 --> 00:26:20,280
Speaker 2: and I irk Prince fans to this day because I

499
00:26:20,320 --> 00:26:23,720
Speaker 2: will only hang on to seventy eight to eighty eight

500
00:26:24,880 --> 00:26:27,640
Speaker 2: and it'll irk them to death because it doesn't validate

501
00:26:27,680 --> 00:26:29,280
Speaker 2: when they got hippo prop Well, he made D DA

502
00:26:29,320 --> 00:26:31,640
Speaker 2: DA in nineteen ninety four and D D D whatever.

503
00:26:32,040 --> 00:26:36,520
Speaker 2: And to me, it's like, you know, I mean everyone

504
00:26:36,640 --> 00:26:38,199
Speaker 2: has a streak period. I mean you go look at

505
00:26:38,240 --> 00:26:41,119
Speaker 2: Stevie Wonders discography and say, okay, this was his streak period.

506
00:26:41,840 --> 00:26:45,960
Speaker 2: So just now because I'm more or less discovered miles

507
00:26:46,640 --> 00:26:49,440
Speaker 2: in my twenties and way after the fact, Like it's

508
00:26:49,840 --> 00:26:53,000
Speaker 2: it's different when on the Corner is introduced to you

509
00:26:53,119 --> 00:26:58,280
Speaker 2: as a masterpiece as opposed to being around seventy three

510
00:26:58,320 --> 00:26:59,920
Speaker 2: to hear, right.

511
00:26:59,800 --> 00:27:07,399
Speaker 4: So how babies, Well.

512
00:27:05,920 --> 00:27:09,920
Speaker 2: You're too baby because your age are just every episode

513
00:27:09,960 --> 00:27:19,560
Speaker 2: So all right, yeah so you were a baby. No,

514
00:27:19,680 --> 00:27:23,440
Speaker 2: But I just mean, like, how were you able to

515
00:27:25,160 --> 00:27:29,920
Speaker 2: discern the difference between like what were your thoughts on Like, Okay,

516
00:27:30,000 --> 00:27:33,080
Speaker 2: I always clown a song like I don I'm going

517
00:27:33,080 --> 00:27:36,960
Speaker 2: to hell for this, a song like Jean Pierre, which

518
00:27:37,920 --> 00:27:41,440
Speaker 2: I'm so not. I'm so not a fan of Jean Pierre.

519
00:27:41,480 --> 00:27:44,080
Speaker 2: It's almost like Showgirls, Like I've made fun of that

520
00:27:44,200 --> 00:27:46,800
Speaker 2: song so much that well, let me ask you this,

521
00:27:47,040 --> 00:27:48,879
Speaker 2: you ever clown something so much that you like it

522
00:27:48,920 --> 00:27:50,119
Speaker 2: like a Stockholm syndrome thing.

523
00:27:50,200 --> 00:27:51,719
Speaker 3: Okay, but let me ask you this, were you not

524
00:27:51,760 --> 00:27:54,360
Speaker 3: a fan of it from the beginning or just because

525
00:27:54,800 --> 00:27:57,800
Speaker 3: people you know ran it into the ground?

526
00:27:57,960 --> 00:28:02,000
Speaker 2: Okay? So with with Miles's discography, I decided when I

527
00:28:02,040 --> 00:28:03,520
Speaker 2: was going to get into him, that I was going

528
00:28:03,600 --> 00:28:04,920
Speaker 2: to go in chronological order.

529
00:28:05,359 --> 00:28:05,800
Speaker 3: Okay.

530
00:28:06,320 --> 00:28:08,960
Speaker 2: And so you know, so I started when I was fourteen,

531
00:28:09,000 --> 00:28:12,719
Speaker 2: so I didn't even get to like we want Miles

532
00:28:12,760 --> 00:28:14,600
Speaker 2: and you're underrest and all that stuff. I didn't get

533
00:28:14,600 --> 00:28:17,960
Speaker 2: to there until I was in my twenties, and by

534
00:28:18,080 --> 00:28:22,520
Speaker 2: then I had, you know, I ingested so much of

535
00:28:22,640 --> 00:28:26,480
Speaker 2: classic Miles that and I haven't read the books or

536
00:28:26,480 --> 00:28:28,119
Speaker 2: none of that stuff, so I didn't even know about

537
00:28:28,160 --> 00:28:30,879
Speaker 2: like what he was going through in his life. But

538
00:28:30,960 --> 00:28:35,439
Speaker 2: for me, I was just like, I guess this is okay,

539
00:28:35,680 --> 00:28:37,480
Speaker 2: Like I mean, I just gave him cart blots for

540
00:28:38,160 --> 00:28:41,080
Speaker 2: everything he does is magic and goal But like, what

541
00:28:41,200 --> 00:28:45,120
Speaker 2: were you? And I'm so glad I'm talking to someone

542
00:28:45,440 --> 00:28:49,200
Speaker 2: not named Marcellus because you know, both of them, for

543
00:28:49,240 --> 00:28:53,600
Speaker 2: many reasons, have have polar opposite opinions on him, especially,

544
00:28:53,680 --> 00:28:58,360
Speaker 2: but I just needed a third party to hit me

545
00:28:58,440 --> 00:29:02,000
Speaker 2: to Yeah, that time period.

546
00:29:01,840 --> 00:29:03,120
Speaker 3: Well, you know what it was. You know what it

547
00:29:03,160 --> 00:29:06,320
Speaker 3: was For me, Mancy, I was always fascinated with Miles

548
00:29:06,360 --> 00:29:08,640
Speaker 3: because to me, Miles is always the underdog. A lot

549
00:29:08,680 --> 00:29:09,880
Speaker 3: of people don't realize that.

550
00:29:09,800 --> 00:29:10,000
Speaker 7: You know.

551
00:29:10,520 --> 00:29:13,480
Speaker 3: And yeah, man and Billy X Sign's band, you had

552
00:29:13,560 --> 00:29:18,200
Speaker 3: Dizzy Gillespian and uh Fat Fast and Viral in the band,

553
00:29:18,480 --> 00:29:21,800
Speaker 3: and he was like one of the third fourth trumpet

554
00:29:21,840 --> 00:29:24,760
Speaker 3: players in the band. And it wasn't he wasn't one

555
00:29:24,800 --> 00:29:26,880
Speaker 3: of the strongest guys, you know what I mean. Wow,

556
00:29:27,440 --> 00:29:29,720
Speaker 3: So you know, he was always like the underdog. So

557
00:29:29,720 --> 00:29:32,440
Speaker 3: that's why he won a totally different direction. So for me,

558
00:29:33,480 --> 00:29:38,480
Speaker 3: I've always been fascinated with everything Miles did because I'm

559
00:29:38,560 --> 00:29:41,200
Speaker 3: kind of like a historian when it comes to him.

560
00:29:41,280 --> 00:29:43,280
Speaker 3: I guess, you know, I don't know if history is

561
00:29:43,280 --> 00:29:47,040
Speaker 3: the right word, but you know, I'm always fascinated by

562
00:29:47,040 --> 00:29:50,080
Speaker 3: the things that he wanted to do because he was

563
00:29:50,160 --> 00:29:52,960
Speaker 3: so heavily affected by that earlier period of playing with

564
00:29:53,040 --> 00:29:55,720
Speaker 3: Bird and playing with Benny x Stein in that band

565
00:29:56,440 --> 00:29:59,600
Speaker 3: that it made him forced him to find this other

566
00:30:00,000 --> 00:30:03,360
Speaker 3: approach that was totally different from the Royal Eldridge's and

567
00:30:03,480 --> 00:30:06,320
Speaker 3: Disney Lespis and all of those guys, right, and then

568
00:30:06,440 --> 00:30:09,440
Speaker 3: finding that approach, he just all of a sudden blazed

569
00:30:09,440 --> 00:30:11,840
Speaker 3: the whole new trail. And then you can see he

570
00:30:12,000 --> 00:30:14,520
Speaker 3: just never looked back from that point. He just kept moving,

571
00:30:14,680 --> 00:30:17,320
Speaker 3: kept moving forward, and that was his thing. So by

572
00:30:17,360 --> 00:30:20,160
Speaker 3: the time he got to doing Jean Pierre, We Want

573
00:30:20,200 --> 00:30:22,640
Speaker 3: Miles and all of those things, you know, I wasn't

574
00:30:22,720 --> 00:30:26,600
Speaker 3: looking for And I know this made me chachless to say,

575
00:30:26,680 --> 00:30:29,720
Speaker 3: but I wasn't looking for the next big musical breakthrough

576
00:30:30,440 --> 00:30:32,280
Speaker 3: for Miles, you know what I mean. I was just

577
00:30:32,400 --> 00:30:36,959
Speaker 3: fascinated by why he made those choices and just watching

578
00:30:36,960 --> 00:30:40,080
Speaker 3: the journey. Yeah, they had to be a reason, you know,

579
00:30:41,000 --> 00:30:43,720
Speaker 3: I didn't think that. You know, I got a chance

580
00:30:43,720 --> 00:30:46,480
Speaker 3: to meet him around that period. You know, he saw

581
00:30:46,520 --> 00:30:51,240
Speaker 3: me play and at this jazz festival in Florida me

582
00:30:51,520 --> 00:30:54,800
Speaker 3: and unbeknownst to me, when I was in Italy, he

583
00:30:54,840 --> 00:30:58,400
Speaker 3: did an interview with some Italian journalists and he said,

584
00:30:58,680 --> 00:31:00,840
Speaker 3: they asked him, so, who do you like out of

585
00:31:00,880 --> 00:31:02,880
Speaker 3: the young players, and he said, I like Terrence, but

586
00:31:02,960 --> 00:31:06,520
Speaker 3: I didn't know he said that, So wow, Yeah, so

587
00:31:06,640 --> 00:31:08,720
Speaker 3: all of these journalists, I come out of the hotel

588
00:31:09,240 --> 00:31:11,400
Speaker 3: and Perugia and all of the journalists come running up

589
00:31:11,400 --> 00:31:12,800
Speaker 3: to me, you know, and they said, well, what do

590
00:31:12,800 --> 00:31:14,719
Speaker 3: you think about what Miles said about you? And I go,

591
00:31:15,080 --> 00:31:17,320
Speaker 3: you know it's Miles, you go, so what are you right?

592
00:31:17,840 --> 00:31:17,959
Speaker 4: Right?

593
00:31:21,280 --> 00:31:26,600
Speaker 3: Right? Right? This is direction. So after that, he had

594
00:31:26,640 --> 00:31:29,800
Speaker 3: a show that night and Al Foster was playing drums right,

595
00:31:29,840 --> 00:31:32,280
Speaker 3: and uh, I'll never forget it, man. When they came

596
00:31:32,280 --> 00:31:35,400
Speaker 3: off the stage, it would always clear paths to Miles,

597
00:31:35,440 --> 00:31:38,080
Speaker 3: you know, always everybody had to step back. And I

598
00:31:38,120 --> 00:31:41,280
Speaker 3: was standing there and Al could see, you know, me

599
00:31:41,360 --> 00:31:43,040
Speaker 3: looking at Miles. And then he just knew I never

600
00:31:43,080 --> 00:31:45,160
Speaker 3: met Miles, and he said, man, come on in the

601
00:31:45,200 --> 00:31:47,520
Speaker 3: back of me. Introduce you to Miles. And when I

602
00:31:47,560 --> 00:31:53,520
Speaker 3: walked in, Miles goes. You know. I was like, I said,

603
00:31:53,600 --> 00:31:55,719
Speaker 3: keep doing what you're doing, motherfucker.

604
00:31:55,760 --> 00:31:57,080
Speaker 8: You know wow.

605
00:31:57,360 --> 00:32:00,720
Speaker 3: And he was always cool with me, man, every time

606
00:32:00,760 --> 00:32:03,960
Speaker 3: I would see him after that. So for me, I

607
00:32:04,000 --> 00:32:07,000
Speaker 3: didn't look at him as a person, you know, I

608
00:32:07,000 --> 00:32:13,360
Speaker 3: always still thought he was always making moves, strategic move

609
00:32:13,720 --> 00:32:15,880
Speaker 3: You didn't have to agreieve with him, you didn't have

610
00:32:15,920 --> 00:32:17,600
Speaker 3: to like him, you know what I mean. But he

611
00:32:17,720 --> 00:32:20,440
Speaker 3: was making moves in his mind. So when I hear

612
00:32:20,520 --> 00:32:23,320
Speaker 3: those records, that's what I hear. I love to too.

613
00:32:23,480 --> 00:32:28,080
Speaker 3: I think, I think those records are brilliant because you

614
00:32:28,120 --> 00:32:32,440
Speaker 3: don't see anything like that. You haven't seen anything like

615
00:32:32,520 --> 00:32:36,440
Speaker 3: that since that record, where you have somebody like of

616
00:32:36,480 --> 00:32:41,040
Speaker 3: that caliber who's not taking that music lightly, you know

617
00:32:41,080 --> 00:32:43,400
Speaker 3: what I mean, who's really coming at it from a

618
00:32:43,400 --> 00:32:45,640
Speaker 3: place where he's trying to do something interesting and trying

619
00:32:45,640 --> 00:32:47,000
Speaker 3: to contribute and.

620
00:32:46,880 --> 00:32:48,840
Speaker 8: Not troduced by Marcus Miller.

621
00:32:50,800 --> 00:32:52,440
Speaker 3: Not trying to take advantage, you know what I mean.

622
00:32:53,120 --> 00:32:55,040
Speaker 3: That's the thing that I really dug about that record.

623
00:32:55,400 --> 00:32:56,920
Speaker 3: You know, I love that record. You know, it's one

624
00:32:56,920 --> 00:33:00,560
Speaker 3: of my favorite favorite records. I dig about Miles. I

625
00:33:00,640 --> 00:33:02,480
Speaker 3: want my career to be like Miles. I don't want

626
00:33:02,480 --> 00:33:04,680
Speaker 3: to sound the same. If you pick up a record

627
00:33:05,240 --> 00:33:07,320
Speaker 3: from now, I'm then to pick up a record from

628
00:33:07,480 --> 00:33:09,680
Speaker 3: from from me twenty years ago. You know what I

629
00:33:09,720 --> 00:33:12,760
Speaker 3: mean to me that that's that's the tragedy, you know,

630
00:33:12,800 --> 00:33:14,840
Speaker 3: because life, the life would be boring if you did

631
00:33:14,880 --> 00:33:16,440
Speaker 3: the same shit all the time, you know.

632
00:33:16,680 --> 00:33:24,720
Speaker 5: For real, man, One question I had about Miles, and

633
00:33:24,800 --> 00:33:25,880
Speaker 5: I've talked to being.

634
00:33:25,800 --> 00:33:28,560
Speaker 8: Glassproo, Like we debated this before, would.

635
00:33:28,400 --> 00:33:30,560
Speaker 5: You say that Miles, because in my mind, the way

636
00:33:30,600 --> 00:33:33,240
Speaker 5: I came into him was he kind of the first

637
00:33:33,320 --> 00:33:38,680
Speaker 5: guy to to create what we now know as smooth jazz,

638
00:33:38,720 --> 00:33:40,480
Speaker 5: so to speak, Like I know, it's kind of looked

639
00:33:40,520 --> 00:33:44,040
Speaker 5: as a as a it's smooth jazz has looked at

640
00:33:44,160 --> 00:33:46,320
Speaker 5: as kind of a pejorative now, you know what I'm saying.

641
00:33:46,320 --> 00:33:49,959
Speaker 5: But at the time when I got into jazz, I

642
00:33:50,000 --> 00:33:52,960
Speaker 5: was a kid, and so you know, kind of blue

643
00:33:53,120 --> 00:33:54,560
Speaker 5: that was like homework music.

644
00:33:54,360 --> 00:33:57,120
Speaker 8: For me, you know what I'm saying. And I was like, Okay,

645
00:33:57,200 --> 00:33:58,120
Speaker 8: I can beat the song.

646
00:33:59,080 --> 00:33:59,840
Speaker 2: Yeah, you know what I mean.

647
00:34:00,120 --> 00:34:06,440
Speaker 3: Like, Yo, I never thought about that. I never thought

648
00:34:06,480 --> 00:34:09,200
Speaker 3: you were kind of blue and that in that. But

649
00:34:09,239 --> 00:34:11,080
Speaker 3: I can see where you're going with that. I never

650
00:34:11,160 --> 00:34:12,719
Speaker 3: thought about that with Mius. You know what I thought

651
00:34:12,719 --> 00:34:14,920
Speaker 3: you were going to say, was was it true at

652
00:34:14,920 --> 00:34:17,319
Speaker 3: Miles was the guy that created like the fusion thing?

653
00:34:17,360 --> 00:34:21,520
Speaker 3: And I like, yeah, because those those guys were coming

654
00:34:21,520 --> 00:34:23,520
Speaker 3: at it from all different angles, you know what I mean.

655
00:34:23,560 --> 00:34:26,160
Speaker 3: But I'd have to put some thought into that about

656
00:34:26,160 --> 00:34:29,600
Speaker 3: the smooth jazz thing, because you know, even though, because

657
00:34:29,840 --> 00:34:32,240
Speaker 3: you know it's funny, before you said that kind of blue,

658
00:34:33,040 --> 00:34:35,480
Speaker 3: I was going to say, because you know, you had

659
00:34:35,680 --> 00:34:39,239
Speaker 3: like uh, Lucky Thompson and all of those guys that

660
00:34:39,320 --> 00:34:42,279
Speaker 3: were doing more of the R and B is kind

661
00:34:42,320 --> 00:34:45,040
Speaker 3: of instrumental music. And then I kind of let him

662
00:34:45,800 --> 00:34:48,360
Speaker 3: years later to like a groover Washington.

663
00:34:49,480 --> 00:34:50,919
Speaker 2: DA and stuff like that.

664
00:34:51,120 --> 00:34:55,000
Speaker 3: Yeah. So but when you threw you threw me for

665
00:34:55,040 --> 00:34:55,600
Speaker 3: a loop with the.

666
00:34:57,760 --> 00:34:59,479
Speaker 2: I mean that was just me as a gig.

667
00:34:59,719 --> 00:35:02,560
Speaker 5: Like we talked about this kind of where you when

668
00:35:02,560 --> 00:35:04,719
Speaker 5: you come to the music, what your experience is with it,

669
00:35:04,800 --> 00:35:06,480
Speaker 5: and so for me, it would come on and I'm like,

670
00:35:06,800 --> 00:35:07,960
Speaker 5: all right, this is just chill ship.

671
00:35:08,040 --> 00:35:11,400
Speaker 2: I do my homework too. But I think before smooth jazz,

672
00:35:12,160 --> 00:35:16,439
Speaker 2: there was cool, and cool was you know, birth of Cool,

673
00:35:16,480 --> 00:35:22,840
Speaker 2: which is probably a better example of smooth jazz. You know. Actually, Steve,

674
00:35:22,880 --> 00:35:26,719
Speaker 2: you are the Creed tailor uh expert here. Now I'm

675
00:35:26,719 --> 00:35:29,720
Speaker 2: a Cretailor fan only because a lot of his stuff

676
00:35:29,760 --> 00:35:33,799
Speaker 2: is so break beat oriented, you know, all that Bob

677
00:35:33,880 --> 00:35:36,920
Speaker 2: James stuff, all the you know, all the all the

678
00:35:36,960 --> 00:35:42,320
Speaker 2: stuff on even Krover like, but I know that jazz

679
00:35:42,480 --> 00:35:46,359
Speaker 2: experts or the jazz police will you know, give that

680
00:35:46,920 --> 00:35:50,840
Speaker 2: a raspberry down in two seconds? But I don't know,

681
00:35:51,080 --> 00:35:51,719
Speaker 2: I would.

682
00:35:51,440 --> 00:35:54,200
Speaker 3: Think that won't work.

683
00:35:55,000 --> 00:35:59,839
Speaker 2: And from New Orleans, how did you escape the cult? Then?

684
00:36:00,360 --> 00:36:03,440
Speaker 3: You no, b here's the thing about we don't deal

685
00:36:03,520 --> 00:36:05,680
Speaker 3: with the jazz poofs, you know. I mean, there's a

686
00:36:06,280 --> 00:36:11,720
Speaker 3: there's a difference between like upholding something right and moving

687
00:36:11,719 --> 00:36:14,920
Speaker 3: something forward, you know what I mean. Like, well, I've

688
00:36:14,920 --> 00:36:17,279
Speaker 3: been teaching I'm not teaching them now. But when I

689
00:36:17,360 --> 00:36:19,400
Speaker 3: was working at the Monk Institute, man, I hung around

690
00:36:19,400 --> 00:36:23,120
Speaker 3: Herbie and Wayne for over fifteen years, you know what

691
00:36:23,160 --> 00:36:27,040
Speaker 3: I mean, And being around those dudes, they constantly make

692
00:36:27,120 --> 00:36:30,120
Speaker 3: you think about things. And Wayne Charlotte used to say,

693
00:36:30,239 --> 00:36:32,399
Speaker 3: jazz means I dare you You know what I mean?

694
00:36:32,480 --> 00:36:35,800
Speaker 3: So that's the way that I look at it. Wow,

695
00:36:37,880 --> 00:36:40,320
Speaker 3: I don't like I don't like the divisions and music,

696
00:36:41,080 --> 00:36:44,120
Speaker 3: you know, because we already have too many divisions in life,

697
00:36:44,280 --> 00:36:45,960
Speaker 3: you know, we don't need divisions of music. As a

698
00:36:46,000 --> 00:36:48,440
Speaker 3: matter of fact. I remember years ago when I was

699
00:36:48,440 --> 00:36:50,320
Speaker 3: with all Blakey Man. We were in Paris, and I

700
00:36:50,360 --> 00:36:52,120
Speaker 3: don't know if you know Marvel Miller was a great

701
00:36:52,200 --> 00:36:56,279
Speaker 3: jazz pianist. We would we would I hate that met this,

702
00:36:56,400 --> 00:36:58,560
Speaker 3: but we was homesick, so we went to McDonald's and shit,

703
00:37:00,080 --> 00:37:00,480
Speaker 3: you think.

704
00:37:00,320 --> 00:37:02,400
Speaker 2: You're the only one that would do to an American

705
00:37:04,440 --> 00:37:07,880
Speaker 2: that the French.

706
00:37:11,880 --> 00:37:14,879
Speaker 3: Exactly, damn ship.

707
00:37:15,600 --> 00:37:16,239
Speaker 2: Yeah.

708
00:37:17,000 --> 00:37:20,200
Speaker 3: While we were sitting there, man, I remember, we heard

709
00:37:20,280 --> 00:37:24,440
Speaker 3: Nancy Wilson, we heard uh, we heard some R and B,

710
00:37:25,080 --> 00:37:28,000
Speaker 3: we heard some classical music. And it was all being

711
00:37:28,040 --> 00:37:29,560
Speaker 3: played from the same station.

712
00:37:30,640 --> 00:37:33,200
Speaker 2: Oh Europe, oh Europe, you.

713
00:37:33,160 --> 00:37:37,480
Speaker 3: Know, and it was all African American artists. I'm assuming classical.

714
00:37:37,560 --> 00:37:41,239
Speaker 3: I was assuming the classical person. And I was sitting

715
00:37:41,280 --> 00:37:44,400
Speaker 3: there saying wow. And and it was deep because it

716
00:37:44,480 --> 00:37:46,760
Speaker 3: took us a minute to realize it because when you

717
00:37:46,760 --> 00:37:48,520
Speaker 3: you know, you first sit down, you kind of think, oh,

718
00:37:48,560 --> 00:37:49,840
Speaker 3: this is just gonna be like some R and B

719
00:37:49,920 --> 00:37:51,759
Speaker 3: stuff that's playing. The next thing, you know, it's like

720
00:37:51,800 --> 00:37:54,359
Speaker 3: Timmy finn I got something that's playing. What what the hell?

721
00:37:54,800 --> 00:37:57,480
Speaker 3: And then there's something else playing, and I went, see, man,

722
00:37:58,280 --> 00:38:01,000
Speaker 3: this is what's really cool, because then we're starting to

723
00:38:01,000 --> 00:38:04,600
Speaker 3: see the breath of who we are as a community

724
00:38:04,640 --> 00:38:09,319
Speaker 3: brou not this kind of localized yeah, you know, and

725
00:38:09,360 --> 00:38:12,040
Speaker 3: it keeps people fearful, keeps people fearful of trying to

726
00:38:12,760 --> 00:38:14,600
Speaker 3: experience something different, you.

727
00:38:14,560 --> 00:38:17,800
Speaker 2: Know what I mean. Yeah, all right, Steve, I'm asking

728
00:38:18,239 --> 00:38:20,200
Speaker 2: your question unless you're going to ask you right now.

729
00:38:20,800 --> 00:38:23,080
Speaker 7: Well, I have a question, but I doubt you know

730
00:38:23,080 --> 00:38:23,520
Speaker 7: what it is.

731
00:38:24,600 --> 00:38:29,080
Speaker 2: Okay, Well then I'm taking your question. Okay, I can

732
00:38:29,160 --> 00:38:32,200
Speaker 2: wait all right, ask your question, Steve.

733
00:38:32,520 --> 00:38:33,920
Speaker 7: No, I don't want to ruin I don't want to

734
00:38:34,000 --> 00:38:34,560
Speaker 7: ruin your flow.

735
00:38:35,640 --> 00:38:38,200
Speaker 2: I was going to ask what was the first album that.

736
00:38:38,160 --> 00:38:41,680
Speaker 9: You Oh no, that's not My My question is where's

737
00:38:41,680 --> 00:38:42,440
Speaker 9: your album collection?

738
00:38:42,560 --> 00:38:42,879
Speaker 7: Right now?

739
00:38:42,920 --> 00:38:48,280
Speaker 9: So we can pull up and you know that's the question.

740
00:38:49,400 --> 00:38:51,120
Speaker 3: You know what? You know what's funny about that, bro?

741
00:38:51,719 --> 00:38:51,959
Speaker 2: Man?

742
00:38:52,400 --> 00:38:55,120
Speaker 3: My wife just has some cabinets built and we put

743
00:38:55,200 --> 00:38:59,160
Speaker 3: all the records over over there, you know, And I

744
00:38:59,200 --> 00:39:03,000
Speaker 3: got my turn tar all over there and everything. I've

745
00:39:03,040 --> 00:39:03,960
Speaker 3: switched everything over.

746
00:39:04,000 --> 00:39:09,839
Speaker 5: The digital dude off the floor space.

747
00:39:11,320 --> 00:39:13,760
Speaker 3: No, no, no, no, no, it's not you know. You know,

748
00:39:13,600 --> 00:39:24,480
Speaker 3: you know, I get I know a lot of dudes

749
00:39:24,560 --> 00:39:25,879
Speaker 3: like that. I get it. I get it.

750
00:39:26,320 --> 00:39:26,520
Speaker 2: You know.

751
00:39:26,840 --> 00:39:31,520
Speaker 3: It's it's interesting, man, because I felt bad one day, man,

752
00:39:31,560 --> 00:39:33,799
Speaker 3: when my kids they were they were little. They're grown now,

753
00:39:33,880 --> 00:39:35,919
Speaker 3: but when they were little, I felt bad.

754
00:39:36,040 --> 00:39:36,200
Speaker 4: Man.

755
00:39:36,239 --> 00:39:39,200
Speaker 3: I pull out the turntable and I gave them some

756
00:39:39,239 --> 00:39:41,319
Speaker 3: records and the watching them put the needle on the

757
00:39:41,360 --> 00:39:43,680
Speaker 3: thing and with such amazement in their eyes.

758
00:39:44,160 --> 00:39:48,160
Speaker 2: Was like, I went, wow, right, daughter.

759
00:39:48,040 --> 00:39:51,120
Speaker 6: Just found yesterday. She's like, what are these? I was like,

760
00:39:51,200 --> 00:39:53,520
Speaker 6: really ship. Yeah, she took it and then she took them.

761
00:39:53,800 --> 00:39:55,880
Speaker 6: She took them and she used them to paint on.

762
00:39:55,960 --> 00:39:58,439
Speaker 6: They like to paint to make art out of because

763
00:39:58,440 --> 00:39:59,720
Speaker 6: you didn't know what to do with the season.

764
00:40:00,040 --> 00:40:01,120
Speaker 4: A moment I can't deal with.

765
00:40:02,160 --> 00:40:03,799
Speaker 3: A good friend of mine, A good friend of mine,

766
00:40:03,840 --> 00:40:05,759
Speaker 3: he used to sell records here. He had a he

767
00:40:05,800 --> 00:40:07,239
Speaker 3: had a store. Henny. One those years ago, we were

768
00:40:07,239 --> 00:40:09,640
Speaker 3: overad just how was hanging out and my daughter, Sidney,

769
00:40:09,680 --> 00:40:12,640
Speaker 3: who was living in Brooklyn. Man, you know, she's a musician,

770
00:40:12,719 --> 00:40:16,200
Speaker 3: she's a songwriter and everything. So he pulls out in

771
00:40:16,520 --> 00:40:21,920
Speaker 3: one of the first Sony Walkman, the Yellow Ones, first one.

772
00:40:22,440 --> 00:40:25,359
Speaker 3: Yeah yeah, and he gave it to her.

773
00:40:25,760 --> 00:40:27,759
Speaker 4: What's she doing with d she.

774
00:40:27,719 --> 00:40:31,120
Speaker 3: Told I said, I gave her this long, long lecture

775
00:40:31,719 --> 00:40:33,640
Speaker 3: about you don't even know what you have. You need

776
00:40:33,680 --> 00:40:36,080
Speaker 3: to respect what it is you have, blah blah blah,

777
00:40:36,080 --> 00:40:38,720
Speaker 3: because it was in pristine condition, you know what I mean, Wow,

778
00:40:39,160 --> 00:40:42,239
Speaker 3: it it still work. I mean, you know she has it,

779
00:40:42,360 --> 00:40:45,239
Speaker 3: she has it wrapped up in in uh in her room. Now,

780
00:40:45,239 --> 00:40:50,359
Speaker 3: I didn't let it take it to Brooklyn.

781
00:40:48,400 --> 00:40:50,080
Speaker 4: Like you guys and Bragg and Wrights real quick about

782
00:40:50,080 --> 00:40:51,959
Speaker 4: your kids though, because I didn't know about your daughter

783
00:40:52,000 --> 00:40:52,800
Speaker 4: as a songwriter.

784
00:40:53,360 --> 00:40:55,920
Speaker 3: Oh yeah, yeah, yeah, my son actually wrote some stuff

785
00:40:55,920 --> 00:40:58,000
Speaker 3: from one of my albums. Man, you know he's a

786
00:40:58,000 --> 00:41:02,240
Speaker 3: great songwriter to jay JS poetry, right, yeah.

787
00:41:03,200 --> 00:41:05,359
Speaker 4: We're about to follow him Terrence with their.

788
00:41:05,360 --> 00:41:09,719
Speaker 3: Name Jay Ray Oliver. But the red spelled like r E.

789
00:41:09,920 --> 00:41:11,200
Speaker 3: I okay.

790
00:41:11,400 --> 00:41:12,480
Speaker 4: And then what's your daughter?

791
00:41:13,000 --> 00:41:19,160
Speaker 3: My daughters like, her name is Sydney, but Tom she's

792
00:41:19,200 --> 00:41:21,719
Speaker 3: got like tom girl or something that's I hamble on. I.

793
00:41:22,160 --> 00:41:23,600
Speaker 3: You know, that's fine.

794
00:41:23,600 --> 00:41:24,839
Speaker 4: I just wanted to know at least we can find

795
00:41:24,840 --> 00:41:25,280
Speaker 4: it myself.

796
00:41:25,440 --> 00:41:28,880
Speaker 3: One of the first record with a band called about

797
00:41:28,880 --> 00:41:36,400
Speaker 3: the release and you know what her name again, christ Priest.

798
00:41:35,840 --> 00:41:38,719
Speaker 2: Nice all right, yeah but okay, so what was the

799
00:41:38,800 --> 00:41:41,080
Speaker 2: first album that you purchased?

800
00:41:41,640 --> 00:41:47,080
Speaker 3: Oh man, okay, I have to class fighter. See it

801
00:41:47,120 --> 00:41:48,880
Speaker 3: was funny because you were talking about me and ferguson

802
00:41:49,360 --> 00:41:51,120
Speaker 3: Big Me and not focusing fame when I was a kid.

803
00:41:51,680 --> 00:41:53,120
Speaker 3: So some of that stuff with some of the first

804
00:41:53,160 --> 00:41:56,160
Speaker 3: stuff I bought, but when I really started to get

805
00:41:56,200 --> 00:42:00,600
Speaker 3: serious about jazz man. It was Miles David, It's funny,

806
00:42:00,920 --> 00:42:05,680
Speaker 3: My funny, Valentine Live and Brown and Roach, Max, Roach

807
00:42:05,719 --> 00:42:05,880
Speaker 3: and c.

808
00:42:07,560 --> 00:42:10,799
Speaker 2: With Jackie on it.

809
00:42:10,080 --> 00:42:13,680
Speaker 3: Yes, Okay, I used to wear those records out.

810
00:42:14,280 --> 00:42:15,480
Speaker 2: I've gotten to jazz early.

811
00:42:16,440 --> 00:42:18,920
Speaker 3: Yeah, because you know, living in New Orleans, man, I mean,

812
00:42:18,960 --> 00:42:21,440
Speaker 3: you know, you're just exposed to all of these great musicians.

813
00:42:21,440 --> 00:42:24,880
Speaker 3: You hear guys playing instruments all the time, you know,

814
00:42:24,920 --> 00:42:27,440
Speaker 3: so you just kind of is this in your system?

815
00:42:28,280 --> 00:42:29,520
Speaker 7: Can I ask my question now?

816
00:42:29,880 --> 00:42:34,600
Speaker 9: I mean, yes, it's not related to vinyl records or anything,

817
00:42:34,680 --> 00:42:39,080
Speaker 9: but your your actual trumpet. Yes, for people who have

818
00:42:39,120 --> 00:42:42,640
Speaker 9: seen you play live or on video, it looks different

819
00:42:43,080 --> 00:42:47,280
Speaker 9: than normal trumpet. And I think me and our viewers

820
00:42:47,320 --> 00:42:49,719
Speaker 9: might be curious, what's the difference between your trumpet and

821
00:42:50,360 --> 00:42:53,800
Speaker 9: quote unquote normal trumpet? And like, does it have anything

822
00:42:53,800 --> 00:42:57,200
Speaker 9: to do with the you know, the mouthpiece especially looks

823
00:42:57,280 --> 00:42:59,600
Speaker 9: looks different. Does that have anything to do with what

824
00:42:59,600 --> 00:43:02,920
Speaker 9: we were talkingalking about earlier, the physical aspect of having.

825
00:43:03,160 --> 00:43:04,759
Speaker 3: A little bit. I mean it's made by a guy

826
00:43:04,840 --> 00:43:07,040
Speaker 3: named David on Net and the model is called a

827
00:43:07,160 --> 00:43:11,680
Speaker 3: Roger a I'm sorry r a JA. And what he

828
00:43:11,719 --> 00:43:14,359
Speaker 3: does is when you see it. It has a lot

829
00:43:14,400 --> 00:43:17,239
Speaker 3: of thick bracing on it and the reason why the

830
00:43:17,320 --> 00:43:20,399
Speaker 3: mouthpiece is there, and it's actually removable, but it takes

831
00:43:20,440 --> 00:43:24,600
Speaker 3: a long long time to unscrew because what he's trying

832
00:43:24,600 --> 00:43:27,799
Speaker 3: to do is to try to create a really tight fit,

833
00:43:28,320 --> 00:43:31,239
Speaker 3: so nothing really vibrates in the metal. But when you

834
00:43:31,280 --> 00:43:33,840
Speaker 3: get to the bell, he makes a really really large

835
00:43:33,920 --> 00:43:36,160
Speaker 3: bell that's dense, and when you pluck it, man, it

836
00:43:36,320 --> 00:43:39,960
Speaker 3: rings right. So that's the only thing that resonates on

837
00:43:40,000 --> 00:43:43,960
Speaker 3: the horn. And his theory is that by keeping everything

838
00:43:44,000 --> 00:43:47,359
Speaker 3: else so rigid, the sound goes through the horn rather

839
00:43:47,440 --> 00:43:51,279
Speaker 3: quickly and creates a broader tone coming at the bell.

840
00:43:52,280 --> 00:43:55,880
Speaker 9: And what about the physical aspect of is it easier

841
00:43:56,000 --> 00:43:57,160
Speaker 9: on your mouth?

842
00:43:58,080 --> 00:43:59,919
Speaker 3: No, I mean it's the same. I mean he would

843
00:43:59,920 --> 00:44:01,879
Speaker 3: like to tell you it's easy because you know, it's

844
00:44:01,880 --> 00:44:05,640
Speaker 3: slotted better, and blah blah blah. It's still a trumpet.

845
00:44:05,719 --> 00:44:08,600
Speaker 3: It's still still a physically demanding thing. You know, there

846
00:44:08,640 --> 00:44:09,520
Speaker 3: was a great trumpet player.

847
00:44:09,600 --> 00:44:09,719
Speaker 2: Man.

848
00:44:09,760 --> 00:44:11,200
Speaker 3: I was telling him. I said, Man, I'm trying to

849
00:44:11,200 --> 00:44:13,520
Speaker 3: get to the point it doesn't hurt. He said, Man,

850
00:44:13,640 --> 00:44:18,200
Speaker 3: it hurts. Let it go.

851
00:44:19,080 --> 00:44:21,400
Speaker 5: Man, What is the difference between I used to, I

852
00:44:21,440 --> 00:44:24,480
Speaker 5: mean playing I still never really knew trumpet corn that

853
00:44:24,680 --> 00:44:25,800
Speaker 5: and flugel.

854
00:44:26,200 --> 00:44:28,399
Speaker 3: Well, I mean both of all three of those. It's

855
00:44:28,440 --> 00:44:30,800
Speaker 3: really about tone. I mean they're going to feel different

856
00:44:30,960 --> 00:44:33,880
Speaker 3: just because of the tubing and everything. Fun is going

857
00:44:33,960 --> 00:44:36,440
Speaker 3: to feel like really kind of open, it's you know,

858
00:44:36,640 --> 00:44:38,960
Speaker 3: on it. For me, it feels a little more restrictive,

859
00:44:39,280 --> 00:44:42,200
Speaker 3: you know. But it's just about tone, you know. And

860
00:44:42,400 --> 00:44:45,360
Speaker 3: and it's kind of interesting because I haven't played corner

861
00:44:45,360 --> 00:44:48,120
Speaker 3: out of fluahorn a long, long long time.

862
00:44:48,440 --> 00:44:50,080
Speaker 8: I guess the notes are still the same as the

863
00:44:50,120 --> 00:44:51,320
Speaker 8: trumpet though it's the same.

864
00:44:51,239 --> 00:44:55,520
Speaker 3: Finger and everything, gotcha exactly the same, It's just different.

865
00:44:56,000 --> 00:44:59,520
Speaker 9: Why did why did Art Farmers stop playing trumpet and

866
00:44:59,719 --> 00:45:01,719
Speaker 9: only play flug on exclusively?

867
00:45:02,360 --> 00:45:03,800
Speaker 2: He did it? He plays a flumpet.

868
00:45:04,160 --> 00:45:07,399
Speaker 3: Yeah, he came up, well, the same guy, the same

869
00:45:07,400 --> 00:45:09,840
Speaker 3: guy that me my horn made his horn, and he

870
00:45:09,920 --> 00:45:13,640
Speaker 3: came up in between a trumpet and a fluval horn,

871
00:45:13,680 --> 00:45:16,600
Speaker 3: and they called it the flumpet, you know, And it

872
00:45:16,760 --> 00:45:21,920
Speaker 3: was designed to kind of bring those physical sin ways

873
00:45:21,920 --> 00:45:24,520
Speaker 3: together to create a tone that's kind of in between.

874
00:45:25,120 --> 00:45:27,520
Speaker 3: But he had, he had, he had that was something

875
00:45:28,120 --> 00:45:30,239
Speaker 3: a lot of that is like in your in your head, man,

876
00:45:30,360 --> 00:45:32,439
Speaker 3: like what you're trying to hear, you know what I mean.

877
00:45:32,520 --> 00:45:37,319
Speaker 3: And that's the beauty of any artistry, you know. You know,

878
00:45:37,400 --> 00:45:39,279
Speaker 3: that's what I try to teach my kids. It's like,

879
00:45:39,880 --> 00:45:41,880
Speaker 3: I can't tell you who you are, you know, I

880
00:45:41,880 --> 00:45:43,600
Speaker 3: could just give you the twos to kind of help

881
00:45:44,040 --> 00:45:47,920
Speaker 3: you to develop your ideas. But who you are is

882
00:45:48,000 --> 00:45:51,840
Speaker 3: you're an individual. You have to do that investigation yourself.

883
00:45:51,840 --> 00:45:53,799
Speaker 3: And the more you do that, the more you trust it,

884
00:45:53,800 --> 00:45:56,160
Speaker 3: the more you start to see that maybe you not

885
00:45:56,320 --> 00:45:58,520
Speaker 3: like somebody else, Maybe you do like a different tone,

886
00:45:58,560 --> 00:46:00,799
Speaker 3: maybe you do like a different set up on your

887
00:46:00,840 --> 00:46:03,000
Speaker 3: drums than somebody else, And that's okay as long as

888
00:46:03,040 --> 00:46:05,120
Speaker 3: you're expressing what it did you want to express.

889
00:46:05,800 --> 00:46:08,320
Speaker 9: Now, I was just wondering if you just still play

890
00:46:08,400 --> 00:46:12,960
Speaker 9: other types of if you play other brands or models

891
00:46:13,000 --> 00:46:15,200
Speaker 9: of trumpet, or just exclusively the one that we see

892
00:46:15,200 --> 00:46:15,520
Speaker 9: you with.

893
00:46:15,920 --> 00:46:19,960
Speaker 3: Yeah, just the moment, I'm you know, I haven't played

894
00:46:19,960 --> 00:46:24,200
Speaker 3: a horn that plays is for me at least plays

895
00:46:24,239 --> 00:46:27,840
Speaker 3: as well as his for me, you know, And maybe

896
00:46:27,840 --> 00:46:32,400
Speaker 3: it's just because I'm accustomed to him, But there's a

897
00:46:32,520 --> 00:46:38,040
Speaker 3: certain you know, Maurice Andre was this great classical trumpet

898
00:46:38,040 --> 00:46:40,680
Speaker 3: player from Paris, Man And he made a comment one

899
00:46:40,719 --> 00:46:43,200
Speaker 3: time and it stuck with me. You know. He said

900
00:46:43,239 --> 00:46:45,799
Speaker 3: there were moments in time that he would play that

901
00:46:45,920 --> 00:46:47,919
Speaker 3: he would forget that he had a horn in his hand,

902
00:46:48,600 --> 00:46:52,000
Speaker 3: you know, and sometimes you're playing them on net. It's

903
00:46:52,080 --> 00:46:54,279
Speaker 3: kind of like that, you know what I mean. It's

904
00:46:54,320 --> 00:46:58,120
Speaker 3: like the trumpet is just what it is. It's an instrument. Man.

905
00:46:58,160 --> 00:47:01,040
Speaker 3: My trumpet teacher always used to say, you know, he

906
00:47:02,040 --> 00:47:03,440
Speaker 3: would pointing to the trump he goes.

907
00:47:03,440 --> 00:47:04,840
Speaker 2: What is that mean? What is that?

908
00:47:05,080 --> 00:47:08,719
Speaker 3: I always given this scientific answer, man, you know, like, oh,

909
00:47:08,800 --> 00:47:11,160
Speaker 3: it's a tune, man, it's blah blah blah blah blah.

910
00:47:11,239 --> 00:47:14,360
Speaker 3: He goes, no, man, it's a mirror of the mind.

911
00:47:14,640 --> 00:47:18,200
Speaker 3: It's a mirror of the mind, you know. And uh,

912
00:47:18,680 --> 00:47:21,080
Speaker 3: that's the way that I kind of look at it.

913
00:47:21,120 --> 00:47:24,120
Speaker 3: With his horns. When I'm playing his horns, I don't

914
00:47:24,239 --> 00:47:26,319
Speaker 3: I get to the point where I'm not thinking about

915
00:47:26,320 --> 00:47:29,360
Speaker 3: playing the trumpet, you know, it's about trying to convey

916
00:47:29,360 --> 00:47:30,560
Speaker 3: an idea to an audience.

917
00:47:31,840 --> 00:47:38,440
Speaker 2: Growing up in New Orleans, especially at the age in

918
00:47:38,480 --> 00:47:43,319
Speaker 2: your formative years, what was your relationship with pop or

919
00:47:43,400 --> 00:47:47,400
Speaker 2: soul music at the time, like cats I saw, you

920
00:47:47,440 --> 00:47:49,880
Speaker 2: know cats that I grew up with in the seventies.

921
00:47:50,600 --> 00:47:53,480
Speaker 2: You know, they were you know, they were looking to

922
00:47:53,600 --> 00:47:56,120
Speaker 2: like Pee Wee from the Ohio Players, or like William

923
00:47:56,200 --> 00:48:00,359
Speaker 2: King from the Commodores, like every high school to play

924
00:48:00,400 --> 00:48:03,600
Speaker 2: like love roller Coaster, that sort of thing. Like where

925
00:48:03,960 --> 00:48:08,160
Speaker 2: what was your relationship with just modern music at the time,

926
00:48:08,920 --> 00:48:09,960
Speaker 2: That's what it was.

927
00:48:10,000 --> 00:48:15,560
Speaker 3: Bernie Well, Yes, indeed, Bernie Paullamer Funker, Bellis, earth Wind

928
00:48:15,600 --> 00:48:20,279
Speaker 3: and Fire Cool in the Gang Mandrel, you know, all

929
00:48:20,320 --> 00:48:22,040
Speaker 3: of those groups. Man, that was the stuff that I

930
00:48:22,120 --> 00:48:24,000
Speaker 3: used to listen to. As a matter of fact, I

931
00:48:24,080 --> 00:48:26,160
Speaker 3: used to play keyboard in the pop band when I

932
00:48:26,200 --> 00:48:29,279
Speaker 3: was in high school and really dug it, you know

933
00:48:29,320 --> 00:48:31,319
Speaker 3: what I mean, had a lot of fun doing it, man,

934
00:48:31,360 --> 00:48:33,879
Speaker 3: And I continued to do it, you know, even when

935
00:48:33,880 --> 00:48:35,320
Speaker 3: I got to college a little bit. We used to

936
00:48:35,440 --> 00:48:37,520
Speaker 3: we used to do a lot of that stuff, playing

937
00:48:37,560 --> 00:48:39,960
Speaker 3: those gigs, and I always had fun listen. Man, I've

938
00:48:40,000 --> 00:48:43,160
Speaker 3: always loved that music. You know. That's why I loved

939
00:48:43,200 --> 00:48:46,880
Speaker 3: Prince so much, because Prince to me was like a throwback.

940
00:48:47,080 --> 00:48:49,200
Speaker 3: You know. Obviously he come out of James Brown. You

941
00:48:49,200 --> 00:48:51,799
Speaker 3: could hear all of that stuff you could hear, you know,

942
00:48:51,960 --> 00:48:53,759
Speaker 3: where he paid reverence to a lot of people that

943
00:48:53,800 --> 00:48:55,880
Speaker 3: had come performed. But the thing that I liked about

944
00:48:55,920 --> 00:48:58,880
Speaker 3: Prince's kind of like Myles to me, and that you know,

945
00:48:58,960 --> 00:49:01,320
Speaker 3: with all of those albums, bro, he was trying something

946
00:49:01,360 --> 00:49:04,960
Speaker 3: different and he was always finding something new to express us,

947
00:49:05,200 --> 00:49:09,279
Speaker 3: you know, and uh he was unapologetic about it. I

948
00:49:10,000 --> 00:49:13,440
Speaker 3: just listen, man, you know, he was the only artist

949
00:49:13,520 --> 00:49:16,200
Speaker 3: that I saw at the time that could have like

950
00:49:16,239 --> 00:49:19,200
Speaker 3: a like a heavy metal tune in a country tune

951
00:49:19,239 --> 00:49:21,279
Speaker 3: on the same album, you know what I mean, right,

952
00:49:22,160 --> 00:49:24,200
Speaker 3: and it'll still sound like him, you know what I mean.

953
00:49:24,239 --> 00:49:28,200
Speaker 3: It's like you had to tip your hat to that so.

954
00:49:27,440 --> 00:49:29,880
Speaker 2: Funking soul wasn't a four letter word to you at

955
00:49:29,880 --> 00:49:30,440
Speaker 2: the time.

956
00:49:30,719 --> 00:49:32,359
Speaker 3: Never, never, ever.

957
00:49:32,760 --> 00:49:35,640
Speaker 2: Okay, So now go back to my original question, because

958
00:49:35,680 --> 00:49:41,640
Speaker 2: I know that you've had associations with Ellis Marcellus and

959
00:49:41,640 --> 00:49:47,680
Speaker 2: and his kids. Uh, how did you how did you?

960
00:49:48,360 --> 00:49:52,840
Speaker 2: How did you escape the at least in my personal,

961
00:49:53,040 --> 00:49:57,720
Speaker 2: uh point of view, the this kind of get out

962
00:49:58,080 --> 00:50:06,759
Speaker 2: cultish jazz cultish regime of Marcella's seriousness, which you know,

963
00:50:06,960 --> 00:50:09,640
Speaker 2: depending on which Marcel's you talk to, is either some

964
00:50:09,719 --> 00:50:13,680
Speaker 2: of them are wide open or rebellious, or some are

965
00:50:13,800 --> 00:50:16,960
Speaker 2: very much like you must study the Book of you know,

966
00:50:17,160 --> 00:50:21,799
Speaker 2: chapter Jazz Verse Swing. You know, yeah, how did you

967
00:50:21,920 --> 00:50:22,480
Speaker 2: escape that?

968
00:50:22,960 --> 00:50:25,440
Speaker 3: Well? I mean listen, man, you know, at a certain

969
00:50:25,480 --> 00:50:29,960
Speaker 3: point of your development, those things are really appropriate to

970
00:50:30,000 --> 00:50:32,759
Speaker 3: help you to just decipher information. You know. So when

971
00:50:32,760 --> 00:50:35,880
Speaker 3: I was a young kid, all of that stuff was

972
00:50:35,880 --> 00:50:40,200
Speaker 3: was really It's really great to make me sit down

973
00:50:40,200 --> 00:50:44,200
Speaker 3: and focus in practice, you know. But at the same time, bruh,

974
00:50:44,719 --> 00:50:47,680
Speaker 3: I'm still a compassionate feeling person. I'm not going to

975
00:50:47,760 --> 00:50:49,720
Speaker 3: deny what it is that I feel in my soul,

976
00:50:50,239 --> 00:50:52,520
Speaker 3: you know what I mean. I'm not going to turn.

977
00:50:52,760 --> 00:50:55,320
Speaker 3: I'll give you another example, you know, forget to mysels.

978
00:50:55,360 --> 00:50:56,440
Speaker 3: I'll just go to the church.

979
00:50:57,160 --> 00:50:57,400
Speaker 2: You know.

980
00:50:57,560 --> 00:51:00,720
Speaker 3: I grew up in a Congregationalist church in New Orleans.

981
00:51:00,760 --> 00:51:00,880
Speaker 2: Man.

982
00:51:00,960 --> 00:51:04,480
Speaker 3: Andrew Young was a member of my church. Yeah, he

983
00:51:04,520 --> 00:51:07,200
Speaker 3: grew up in my church, you know. So it was

984
00:51:07,280 --> 00:51:10,080
Speaker 3: it was interesting because as long as I play classical music, man,

985
00:51:10,120 --> 00:51:12,399
Speaker 3: those people love me, you know what I mean. When

986
00:51:12,400 --> 00:51:15,440
Speaker 3: I started to become a jazz musician, they used to say, well,

987
00:51:15,480 --> 00:51:17,680
Speaker 3: you know that's that jazz is fine, but you keep

988
00:51:17,920 --> 00:51:20,160
Speaker 3: keep up with your classics you hear, and I'm like,

989
00:51:20,640 --> 00:51:24,000
Speaker 3: you know, that would always bug me because I love

990
00:51:24,120 --> 00:51:28,000
Speaker 3: music period. You know, there's things that I feel that

991
00:51:28,080 --> 00:51:32,120
Speaker 3: I can I will not ever deny, you know. So

992
00:51:32,120 --> 00:51:36,960
Speaker 3: so when I'm when I'm listening to you know, uh,

993
00:51:37,320 --> 00:51:39,920
Speaker 3: when I'm listening to when I'm listening to Jodicy, right

994
00:51:40,480 --> 00:51:45,160
Speaker 3: and and and Jodaicy, some of that ship is like

995
00:51:45,160 --> 00:51:50,520
Speaker 3: like really funky. You know, I still feel something just

996
00:51:50,600 --> 00:51:54,560
Speaker 3: as much as when I'm listening to women. And I

997
00:51:54,600 --> 00:51:57,640
Speaker 3: know people say that as a as a thing. You know,

998
00:51:57,800 --> 00:52:01,319
Speaker 3: I don't. I'm not doing that, you know, I look

999
00:52:01,360 --> 00:52:04,319
Speaker 3: at you know, this world is a vast world, man,

1000
00:52:04,400 --> 00:52:06,520
Speaker 3: and God has given all of us different talents to

1001
00:52:06,600 --> 00:52:10,000
Speaker 3: express things in various ways. So there shouldn't be one

1002
00:52:10,000 --> 00:52:13,279
Speaker 3: way to skin a cat, you know what I'm saying.

1003
00:52:13,920 --> 00:52:16,520
Speaker 3: And as long as you're coming at it from a

1004
00:52:16,600 --> 00:52:20,200
Speaker 3: point of view of honesty and sincerity, who gives a

1005
00:52:20,239 --> 00:52:22,879
Speaker 3: shit what it is that you you know what I mean.

1006
00:52:23,320 --> 00:52:27,799
Speaker 3: It's like, that's my personal opinion for me. I think

1007
00:52:27,840 --> 00:52:30,560
Speaker 3: all of that divisive stuff is a way that has

1008
00:52:30,640 --> 00:52:33,759
Speaker 3: kept black people separated from each other in a way

1009
00:52:33,800 --> 00:52:36,640
Speaker 3: that's unnecessary, you know, And I think it's kind of

1010
00:52:36,640 --> 00:52:39,080
Speaker 3: hard for us to see that sometimes.

1011
00:52:39,640 --> 00:52:42,040
Speaker 4: And maybe it's funny because we interviewed him two May

1012
00:52:42,040 --> 00:52:43,640
Speaker 4: and I feel like in a way, he had to

1013
00:52:43,680 --> 00:52:45,799
Speaker 4: fight that fight, so maybe other people wouldn't because he

1014
00:52:45,920 --> 00:52:48,680
Speaker 4: definitely was vocal about how people felt about him making

1015
00:52:48,719 --> 00:52:50,760
Speaker 4: that transition in the R and B and whatnot.

1016
00:52:51,120 --> 00:52:53,400
Speaker 3: Oh look, you know with my band, The E Collective,

1017
00:52:53,440 --> 00:52:55,759
Speaker 3: I heard it. You know, I've been here. You know

1018
00:52:56,000 --> 00:52:58,759
Speaker 3: when we did that, man, it was funny. It was

1019
00:52:58,800 --> 00:53:01,520
Speaker 3: funny when we did our first tour of Europe. Dude,

1020
00:53:01,600 --> 00:53:03,520
Speaker 3: it was funny. Every time we got in the audience

1021
00:53:03,520 --> 00:53:09,000
Speaker 3: and we saw great Head, we go, oh shit, you know, okay,

1022
00:53:09,200 --> 00:53:11,720
Speaker 3: it's gonna be one of the nice But the funny

1023
00:53:11,719 --> 00:53:13,879
Speaker 3: part about it, man, you know when the band will

1024
00:53:13,920 --> 00:53:16,680
Speaker 3: start to play, and you know, Ascar Sene is the

1025
00:53:16,719 --> 00:53:18,880
Speaker 3: drummer man, and he's got a strong pocket, man, And

1026
00:53:18,920 --> 00:53:22,240
Speaker 3: when the band will start to play, people start tapping

1027
00:53:22,280 --> 00:53:24,360
Speaker 3: their feet and they will start groving to the music,

1028
00:53:24,400 --> 00:53:28,680
Speaker 3: and we say, okay, gotcha, gotcha, gotcha. So for me, man,

1029
00:53:28,920 --> 00:53:32,840
Speaker 3: music is music, dude. You know what I mean. It's

1030
00:53:32,520 --> 00:53:36,040
Speaker 3: it's it's uh, you know, it's I don't know. I

1031
00:53:36,960 --> 00:53:42,239
Speaker 3: hate the labeling of things, because I've seen it just

1032
00:53:42,480 --> 00:53:46,640
Speaker 3: keep us apart rather than bring us together for too long.

1033
00:53:47,360 --> 00:53:50,520
Speaker 3: And I just wish we could just turn turn that around.

1034
00:53:51,040 --> 00:53:54,000
Speaker 3: We haven't learned from like Herbie. You know what I'm saying,

1035
00:53:54,560 --> 00:53:57,279
Speaker 3: Because Herbie was showing us this years ago.

1036
00:53:58,000 --> 00:54:00,600
Speaker 4: You know what I mean, right, I was still having

1037
00:54:00,600 --> 00:54:02,160
Speaker 4: a conversation of Mobeta Blues though.

1038
00:54:03,200 --> 00:54:05,319
Speaker 3: Yeah, oh listen, man, man, you know what we did

1039
00:54:05,400 --> 00:54:07,399
Speaker 3: mo Better Blues. It was kind of funny because when

1040
00:54:07,400 --> 00:54:09,319
Speaker 3: the when the when the movie hit, we were like

1041
00:54:09,600 --> 00:54:12,480
Speaker 3: in the top ten on radio charts in d C

1042
00:54:12,680 --> 00:54:13,280
Speaker 3: or some ship.

1043
00:54:16,800 --> 00:54:18,800
Speaker 2: You're from DC to this episode.

1044
00:54:18,600 --> 00:54:19,640
Speaker 4: Born and Raised Howard.

1045
00:54:21,680 --> 00:54:27,879
Speaker 2: This episode? Okay, today you two baby born in DC?

1046
00:54:28,000 --> 00:54:34,399
Speaker 2: I got you. Yeah, today's narrative. So with what would

1047
00:54:34,440 --> 00:54:38,160
Speaker 2: you say is your your Well? I know you played

1048
00:54:38,160 --> 00:54:43,080
Speaker 2: with Hampton, Uh, but what was your first professional I

1049
00:54:43,320 --> 00:54:46,600
Speaker 2: made it. I don't have to have a part time job.

1050
00:54:47,080 --> 00:54:49,520
Speaker 2: I'm officially gigging. Like, what was your first.

1051
00:54:49,239 --> 00:54:51,240
Speaker 3: Official moment playing with all Blakey?

1052
00:54:52,280 --> 00:54:53,880
Speaker 2: Oh? So Messengers came first?

1053
00:54:54,320 --> 00:54:56,080
Speaker 3: Yeah? Man, When I was about nineteen years old, I

1054
00:54:56,160 --> 00:54:58,760
Speaker 3: joined that band, and uh, I had to leave school.

1055
00:54:58,840 --> 00:55:00,960
Speaker 3: I was going to rut because univer in New Jersey

1056
00:55:02,239 --> 00:55:03,759
Speaker 3: and we're Regina bell Man.

1057
00:55:03,920 --> 00:55:06,160
Speaker 2: You know, okay, this is up.

1058
00:55:06,440 --> 00:55:07,720
Speaker 3: Yeah, we were all in school together.

1059
00:55:08,080 --> 00:55:10,440
Speaker 4: Yeah, even though she went to That's Dopek.

1060
00:55:10,719 --> 00:55:11,440
Speaker 3: Yeah, I did not know.

1061
00:55:12,080 --> 00:55:14,160
Speaker 2: Yeah, so what was that, old key? Tell us about

1062
00:55:14,160 --> 00:55:15,640
Speaker 2: the experience playing with our.

1063
00:55:16,320 --> 00:55:19,120
Speaker 3: Oh man, brouh that sorry.

1064
00:55:19,160 --> 00:55:20,840
Speaker 7: What what year were you in the Messengers?

1065
00:55:21,080 --> 00:55:24,520
Speaker 3: It was from eighty two to eighty six. And I

1066
00:55:24,560 --> 00:55:26,360
Speaker 3: tell people, Man, I was there for four years, but

1067
00:55:26,480 --> 00:55:31,040
Speaker 3: our aged like a boy forty. I was a young

1068
00:55:31,160 --> 00:55:34,000
Speaker 3: little kid from New Orleans, fresh off the farm. Bro

1069
00:55:34,120 --> 00:55:36,640
Speaker 3: it was. And then my first tour with him was

1070
00:55:36,680 --> 00:55:37,960
Speaker 3: like ten weeks in Europe.

1071
00:55:38,080 --> 00:55:40,000
Speaker 8: Dude, wow, tell.

1072
00:55:39,960 --> 00:55:42,560
Speaker 2: Us everything about it, man from New Orleans.

1073
00:55:42,600 --> 00:55:45,520
Speaker 3: Bro. I spoke a little bit of Spanish. Brou it

1074
00:55:45,560 --> 00:55:48,160
Speaker 3: was a trip, just trying to eat. Oh my god.

1075
00:55:48,480 --> 00:55:51,040
Speaker 3: And then we hit London the last two weeks of

1076
00:55:51,120 --> 00:55:56,920
Speaker 3: the tour. Bro. I was so happy to hear English English. Man.

1077
00:55:57,120 --> 00:55:59,279
Speaker 3: It was crazy, bro it was. It was crazy. But

1078
00:55:59,719 --> 00:56:02,560
Speaker 3: you know, listen, Man, I learned a lot about the world.

1079
00:56:02,640 --> 00:56:04,560
Speaker 3: And I came back and I remember I came back

1080
00:56:04,880 --> 00:56:07,320
Speaker 3: and I was telling my mom about my cousins and stuff.

1081
00:56:07,360 --> 00:56:08,680
Speaker 3: I said, you know, we need to figure out a

1082
00:56:08,680 --> 00:56:11,160
Speaker 3: way to get these kids to travel to see the world,

1083
00:56:11,160 --> 00:56:14,160
Speaker 3: because that's a good education, you know. And I learned.

1084
00:56:14,200 --> 00:56:16,640
Speaker 3: I learned a great deal. And Art was the type

1085
00:56:16,640 --> 00:56:20,120
Speaker 3: of guy, man, you know what I mean. He had

1086
00:56:20,200 --> 00:56:24,239
Speaker 3: an Art was an interesting personality, you know what I mean.

1087
00:56:24,320 --> 00:56:26,799
Speaker 3: He was the kind of guy he could bullshit you

1088
00:56:26,880 --> 00:56:30,120
Speaker 3: all day long. But then man, there'd be there those moments, bro,

1089
00:56:30,719 --> 00:56:33,399
Speaker 3: where you would sit down and have a conversation about him,

1090
00:56:33,600 --> 00:56:37,160
Speaker 3: a conversation with him, and bruh, it would be like

1091
00:56:37,320 --> 00:56:40,200
Speaker 3: life lessons man, you know. And those were always the

1092
00:56:40,239 --> 00:56:44,000
Speaker 3: moments that I truly cherished having with him because you know,

1093
00:56:44,040 --> 00:56:45,960
Speaker 3: it would be like one on one in the dressing

1094
00:56:46,000 --> 00:56:48,520
Speaker 3: room and he would just start talking about some things,

1095
00:56:49,080 --> 00:56:52,440
Speaker 3: and he opened my eyes to a lot of stuff, bro.

1096
00:56:52,760 --> 00:56:55,240
Speaker 3: And the way I run my band is still based

1097
00:56:55,280 --> 00:56:57,480
Speaker 3: on the way he ran his band by giving guys

1098
00:56:57,520 --> 00:57:02,080
Speaker 3: opportunities a lot, allowing him to tribute to the to

1099
00:57:02,080 --> 00:57:05,080
Speaker 3: to the the repertoire of the group, and to the

1100
00:57:05,120 --> 00:57:08,319
Speaker 3: concept of what's happening with the band. You know. Oh,

1101
00:57:08,560 --> 00:57:12,719
Speaker 3: I owe a huge that of gratitude to that man,

1102
00:57:12,800 --> 00:57:16,360
Speaker 3: because he really turned me around for four years. Dude.

1103
00:57:17,680 --> 00:57:19,560
Speaker 3: Think about this four years. I met all of my

1104
00:57:19,680 --> 00:57:24,160
Speaker 3: jazz heroes playing with him. That's all I met them.

1105
00:57:24,040 --> 00:57:27,120
Speaker 4: All playing with him, because Max Roach was around them too.

1106
00:57:27,000 --> 00:57:32,120
Speaker 3: Right, Like Max, Okay, we're playing this club in New York,

1107
00:57:32,240 --> 00:57:35,560
Speaker 3: fat Tuesdays. And then the table and it was a

1108
00:57:35,560 --> 00:57:38,040
Speaker 3: small little club, and then the table right in front

1109
00:57:38,480 --> 00:57:43,520
Speaker 3: was Max Roach, Uh, Jack Ds and Net and I

1110
00:57:43,560 --> 00:57:46,360
Speaker 3: think Elvin Jones and the three of them were sitting there,

1111
00:57:47,080 --> 00:57:55,160
Speaker 3: you know, and I was like zire, you know, like

1112
00:57:55,320 --> 00:57:57,720
Speaker 3: my early twenties, and I'm trying. I'm trying to play

1113
00:57:57,760 --> 00:57:59,560
Speaker 3: it off and be cool, but you know, on the inside,

1114
00:57:59,560 --> 00:58:03,880
Speaker 3: I was bullets man. I never walked and I remember

1115
00:58:03,920 --> 00:58:07,000
Speaker 3: walking by Max and Max was like really strong man.

1116
00:58:08,320 --> 00:58:11,040
Speaker 3: He grabbed my calf. I don't know why he did it,

1117
00:58:11,440 --> 00:58:13,160
Speaker 3: but he grabbed my caf. You said, man, look at

1118
00:58:13,160 --> 00:58:20,560
Speaker 3: the calves. And I couldn't go nowhere. That was a

1119
00:58:20,560 --> 00:58:23,320
Speaker 3: funny part. I forgot to tell you that part. I

1120
00:58:23,320 --> 00:58:25,760
Speaker 3: couldn't do it, Like I was stuck. I was like, damn,

1121
00:58:26,400 --> 00:58:26,680
Speaker 3: you know.

1122
00:58:27,040 --> 00:58:30,520
Speaker 4: Like next generation sharecrop of talk.

1123
00:58:31,400 --> 00:58:38,000
Speaker 2: Wait, Terrence, when you are when you're young and you're

1124
00:58:38,280 --> 00:58:42,160
Speaker 2: in this institution, Yeah, how do you not how do

1125
00:58:42,200 --> 00:58:46,800
Speaker 2: you resist the temptation to not flex. Oh okay, So

1126
00:58:47,000 --> 00:58:50,280
Speaker 2: like when I DJ. When I DJ, it's me and

1127
00:58:50,440 --> 00:58:53,960
Speaker 2: in the audience, but the second one of my peers

1128
00:58:54,520 --> 00:58:58,880
Speaker 2: comes in the DJ boost, then the temptation, then the

1129
00:58:58,920 --> 00:59:03,280
Speaker 2: temptations like play that rare obscure Japanese record that I

1130
00:59:03,320 --> 00:59:07,560
Speaker 2: brought that only we get like the temptation, the flex.

1131
00:59:08,680 --> 00:59:10,960
Speaker 2: And I normally lose my audience if I do it,

1132
00:59:12,200 --> 00:59:14,880
Speaker 2: and I might, you know, and sometimes I've gave it,

1133
00:59:14,920 --> 00:59:21,920
Speaker 2: given it and just let the audience. You know. Uh,

1134
00:59:22,040 --> 00:59:26,720
Speaker 2: when we went nine Prens fans, everyone loved that ship

1135
00:59:28,960 --> 00:59:30,960
Speaker 2: whatever it is AnyWho.

1136
00:59:30,880 --> 00:59:32,920
Speaker 3: You know being But I get what you're saying. I

1137
00:59:32,960 --> 00:59:34,400
Speaker 3: understand because you know being with art.

1138
00:59:34,440 --> 00:59:34,560
Speaker 4: Man.

1139
00:59:34,560 --> 00:59:36,959
Speaker 3: Here's the thing you gotta remember, that was a long

1140
00:59:37,120 --> 00:59:39,680
Speaker 3: legacy a great musicians. I came in out man before

1141
00:59:40,000 --> 00:59:43,320
Speaker 3: before any of us. Right, so you already humbled just

1142
00:59:43,360 --> 00:59:45,160
Speaker 3: by being in the band. And look at some of

1143
00:59:45,160 --> 00:59:47,520
Speaker 3: those dudes would come by and hang out. Man, you

1144
00:59:47,600 --> 00:59:51,560
Speaker 3: got back then you gotta remember, Man, Woody Shaw would

1145
00:59:51,600 --> 00:59:53,919
Speaker 3: show up, Freddie Hubber would show up, and those dudes

1146
00:59:53,960 --> 00:59:57,800
Speaker 3: would just be sitting in the club hanging out. Damn. Okay,

1147
00:59:57,840 --> 01:00:00,000
Speaker 3: all right, man, he's here checking me out, all right.

1148
01:00:00,240 --> 01:00:03,680
Speaker 3: Adie Henderson was another one. And then the other part

1149
01:00:03,680 --> 01:00:05,960
Speaker 3: of it too is that you know, we really wanted

1150
01:00:05,960 --> 01:00:09,240
Speaker 3: to learn, you know, the our thing was, but I

1151
01:00:09,320 --> 01:00:11,280
Speaker 3: know my thing was I wanted to learn as much

1152
01:00:11,320 --> 01:00:15,200
Speaker 3: as I could about playing music because for some reason,

1153
01:00:15,640 --> 01:00:18,760
Speaker 3: even though I was young, I knew that that moment

1154
01:00:19,040 --> 01:00:21,800
Speaker 3: was something to cherish, you know what I mean. I

1155
01:00:21,800 --> 01:00:24,800
Speaker 3: didn't try to take it for granted. So every little

1156
01:00:25,280 --> 01:00:27,200
Speaker 3: thing that I could, I tried to milk as much

1157
01:00:27,240 --> 01:00:29,560
Speaker 3: out of it as I could, you know, So I

1158
01:00:29,640 --> 01:00:32,280
Speaker 3: was like a fly on the wall. Bro. Sometimes, Man,

1159
01:00:32,480 --> 01:00:34,200
Speaker 3: the guys would come by and they'd be hanging in

1160
01:00:34,200 --> 01:00:36,080
Speaker 3: the dress room, bro, and I would just be sitting

1161
01:00:36,120 --> 01:00:38,520
Speaker 3: in as quiet as a church mouse, bro, not saying

1162
01:00:38,520 --> 01:00:41,800
Speaker 3: a word, just watching and listening to these conversations that's

1163
01:00:41,840 --> 01:00:47,000
Speaker 3: being had with Dexa Gordon or or you know, Walter

1164
01:00:47,160 --> 01:00:52,800
Speaker 3: Davis or Herbie or Algiol came by side saying, well,

1165
01:00:53,600 --> 01:00:57,160
Speaker 3: one time Stanley Clark would come by and play with us.

1166
01:00:57,200 --> 01:01:00,160
Speaker 2: You know, but I've been more on stage, like what

1167
01:01:00,720 --> 01:01:03,120
Speaker 2: because I know that if you're in that position like

1168
01:01:03,200 --> 01:01:07,120
Speaker 2: the Temptations, is not to start showing off or I mean,

1169
01:01:07,160 --> 01:01:08,920
Speaker 2: I'm not saying you could take extra bars or not

1170
01:01:09,000 --> 01:01:14,040
Speaker 2: without Art getting upset with you, but like what stops

1171
01:01:14,080 --> 01:01:17,919
Speaker 2: you from showing off or we can't do that? Because

1172
01:01:17,920 --> 01:01:20,040
Speaker 2: I could tell when like if cats knows that I'm

1173
01:01:20,040 --> 01:01:22,439
Speaker 2: watching them and suddenly like they're doing extra ship that they.

1174
01:01:22,320 --> 01:01:25,880
Speaker 3: Don't need to be doing, I cure us that because

1175
01:01:25,880 --> 01:01:30,160
Speaker 3: I mean, he says, stop playing for the musicians.

1176
01:01:30,200 --> 01:01:33,720
Speaker 4: God damn it, thank you because I paid for his ticket,

1177
01:01:33,880 --> 01:01:36,880
Speaker 4: and I would like to thank you because I did

1178
01:01:36,960 --> 01:01:39,440
Speaker 4: not pay for that ticket. That you're impressing what he.

1179
01:01:39,480 --> 01:01:42,200
Speaker 3: Said, I'm gonna ask you for a free ticket, And

1180
01:01:42,240 --> 01:01:44,200
Speaker 3: he said, you're gonna have to filing hands off of

1181
01:01:44,320 --> 01:01:46,880
Speaker 3: one goddamn beer because they're not gonna buy nothing. So

1182
01:01:47,240 --> 01:01:47,920
Speaker 3: stop praying.

1183
01:01:49,280 --> 01:01:50,000
Speaker 4: Get out the mirror.

1184
01:01:50,040 --> 01:01:52,160
Speaker 2: I love it. I love it, but I'll take that.

1185
01:01:52,240 --> 01:01:53,080
Speaker 2: I'll take that advice.

1186
01:01:53,280 --> 01:01:55,160
Speaker 3: Like if I'll tell you that, but I will tell

1187
01:01:55,160 --> 01:01:57,400
Speaker 3: you this. I will tell you this. Art was a

1188
01:01:57,520 --> 01:02:01,200
Speaker 3: type of dude if your job, your job was always

1189
01:02:01,240 --> 01:02:05,240
Speaker 3: in jeopardy, you know what I mean. So sometimes what

1190
01:02:05,280 --> 01:02:07,600
Speaker 3: he would do is, man, he'd bring a dude up

1191
01:02:07,640 --> 01:02:12,080
Speaker 3: on your instrument on the bandstand. Oh no, that was

1192
01:02:12,120 --> 01:02:14,640
Speaker 3: when you had to show out, you know what I'm saying.

1193
01:02:14,720 --> 01:02:22,160
Speaker 3: So because exactly, and I remember, I forgot who it was.

1194
01:02:22,280 --> 01:02:24,800
Speaker 3: I forgot who. I don't forgot who the trup player was.

1195
01:02:25,000 --> 01:02:27,080
Speaker 2: He said, y'all play a ballad together.

1196
01:02:27,320 --> 01:02:27,640
Speaker 3: I want.

1197
01:02:29,160 --> 01:02:30,200
Speaker 4: I don't know him.

1198
01:02:31,640 --> 01:02:34,840
Speaker 2: Wow, that was.

1199
01:02:34,960 --> 01:02:37,960
Speaker 3: Art man, you know. And then and then if there

1200
01:02:38,000 --> 01:02:42,800
Speaker 3: ever was an inkling that Art was unhappy with somebody,

1201
01:02:43,200 --> 01:02:44,880
Speaker 3: you kind of knew because there would be a whole

1202
01:02:44,880 --> 01:02:47,160
Speaker 3: bunch of dudes with that instrument showing up to the gig.

1203
01:02:49,640 --> 01:02:51,600
Speaker 3: I'll never forget one time, man, there was a whole

1204
01:02:51,680 --> 01:02:53,720
Speaker 3: bunch of socophone player showed up and they were just

1205
01:02:53,760 --> 01:02:56,160
Speaker 3: sitting on the side of the stage. Man, I was like, damn.

1206
01:02:56,800 --> 01:02:59,360
Speaker 3: And when it got time for Art to let him

1207
01:02:59,400 --> 01:03:02,160
Speaker 3: come up and play. He let him come up. It

1208
01:03:02,200 --> 01:03:04,920
Speaker 3: was about five or six of them. He let him

1209
01:03:04,920 --> 01:03:07,400
Speaker 3: come up and play. And then he called Smithie Smith Marvels.

1210
01:03:07,400 --> 01:03:09,760
Speaker 3: Smitty Smith was in the audience. He called him up

1211
01:03:09,800 --> 01:03:11,160
Speaker 3: to come play the drums. Then he went in the

1212
01:03:11,240 --> 01:03:12,360
Speaker 3: dressing room. He was chilling.

1213
01:03:12,400 --> 01:03:18,320
Speaker 2: He was like, yeah, yeah, wow, that's wow. So why

1214
01:03:18,400 --> 01:03:22,360
Speaker 2: why did you and Donald Harrison decided to leave U

1215
01:03:22,640 --> 01:03:25,480
Speaker 2: in your fourth year with uh bar Polikey.

1216
01:03:25,320 --> 01:03:27,360
Speaker 3: Well, we knew it was time Man and and and

1217
01:03:27,600 --> 01:03:29,720
Speaker 3: Arch band was a type of band where it was

1218
01:03:29,760 --> 01:03:32,240
Speaker 3: like a finishing school for young musicians. So we didn't

1219
01:03:32,240 --> 01:03:35,760
Speaker 3: want to occupy the space any longer. We knew other

1220
01:03:35,880 --> 01:03:39,200
Speaker 3: musicians should have gotten that experience and they gotten signed

1221
01:03:39,200 --> 01:03:42,080
Speaker 3: the Columbia Records. We had already made a record with

1222
01:03:42,200 --> 01:03:45,760
Speaker 3: George Wien's label on Concord Records, but Columbia, George Butler

1223
01:03:46,400 --> 01:03:49,640
Speaker 3: had signed us to Columbia and we were getting released.

1224
01:03:50,360 --> 01:03:52,680
Speaker 2: I was gonna say, can you can you describe what

1225
01:03:53,600 --> 01:03:55,960
Speaker 2: I know many people that worked with George Butler, especially

1226
01:03:56,040 --> 01:04:02,400
Speaker 2: like during that period, what what was Butler like? As

1227
01:04:02,840 --> 01:04:04,760
Speaker 2: was he an A and R of jazz at Columbia,

1228
01:04:04,880 --> 01:04:06,080
Speaker 2: was the.

1229
01:04:06,200 --> 01:04:09,240
Speaker 3: Vice president in R and Jazz man. George was a

1230
01:04:09,240 --> 01:04:11,320
Speaker 3: cool dude with me man. You know, I know a

1231
01:04:11,360 --> 01:04:15,160
Speaker 3: lot of people had took issue with George. George was

1232
01:04:15,160 --> 01:04:18,400
Speaker 3: the type of guy you know he was, He was

1233
01:04:20,120 --> 01:04:23,400
Speaker 3: how do I say it? He knew how to maneuver,

1234
01:04:24,160 --> 01:04:28,080
Speaker 3: you know, and in his maneuvering, you know, some people

1235
01:04:28,080 --> 01:04:30,160
Speaker 3: didn't like what it is that he would do, but

1236
01:04:30,640 --> 01:04:32,760
Speaker 3: he was good by us, you know what I mean?

1237
01:04:33,440 --> 01:04:37,760
Speaker 3: And I remember even after me and Donald the band

1238
01:04:37,800 --> 01:04:40,880
Speaker 3: split up, he signed me on as a you know,

1239
01:04:40,920 --> 01:04:44,640
Speaker 3: as a solo artist there, and uh, we always had

1240
01:04:44,760 --> 01:04:46,160
Speaker 3: like a really great relationship.

1241
01:04:46,200 --> 01:04:46,400
Speaker 4: Man.

1242
01:04:46,760 --> 01:04:49,360
Speaker 3: You know, I had told him, I had told him

1243
01:04:49,400 --> 01:04:52,560
Speaker 3: this very vogue, funny story one time, man, and you

1244
01:04:52,600 --> 01:04:55,480
Speaker 3: know it was funny because George was a real proper guy,

1245
01:04:55,640 --> 01:04:58,760
Speaker 3: you know. Uh, but but we would hang out and

1246
01:04:58,920 --> 01:05:02,560
Speaker 3: uh have some drinks and he'd be like, we're some friends.

1247
01:05:02,200 --> 01:05:07,280
Speaker 3: Tell him not story, tell him not story. He's a

1248
01:05:07,320 --> 01:05:07,920
Speaker 3: funny dude.

1249
01:05:08,040 --> 01:05:09,120
Speaker 2: I'm afraid to ask for that.

1250
01:05:09,080 --> 01:05:13,200
Speaker 4: Story now, just because I'm here. You would do it,

1251
01:05:13,240 --> 01:05:14,640
Speaker 4: would you? You would do it if I want to hear,

1252
01:05:14,680 --> 01:05:18,560
Speaker 4: because I'm okay, okay, that's fine. I just want you

1253
01:05:18,640 --> 01:05:21,000
Speaker 4: to know I'm raunchy. So I could probably challenge you.

1254
01:05:21,960 --> 01:05:24,200
Speaker 3: Yeah maybe, yeah, probably Okay.

1255
01:05:24,320 --> 01:05:28,400
Speaker 2: Well, at the time, at the time when when you

1256
01:05:28,600 --> 01:05:33,080
Speaker 2: and Donald were heading up the band, how do you

1257
01:05:33,280 --> 01:05:38,040
Speaker 2: how are decisions made creatively as far as what direction

1258
01:05:38,120 --> 01:05:40,960
Speaker 2: to go or who gets what or who?

1259
01:05:41,160 --> 01:05:43,120
Speaker 3: Yeah, that was that was a tough one. I mean,

1260
01:05:43,200 --> 01:05:44,720
Speaker 3: you know it was a tough thing. But that we

1261
01:05:44,760 --> 01:05:46,960
Speaker 3: looked at the band, it's like a workshop, man, you know,

1262
01:05:47,040 --> 01:05:50,520
Speaker 3: so everybody was bringing the material, and that's basically how

1263
01:05:50,560 --> 01:05:51,160
Speaker 3: he did it.

1264
01:05:51,200 --> 01:05:51,400
Speaker 2: You know.

1265
01:05:52,920 --> 01:05:55,400
Speaker 3: Uh, He'd write music, I'd write music, and then the

1266
01:05:55,520 --> 01:05:58,080
Speaker 3: interesting thing about it, like sometimes he would write music

1267
01:05:58,400 --> 01:06:00,400
Speaker 3: and I would be influenced by what he was writing.

1268
01:06:00,800 --> 01:06:03,240
Speaker 3: So that's why the band had a sound, you know

1269
01:06:03,240 --> 01:06:05,640
Speaker 3: what I mean, because I think even though we were

1270
01:06:05,680 --> 01:06:09,800
Speaker 3: all writing different material, I think we were all kind

1271
01:06:09,840 --> 01:06:12,600
Speaker 3: of like on the same page music, you know. And

1272
01:06:12,640 --> 01:06:16,800
Speaker 3: then around that time man having that band together. You know,

1273
01:06:17,560 --> 01:06:21,080
Speaker 3: Ralph Peterson, who we just lost, God rest his soul.

1274
01:06:22,320 --> 01:06:24,520
Speaker 3: He was like one of the one of the first

1275
01:06:24,880 --> 01:06:27,600
Speaker 3: one of the drummers in the band, Marvin Smithie Smith

1276
01:06:27,720 --> 01:06:29,040
Speaker 3: was one of the drummers in the band, and then

1277
01:06:29,080 --> 01:06:32,600
Speaker 3: we had Carl Allen, uh and you know, you know

1278
01:06:32,600 --> 01:06:34,760
Speaker 3: how it is, and there, you know, with a drummer

1279
01:06:34,800 --> 01:06:36,960
Speaker 3: concept the tone for any band, you know what I mean.

1280
01:06:37,400 --> 01:06:39,560
Speaker 3: So that was also one of the things that kind

1281
01:06:39,560 --> 01:06:42,160
Speaker 3: of helped take the sound of the group when the

1282
01:06:42,240 --> 01:06:43,080
Speaker 3: drummers were changed.

1283
01:06:48,000 --> 01:06:52,520
Speaker 2: I can imagine that your kind of instant foray into

1284
01:06:53,000 --> 01:06:59,480
Speaker 2: the world of scoring for movies wasn't exactly like a

1285
01:06:59,600 --> 01:07:01,760
Speaker 2: goal or at least I assumed. So half the time

1286
01:07:01,840 --> 01:07:03,680
Speaker 2: you wind up in places that you didn't plan on.

1287
01:07:03,760 --> 01:07:06,160
Speaker 2: It just happens to you. Yeah, So how did you

1288
01:07:07,040 --> 01:07:10,280
Speaker 2: even get involved in the world of scoring?

1289
01:07:11,120 --> 01:07:11,280
Speaker 3: Man?

1290
01:07:11,320 --> 01:07:11,600
Speaker 2: You know what?

1291
01:07:11,800 --> 01:07:13,760
Speaker 3: You know, I'm glad you asked that question, man, because

1292
01:07:13,800 --> 01:07:15,680
Speaker 3: I've you know, I've been asked that question a lot

1293
01:07:16,080 --> 01:07:20,280
Speaker 3: of well, not that question, I've been asked what's you know,

1294
01:07:20,320 --> 01:07:22,560
Speaker 3: what would you tell young composers? And I'm always at

1295
01:07:22,560 --> 01:07:25,720
Speaker 3: a loss because I'm like, Man, I wasn't looking for this,

1296
01:07:25,800 --> 01:07:28,480
Speaker 3: and it just fell in my lap. You know. We

1297
01:07:28,480 --> 01:07:31,000
Speaker 3: were doing the pre recorded music for More Better Blues

1298
01:07:31,040 --> 01:07:34,640
Speaker 3: for the actors to act to, you know, and I

1299
01:07:34,680 --> 01:07:37,160
Speaker 3: was getting ready to do my first record solo project.

1300
01:07:37,200 --> 01:07:39,960
Speaker 3: I was just telling you about for George Butler Columbia Records.

1301
01:07:40,760 --> 01:07:42,880
Speaker 3: So I had written a song man for the Kids

1302
01:07:42,920 --> 01:07:46,200
Speaker 3: that were mastered in South Africa. It was called Cincuuato.

1303
01:07:46,480 --> 01:07:49,720
Speaker 3: And we had taken a break in the studio and

1304
01:07:49,760 --> 01:07:51,520
Speaker 3: I was playing it on the piano and Spike walk

1305
01:07:51,600 --> 01:07:52,960
Speaker 3: by and he heard it and he said, man, what

1306
01:07:53,120 --> 01:07:54,840
Speaker 3: is that. I said, oh, man, this is this thing

1307
01:07:54,880 --> 01:07:58,200
Speaker 3: called Sincsuato. He goes, can I use it? I go, yeah, yeah, sure.

1308
01:07:58,360 --> 01:08:00,520
Speaker 3: And we just recorded it just as a soul trumpet

1309
01:08:00,520 --> 01:08:04,360
Speaker 3: piece back then and the Denzel shot the scene and

1310
01:08:04,360 --> 01:08:07,439
Speaker 3: it's a scene when he's on the bridge plane right right.

1311
01:08:07,800 --> 01:08:10,440
Speaker 3: And then uh, they got to they got back to

1312
01:08:10,480 --> 01:08:12,920
Speaker 3: the editing room. Spike was trying to fill it in.

1313
01:08:13,040 --> 01:08:16,080
Speaker 3: He put tin and it still wasn't really making what

1314
01:08:16,120 --> 01:08:18,439
Speaker 3: wasn't doing what he wanted to do. So then he

1315
01:08:18,520 --> 01:08:19,960
Speaker 3: came back to me and he said, hey, man, you

1316
01:08:20,000 --> 01:08:22,439
Speaker 3: think you could write a string arrangement for this? You know?

1317
01:08:22,840 --> 01:08:25,679
Speaker 3: And I always tell my students that's the moment. Well,

1318
01:08:25,760 --> 01:08:32,439
Speaker 3: you know, you lie, you know, And I said absolutely, hell, yeah,

1319
01:08:32,479 --> 01:08:34,080
Speaker 3: I can write the arrange before it, you know what

1320
01:08:34,160 --> 01:08:38,760
Speaker 3: I mean. So, I mean what I did to calling

1321
01:08:38,840 --> 01:08:42,960
Speaker 3: my teacher, man, and you got to tell me what

1322
01:08:43,040 --> 01:08:44,960
Speaker 3: to do. Dude, you know you.

1323
01:08:44,880 --> 01:08:46,720
Speaker 5: Had never done it before. You had no clue of

1324
01:08:46,720 --> 01:08:49,440
Speaker 5: how to do it. Friday, No, man, Wow.

1325
01:08:49,640 --> 01:08:52,400
Speaker 3: I studied composition, you know what I mean. But but

1326
01:08:52,400 --> 01:08:54,479
Speaker 3: but I never had to do that. And as a

1327
01:08:54,479 --> 01:08:55,960
Speaker 3: matter of fact, that's what he told me, he said,

1328
01:08:55,960 --> 01:08:57,880
Speaker 3: trust the training. I was like, dude, that's not the

1329
01:08:57,920 --> 01:08:58,720
Speaker 3: answer I was looking for.

1330
01:09:00,080 --> 01:09:05,920
Speaker 2: Wait, so there's there's a musical motif of yours that

1331
01:09:05,960 --> 01:09:10,320
Speaker 2: I've heard in at least three or four of Spikes films.

1332
01:09:11,680 --> 01:09:14,240
Speaker 2: I'm this could be it. I've been looking for it

1333
01:09:14,280 --> 01:09:17,439
Speaker 2: for starters, like I'm mad that with the exception of

1334
01:09:17,520 --> 01:09:22,240
Speaker 2: Malcolm X, like most of your Spike scores are not available.

1335
01:09:23,160 --> 01:09:26,360
Speaker 2: What is the name of the song that is do

1336
01:09:26,400 --> 01:09:31,400
Speaker 2: the Right Thing? It's in Mo Better, It's also in

1337
01:09:31,520 --> 01:09:34,680
Speaker 2: Malcolm X. But I can never find anywhere. But it's like, uh,

1338
01:09:42,640 --> 01:09:47,960
Speaker 2: it's like Spike has used this at least in ten music.

1339
01:09:47,760 --> 01:09:49,559
Speaker 3: Cues Malcolm X.

1340
01:09:50,360 --> 01:09:56,240
Speaker 2: But how come that is not It's not anywhere that's available.

1341
01:09:56,479 --> 01:09:59,040
Speaker 3: Yeah, but what you're probably singing is the jazz version.

1342
01:09:59,360 --> 01:10:01,559
Speaker 3: There's another some other versions of it.

1343
01:10:01,640 --> 01:10:05,000
Speaker 2: And then I've heard it as instrumental, I've heard as strings.

1344
01:10:05,040 --> 01:10:05,920
Speaker 2: I've heard it as.

1345
01:10:06,400 --> 01:10:09,720
Speaker 3: Yeah that stuff that you're right, that stuff listen that

1346
01:10:09,880 --> 01:10:13,080
Speaker 3: that's that's a big thing. You know, I've been you know,

1347
01:10:13,080 --> 01:10:16,200
Speaker 3: I was talking to a publisher about about that recently

1348
01:10:16,200 --> 01:10:19,400
Speaker 3: as a matter of fact, about trying to do something too,

1349
01:10:19,800 --> 01:10:22,200
Speaker 3: because people have been asking me about that. You know, Yeah,

1350
01:10:23,439 --> 01:10:25,280
Speaker 3: when you start to think about your legacy for your

1351
01:10:25,360 --> 01:10:28,240
Speaker 3: kids and everything like that, and you know now that

1352
01:10:28,280 --> 01:10:32,160
Speaker 3: we've reached this benchmark working together for thirty years, which

1353
01:10:32,200 --> 01:10:35,760
Speaker 3: is something we didn't really realize.

1354
01:10:36,439 --> 01:10:36,479
Speaker 4: No.

1355
01:10:36,640 --> 01:10:40,040
Speaker 3: A couple of years ago when we now, a journalist

1356
01:10:40,120 --> 01:10:41,880
Speaker 3: asked us a question, how does it feel to be

1357
01:10:41,880 --> 01:10:44,479
Speaker 3: working together for thirty years? We're like, thirty years?

1358
01:10:44,800 --> 01:10:45,040
Speaker 2: Has it?

1359
01:10:45,080 --> 01:10:45,920
Speaker 8: Has it been that long?

1360
01:10:47,479 --> 01:10:50,120
Speaker 3: But you know, I was thinking about exactly that bro

1361
01:10:50,400 --> 01:10:52,040
Speaker 3: about trying to.

1362
01:10:52,000 --> 01:10:54,160
Speaker 2: I need I need a box set. I need a

1363
01:10:54,200 --> 01:10:58,599
Speaker 2: box set for real, your entire history, every music cue

1364
01:10:59,560 --> 01:11:02,800
Speaker 2: with with with Spike, or at least just you're your

1365
01:11:02,960 --> 01:11:06,280
Speaker 2: entire story, because even the non Spike stuff you've done.

1366
01:11:06,400 --> 01:11:09,479
Speaker 4: But can we can ask you though you and Spike,

1367
01:11:09,960 --> 01:11:11,800
Speaker 4: can you just tell us the quick quickness of that

1368
01:11:11,920 --> 01:11:14,160
Speaker 4: story and how y'all even connected, because.

1369
01:11:14,160 --> 01:11:17,439
Speaker 3: Well, you know, we connected just because, Uh. There was

1370
01:11:17,560 --> 01:11:20,360
Speaker 3: a musician named Harold Big jazz musician who was friends

1371
01:11:20,400 --> 01:11:25,760
Speaker 3: with his father, and he wanted to put together a

1372
01:11:25,800 --> 01:11:30,000
Speaker 3: group of musicians that were young and old for these

1373
01:11:30,040 --> 01:11:32,080
Speaker 3: sessions to do the right thing in school days and

1374
01:11:32,120 --> 01:11:36,160
Speaker 3: all of that stuff. So I think it was school days.

1375
01:11:36,520 --> 01:11:38,360
Speaker 3: So he hired a bunch of us, you know, to

1376
01:11:38,360 --> 01:11:41,080
Speaker 3: play on it. And as a matter of fact, there's

1377
01:11:41,120 --> 01:11:44,759
Speaker 3: a video man that's floating around of one of the sessions.

1378
01:11:44,800 --> 01:11:46,920
Speaker 3: It's like, who's who in jazz at the time in

1379
01:11:46,960 --> 01:11:50,280
Speaker 3: New York City. It's pretty crazy and I'll never forget it.

1380
01:11:50,320 --> 01:11:52,080
Speaker 4: Did who were there tell us about it?

1381
01:11:52,760 --> 01:11:54,439
Speaker 3: Just a lot of local guys, you know, you know,

1382
01:11:54,560 --> 01:11:57,320
Speaker 3: branfa was there, Jon Faddis was there. You know, a

1383
01:11:57,880 --> 01:11:59,880
Speaker 3: bunch of folks. But I remember, man, I was a

1384
01:12:00,200 --> 01:12:02,639
Speaker 3: Lakers fan, right so, and man, it had just beat

1385
01:12:02,680 --> 01:12:06,120
Speaker 3: the Celtics birth. So I walk into the first session.

1386
01:12:06,160 --> 01:12:10,000
Speaker 3: But I got my hat, I got my teacher, I

1387
01:12:10,040 --> 01:12:15,479
Speaker 3: got my purple gold converse on, and I don't really

1388
01:12:15,560 --> 01:12:18,720
Speaker 3: know Spike, oh God, at all, you know. So I

1389
01:12:18,800 --> 01:12:20,479
Speaker 3: walk in and he just looked me up and down

1390
01:12:20,520 --> 01:12:22,280
Speaker 3: and goes, Lakers fan.

1391
01:12:22,400 --> 01:12:29,640
Speaker 2: Huh uh boy.

1392
01:12:29,680 --> 01:12:32,080
Speaker 3: What's up? Man? You know, come on the next thing?

1393
01:12:32,120 --> 01:12:33,880
Speaker 3: You know, Man, he had me how take him back?

1394
01:12:34,560 --> 01:12:34,800
Speaker 2: You know?

1395
01:12:36,320 --> 01:12:38,840
Speaker 4: So how did how did that narrow down? Though, Terrence?

1396
01:12:38,840 --> 01:12:41,080
Speaker 4: Because you said it was a room full of musicians,

1397
01:12:41,080 --> 01:12:45,280
Speaker 4: dope musicians, local musicians, mister Lee, But somehow it narrowed

1398
01:12:45,320 --> 01:12:47,080
Speaker 4: down to just Spike in Terrence.

1399
01:12:47,600 --> 01:12:49,840
Speaker 3: Well that happened when we started to do what was

1400
01:12:49,840 --> 01:12:52,880
Speaker 3: a couple of things that happened. You know, Lenny White

1401
01:12:53,080 --> 01:12:55,680
Speaker 3: had he was he had this all girl band. I

1402
01:12:55,720 --> 01:12:57,599
Speaker 3: forgot the name of the group and he wanted Myles

1403
01:12:57,680 --> 01:12:59,800
Speaker 3: to play on this track. He couldn't get my mouse,

1404
01:12:59,800 --> 01:13:01,840
Speaker 3: so he asked me to play a needed thing on

1405
01:13:01,920 --> 01:13:05,080
Speaker 3: it and Spike used it in the in the song.

1406
01:13:05,720 --> 01:13:08,120
Speaker 3: So Spike found out that that was me that played

1407
01:13:08,120 --> 01:13:10,160
Speaker 3: the solo. So then we kind of connected on that

1408
01:13:10,760 --> 01:13:12,679
Speaker 3: and then when it came time to do the right thing,

1409
01:13:12,760 --> 01:13:14,760
Speaker 3: we kind of just connected a little bit together. But

1410
01:13:14,800 --> 01:13:17,479
Speaker 3: it really happened on mot of Blues when we were

1411
01:13:17,479 --> 01:13:20,559
Speaker 3: doing those pre records and we started doing pre records

1412
01:13:20,560 --> 01:13:23,719
Speaker 3: and hearing me playing the piano, that's when everything started

1413
01:13:23,720 --> 01:13:24,960
Speaker 3: to turn around.

1414
01:13:24,880 --> 01:13:25,120
Speaker 2: You know.

1415
01:13:25,360 --> 01:13:28,479
Speaker 3: And it's been an interesting journey with my brother. Man.

1416
01:13:28,640 --> 01:13:32,439
Speaker 3: You know he is. He's brilliant man beyond belief. He's

1417
01:13:32,520 --> 01:13:35,760
Speaker 3: loyal beyond belief. And one of the things I got

1418
01:13:35,760 --> 01:13:37,439
Speaker 3: to tell you guys, Man, a lot of people don't

1419
01:13:37,479 --> 01:13:40,680
Speaker 3: really notice man, but that dude fights for people. I

1420
01:13:40,720 --> 01:13:45,200
Speaker 3: believe he fights for people, man, And I've never seen

1421
01:13:45,280 --> 01:13:50,920
Speaker 3: him miss an opportunity to to to fight for African

1422
01:13:50,960 --> 01:13:53,960
Speaker 3: American artists or like when we were in London, Man,

1423
01:13:54,320 --> 01:13:58,320
Speaker 3: you know, we were at the Baptist and I'm drawing

1424
01:13:58,320 --> 01:14:02,439
Speaker 3: a blank on my man's name. They did the movie

1425
01:14:03,960 --> 01:14:12,479
Speaker 3: about the rock and roll singer. Yeah, but what was

1426
01:14:12,479 --> 01:14:13,920
Speaker 3: the guy who played played the character?

1427
01:14:16,120 --> 01:14:16,320
Speaker 2: Yeah?

1428
01:14:17,680 --> 01:14:23,519
Speaker 3: When Rommy won Best Actor at the Bafts, you would

1429
01:14:23,520 --> 01:14:27,880
Speaker 3: have thought spiked one. He jumped up and he was

1430
01:14:28,000 --> 01:14:31,719
Speaker 3: so happy for Rommi. You know what I mean, because

1431
01:14:31,920 --> 01:14:34,320
Speaker 3: you know, we're just trying to break down these barriers, man,

1432
01:14:34,360 --> 01:14:38,120
Speaker 3: and create equal opportunities for a lot of people. You know,

1433
01:14:38,439 --> 01:14:42,080
Speaker 3: we Man, we'd be in interviews together and people would

1434
01:14:42,120 --> 01:14:44,640
Speaker 3: ask me a controversial question in l A and he

1435
01:14:44,680 --> 01:14:46,920
Speaker 3: would grab me and he goes, don't answer that. He said,

1436
01:14:46,960 --> 01:14:48,439
Speaker 3: let me answer that, because you got to work in

1437
01:14:48,439 --> 01:14:53,559
Speaker 3: this town. He's always doing stuff like that. A lot

1438
01:14:53,560 --> 01:14:57,639
Speaker 3: of people don't really realize that. And he's listen. I've

1439
01:14:57,680 --> 01:15:00,920
Speaker 3: met people who have come to me and said, Man,

1440
01:15:01,040 --> 01:15:03,600
Speaker 3: spikers are big as advocate. He's been fighting for you

1441
01:15:03,720 --> 01:15:05,240
Speaker 3: to get these nominations for me.

1442
01:15:07,040 --> 01:15:08,120
Speaker 7: So so dope. Man.

1443
01:15:08,280 --> 01:15:09,320
Speaker 2: Yeah, I voted for you.

1444
01:15:09,320 --> 01:15:10,880
Speaker 3: You do, thank you, Thank you?

1445
01:15:10,920 --> 01:15:16,320
Speaker 2: I voted. Hey, I have two uh better questions for you.

1446
01:15:16,960 --> 01:15:22,439
Speaker 2: One were you Denzel's teacher as far as the fingering

1447
01:15:22,520 --> 01:15:24,600
Speaker 2: all that stuff? How long did that take? What was

1448
01:15:24,640 --> 01:15:26,639
Speaker 2: the process like? And now fast man?

1449
01:15:26,680 --> 01:15:28,960
Speaker 3: You know we had to learn because at first, I

1450
01:15:28,960 --> 01:15:30,680
Speaker 3: mean I had never done that before. So at first

1451
01:15:30,720 --> 01:15:32,600
Speaker 3: I started making like little videos for him and I

1452
01:15:32,600 --> 01:15:34,800
Speaker 3: would send him to him out of LA and that

1453
01:15:34,960 --> 01:15:37,360
Speaker 3: was kind of helpful. But we got him a teacher

1454
01:15:37,360 --> 01:15:39,360
Speaker 3: out in LA just to show him how to buzz.

1455
01:15:40,000 --> 01:15:42,559
Speaker 3: And then when we when he came to New York,

1456
01:15:42,960 --> 01:15:47,200
Speaker 3: New York, what I figured out was, you know, hey, man,

1457
01:15:47,280 --> 01:15:49,519
Speaker 3: I need to write out the fingerings just on a

1458
01:15:49,560 --> 01:15:52,559
Speaker 3: piece of paper. So for all of the tunes, he

1459
01:15:52,680 --> 01:15:55,120
Speaker 3: had like sheets of paper with just the fingers. So

1460
01:15:55,200 --> 01:15:57,559
Speaker 3: between learning how the buzz and the fingers, he actually

1461
01:15:57,640 --> 01:15:59,360
Speaker 3: kind of learned how to play all with the melodies.

1462
01:15:59,760 --> 01:16:02,639
Speaker 4: You know, So really, what's buzzing?

1463
01:16:04,000 --> 01:16:05,840
Speaker 8: Just when you take this the mouthpiece.

1464
01:16:08,600 --> 01:16:10,360
Speaker 3: Trying to get a sound on. That's how you get

1465
01:16:10,400 --> 01:16:11,400
Speaker 3: a sound out of producing.

1466
01:16:11,600 --> 01:16:13,559
Speaker 2: So is that him playing one again? Never?

1467
01:16:20,400 --> 01:16:21,000
Speaker 3: You know what that is?

1468
01:16:21,360 --> 01:16:22,559
Speaker 2: That's my worst nightmare?

1469
01:16:22,720 --> 01:16:23,759
Speaker 3: You know what that is?

1470
01:16:23,800 --> 01:16:24,000
Speaker 2: What?

1471
01:16:24,320 --> 01:16:26,600
Speaker 3: First of all, you had to be there. It was

1472
01:16:26,680 --> 01:16:29,920
Speaker 3: hilarious because we started when we started doing takes, Spike

1473
01:16:30,000 --> 01:16:31,840
Speaker 3: up saying it's not messed up from Ugh, Man, it's

1474
01:16:31,840 --> 01:16:36,600
Speaker 3: not the one right in front of me, man. And

1475
01:16:36,640 --> 01:16:38,760
Speaker 3: what I started to do was I started to move

1476
01:16:38,800 --> 01:16:41,559
Speaker 3: to trumpet off to the side of my left where

1477
01:16:41,560 --> 01:16:45,200
Speaker 3: I could never really play r really tried to play right.

1478
01:16:45,479 --> 01:16:50,200
Speaker 3: So that's what you hear, man, I'm telling you.

1479
01:16:51,640 --> 01:16:56,720
Speaker 2: In the history of cinema short of maybe like a

1480
01:16:56,920 --> 01:17:02,439
Speaker 2: Sault film or or anything any of those like extreme, wory, violent,

1481
01:17:03,120 --> 01:17:12,400
Speaker 2: like the movie that is my worst in.

1482
01:17:12,360 --> 01:17:13,920
Speaker 4: Your mouth with your own instrument.

1483
01:17:14,000 --> 01:17:16,920
Speaker 2: That's not if that that leads to it, gonna get

1484
01:17:16,920 --> 01:17:20,720
Speaker 2: you a drune that that leads to it. Yes, But

1485
01:17:20,840 --> 01:17:22,680
Speaker 2: my second question, my.

1486
01:17:22,640 --> 01:17:24,840
Speaker 3: Second we need to do for that movie. What what

1487
01:17:25,000 --> 01:17:29,000
Speaker 3: the lobby spike because I know it's sitting around somewhere.

1488
01:17:29,720 --> 01:17:32,200
Speaker 3: We need to have him find the outtakes of Robin.

1489
01:17:32,960 --> 01:17:34,519
Speaker 2: Yes, I was gonna ask you.

1490
01:17:34,800 --> 01:17:36,599
Speaker 5: I was gonna ask you did you have any interactions

1491
01:17:36,600 --> 01:17:37,720
Speaker 5: with Robin while you on the set?

1492
01:17:37,800 --> 01:17:39,679
Speaker 3: He was He was a sweetheart. He was a nice guy.

1493
01:17:39,680 --> 01:17:42,559
Speaker 3: But let me just tell you this. Everybody would shoot

1494
01:17:42,560 --> 01:17:44,680
Speaker 3: that scenes and other dudes will be in a trailers.

1495
01:17:45,000 --> 01:17:46,679
Speaker 3: Robin Harris would shoot his scene.

1496
01:17:47,280 --> 01:17:47,719
Speaker 8: Everybody.

1497
01:17:47,720 --> 01:17:53,120
Speaker 3: Everybody was on set, everybody every single time was on set.

1498
01:17:53,240 --> 01:17:55,840
Speaker 4: And hurry up and ask your question to me. I

1499
01:17:55,880 --> 01:17:57,599
Speaker 4: want to ask Hi about that after party scene. Come on,

1500
01:17:57,640 --> 01:17:58,080
Speaker 4: can we come on?

1501
01:17:59,040 --> 01:18:03,200
Speaker 2: Okay, Well, I have a question. I asked Brand for

1502
01:18:03,320 --> 01:18:06,800
Speaker 2: this on his episode, but his answer didn't satisfy me

1503
01:18:06,920 --> 01:18:09,719
Speaker 2: enough because I want to know the science of the scene.

1504
01:18:10,240 --> 01:18:15,240
Speaker 2: So at the very beginning when they're doing say, hey, yeah,

1505
01:18:15,760 --> 01:18:19,640
Speaker 2: there's there's a really genius point, you know where Shadows

1506
01:18:19,640 --> 01:18:23,280
Speaker 2: sort of interjects and and takes over the song keeps

1507
01:18:24,200 --> 01:18:28,799
Speaker 2: or no, no, no, where Denzel's character prevents Wesley Snipe's

1508
01:18:28,880 --> 01:18:33,320
Speaker 2: character from hogging up the solo spot. And but to me,

1509
01:18:34,400 --> 01:18:37,800
Speaker 2: that moment of interruption was so authentic, and you guys

1510
01:18:37,920 --> 01:18:40,439
Speaker 2: kept it on the soundtrack sort of the messed up

1511
01:18:41,840 --> 01:18:46,599
Speaker 2: and that part where how how was that choreographed? Because

1512
01:18:47,200 --> 01:18:49,559
Speaker 2: it wasn't like they had to shoot that scene first

1513
01:18:49,600 --> 01:18:54,040
Speaker 2: and you guys are in post following them, so like, no,

1514
01:18:54,080 --> 01:18:55,760
Speaker 2: but it's so spot on, imperfect.

1515
01:18:55,920 --> 01:18:57,840
Speaker 3: Yeah. No, we just did it in the studio, man,

1516
01:18:57,880 --> 01:19:00,760
Speaker 3: I remember, you know we we did a couple of

1517
01:19:00,840 --> 01:19:02,880
Speaker 3: takes of it, you know where Branford would just play

1518
01:19:03,400 --> 01:19:05,600
Speaker 3: then all of a sudden, I would just interrupt.

1519
01:19:06,479 --> 01:19:08,840
Speaker 2: And whose idea was that? To make sure that it

1520
01:19:08,880 --> 01:19:11,160
Speaker 2: happens on the soundtrack of all things?

1521
01:19:11,600 --> 01:19:13,360
Speaker 3: Oh, on the soundtrack. You know what that's that's a

1522
01:19:13,360 --> 01:19:16,400
Speaker 3: good question. Yeah, well, back then we were trying to

1523
01:19:16,439 --> 01:19:18,479
Speaker 3: just make sure that whatever we put on the soundtrack

1524
01:19:18,600 --> 01:19:21,639
Speaker 3: was kind of authentic and true to what people saw

1525
01:19:21,720 --> 01:19:23,839
Speaker 3: on the screen. I know a lot of times people

1526
01:19:24,240 --> 01:19:27,360
Speaker 3: take alternate takes and put on the soundtracks, but you know,

1527
01:19:27,439 --> 01:19:29,839
Speaker 3: Spike wanted people to experience see.

1528
01:19:30,320 --> 01:19:32,679
Speaker 2: And I thought that was such a bold move because

1529
01:19:32,800 --> 01:19:36,280
Speaker 2: it's like, even without context. I always wondered like people

1530
01:19:36,760 --> 01:19:39,559
Speaker 2: for the few people that like just had the soundtrack

1531
01:19:39,600 --> 01:19:42,200
Speaker 2: or heard the soundtrack without knowing the context for which

1532
01:19:42,880 --> 01:19:47,800
Speaker 2: that occurred. But for me, hearing that mistake on there

1533
01:19:47,960 --> 01:19:50,760
Speaker 2: was definitely like one of the key moments where like,

1534
01:19:51,240 --> 01:19:54,760
Speaker 2: you know a lot of my trademarks of what I

1535
01:19:54,800 --> 01:20:01,559
Speaker 2: do musically is quote sounding messed up, But hearing that

1536
01:20:01,760 --> 01:20:04,400
Speaker 2: was just like such a come to Jesus moment, like,

1537
01:20:04,479 --> 01:20:06,960
Speaker 2: oh you can you could purposely fuck up on the

1538
01:20:07,000 --> 01:20:08,080
Speaker 2: record and it'd be cool.

1539
01:20:08,160 --> 01:20:11,000
Speaker 3: Like I don't know, you know what I break used

1540
01:20:11,000 --> 01:20:12,639
Speaker 3: to say, Man, I break you to say, I try

1541
01:20:12,640 --> 01:20:15,040
Speaker 3: to make my drum sauce sound like a set of

1542
01:20:15,120 --> 01:20:16,759
Speaker 3: drums falling down the flight of stairs.

1543
01:20:18,400 --> 01:20:25,240
Speaker 2: Wow. Wow Wow. So with ask your uh uh after

1544
01:20:25,280 --> 01:20:27,360
Speaker 2: party because I want to ask another scoring.

1545
01:20:27,600 --> 01:20:29,439
Speaker 4: I just wanted to have how many moments you had

1546
01:20:29,439 --> 01:20:32,160
Speaker 4: where they were like So in the after party moment,

1547
01:20:33,080 --> 01:20:35,120
Speaker 4: one of the famous scenes about you know, get the

1548
01:20:35,120 --> 01:20:36,639
Speaker 4: people what they want. If you play shit, the people

1549
01:20:36,680 --> 01:20:37,799
Speaker 4: like people to our.

1550
01:20:37,680 --> 01:20:39,160
Speaker 8: People will come, The people will come.

1551
01:20:39,720 --> 01:20:42,720
Speaker 4: Who is who is Tarrece Blanchard in that conversation?

1552
01:20:43,400 --> 01:20:48,040
Speaker 3: Huh that's interesting. Well, I'm I'm definitely not totally in

1553
01:20:48,080 --> 01:20:50,920
Speaker 3: that direction, but I was just one thing I will say,

1554
01:20:51,280 --> 01:20:52,960
Speaker 3: And I got this from All Break and he said,

1555
01:20:53,000 --> 01:20:55,519
Speaker 3: never play above your audience, never played beneath him. Just

1556
01:20:55,560 --> 01:20:58,200
Speaker 3: play straight to him, you know. And that's what I

1557
01:20:58,280 --> 01:21:00,679
Speaker 3: firmly believe. I think there has to be a combination

1558
01:21:00,800 --> 01:21:01,639
Speaker 3: of both things.

1559
01:21:01,920 --> 01:21:02,160
Speaker 2: You know.

1560
01:21:02,720 --> 01:21:05,200
Speaker 3: I don't want to be that jazz musician, so ericant

1561
01:21:05,200 --> 01:21:07,080
Speaker 3: to always think that people have to come up to

1562
01:21:07,120 --> 01:21:09,559
Speaker 3: my level to experience what it is that I do.

1563
01:21:09,880 --> 01:21:14,600
Speaker 3: No right, it makes no sense, you know. So for me,

1564
01:21:14,680 --> 01:21:18,120
Speaker 3: I try to create music that helps heal souls and

1565
01:21:18,200 --> 01:21:20,280
Speaker 3: helps to kind of change some hearts and minds about

1566
01:21:20,640 --> 01:21:22,320
Speaker 3: it's a issue. So if I got to come to you,

1567
01:21:22,360 --> 01:21:23,240
Speaker 3: that's what I'm gonna do.

1568
01:21:24,479 --> 01:21:26,479
Speaker 4: And what's pop top forty fun to make.

1569
01:21:27,040 --> 01:21:30,160
Speaker 3: Oh man, we've been we've we've done these shows around

1570
01:21:30,160 --> 01:21:33,440
Speaker 3: the world and a lot of different countries with orchestras,

1571
01:21:34,120 --> 01:21:38,040
Speaker 3: and the shows of the shows are the music of

1572
01:21:38,120 --> 01:21:41,000
Speaker 3: Spike me and we have visuals and we'll bring we'll

1573
01:21:41,040 --> 01:21:43,599
Speaker 3: bring vocalists out and sing all of the songs and stuff.

1574
01:21:44,160 --> 01:21:46,080
Speaker 4: And they're very hard to get into.

1575
01:21:46,200 --> 01:21:50,080
Speaker 2: Terrence, Yes, that's one of the hits people, Booty booty, booty,

1576
01:21:50,080 --> 01:21:59,200
Speaker 2: titty titty. But how sorry, how how when you're presented

1577
01:21:59,640 --> 01:22:02,960
Speaker 2: with a new challenge, a new.

1578
01:22:02,800 --> 01:22:07,880
Speaker 5: Project, how long does it take you to.

1579
01:22:09,520 --> 01:22:13,559
Speaker 2: Even begin to craft? What is it going to be?

1580
01:22:14,200 --> 01:22:16,400
Speaker 2: Or is it so shotgun where it's like a gun

1581
01:22:16,439 --> 01:22:19,320
Speaker 2: to your head you're giving it daily and in three

1582
01:22:19,400 --> 01:22:21,000
Speaker 2: weeks you got to come up with something.

1583
01:22:21,720 --> 01:22:24,599
Speaker 3: And you know, man, you know what it's brou It's

1584
01:22:24,600 --> 01:22:27,160
Speaker 3: gotten to the point now where I just tell myself

1585
01:22:27,240 --> 01:22:29,759
Speaker 3: just start, just start, you know what I mean? Because

1586
01:22:29,760 --> 01:22:32,479
Speaker 3: I used to freak out and try to overthink things

1587
01:22:32,560 --> 01:22:34,400
Speaker 3: a lot of times. Man, And when you sit down

1588
01:22:34,520 --> 01:22:37,840
Speaker 3: thinking too much, you're not really accomplishing anything. That's why

1589
01:22:38,439 --> 01:22:42,519
Speaker 3: when I'm not working, when I'm in between like projects, bruh,

1590
01:22:42,560 --> 01:22:44,800
Speaker 3: that's when I'm doing my homework on my plugins, on

1591
01:22:44,920 --> 01:22:47,800
Speaker 3: my sound design, on everything that I need to do,

1592
01:22:47,880 --> 01:22:49,840
Speaker 3: so when it's time for me to work, I could

1593
01:22:49,880 --> 01:22:51,800
Speaker 3: just go ahead and do certain things, you know what

1594
01:22:51,840 --> 01:22:55,439
Speaker 3: I mean. So for example, you know, I'm working on

1595
01:22:55,439 --> 01:22:59,000
Speaker 3: a project and I needed to craft a certain type

1596
01:22:59,000 --> 01:23:02,960
Speaker 3: of thing for the shell. And the first start to

1597
01:23:03,040 --> 01:23:05,040
Speaker 3: my mind was, oh, I need these types of drums.

1598
01:23:05,080 --> 01:23:06,719
Speaker 3: Let me get these drums up boom, and we start

1599
01:23:06,720 --> 01:23:09,400
Speaker 3: playing some rhythms. And once I start putting these rhythms

1600
01:23:09,439 --> 01:23:11,679
Speaker 3: in the next thing, you know, that's the sparkling idea

1601
01:23:11,720 --> 01:23:14,560
Speaker 3: of like, oh, I need to create this sequence baseline,

1602
01:23:14,560 --> 01:23:16,599
Speaker 3: so let me get in here and start messing around

1603
01:23:16,640 --> 01:23:19,799
Speaker 3: with the sequencer and the thing and put that together,

1604
01:23:20,280 --> 01:23:22,479
Speaker 3: and I need to have something in the middle. So

1605
01:23:22,600 --> 01:23:26,400
Speaker 3: it's almost like it's like putting together a puzzle, you know,

1606
01:23:26,840 --> 01:23:32,919
Speaker 3: but the puzzle is like specifically designed for whatever project

1607
01:23:32,960 --> 01:23:35,519
Speaker 3: that you're working on at the time, because all of

1608
01:23:35,560 --> 01:23:37,600
Speaker 3: the inspirations and this is the thing. Man, This is

1609
01:23:37,600 --> 01:23:39,599
Speaker 3: one of the things I aways telling my kids. I said, look, man,

1610
01:23:39,600 --> 01:23:42,480
Speaker 3: look at your craft, because you never know where inspirations

1611
01:23:42,520 --> 01:23:45,679
Speaker 3: don't come from. Sometimes it's rhythm, sometimes it's a melody.

1612
01:23:45,800 --> 01:23:49,800
Speaker 3: Sometimes it's just a sound. Sometimes it's a group of harmony,

1613
01:23:50,320 --> 01:23:53,360
Speaker 3: harmonic progressions. It could be a lot of different things,

1614
01:23:53,520 --> 01:23:56,280
Speaker 3: you know, but if you have your tools together, whatever

1615
01:23:56,360 --> 01:23:59,000
Speaker 3: it is, you'll be able to take it further and

1616
01:23:59,160 --> 01:24:03,840
Speaker 3: find what's fine. You've been able to flush the idea out.

1617
01:24:03,920 --> 01:24:07,160
Speaker 3: That's the thing that I always used to say, my my, my,

1618
01:24:07,160 --> 01:24:08,760
Speaker 3: my teacher used to tell me all the time. It's

1619
01:24:08,840 --> 01:24:11,120
Speaker 3: like whittling, you know, just chipping away at it.

1620
01:24:11,920 --> 01:24:16,800
Speaker 2: Okay, Spike Aside and our audience should know that you've

1621
01:24:16,800 --> 01:24:21,000
Speaker 2: done many a classic film. You've done sugar Hill, the

1622
01:24:21,040 --> 01:24:26,400
Speaker 2: Ink Well Eves by You, You've done Uh, you did

1623
01:24:26,400 --> 01:24:29,760
Speaker 2: you with uh what's your name?

1624
01:24:32,200 --> 01:24:33,720
Speaker 8: Angelina?

1625
01:24:35,520 --> 01:24:39,640
Speaker 2: Only I remember I believe that you did Friday or

1626
01:24:39,760 --> 01:24:44,839
Speaker 2: Next Friday with you what? What non Spike associated project

1627
01:24:46,040 --> 01:24:48,320
Speaker 2: was enjoyable to you?

1628
01:24:49,120 --> 01:24:52,360
Speaker 3: All of them? Man? Are you kidding? All of them?

1629
01:24:52,479 --> 01:24:55,360
Speaker 3: The Friday series is hilarious, you know what I mean?

1630
01:24:56,160 --> 01:24:59,360
Speaker 3: I mean, you know, watching Mike Man in those scenes

1631
01:24:59,400 --> 01:25:04,120
Speaker 3: I do this, those were fun, you know. Working with

1632
01:25:04,160 --> 01:25:08,960
Speaker 3: George Lucas on Redtails was fun. I mean, you know,

1633
01:25:09,200 --> 01:25:12,400
Speaker 3: it's it's about working with Caseon Lemons on Harriet. You know,

1634
01:25:12,479 --> 01:25:15,320
Speaker 3: we worked on some other things together, a bunch of

1635
01:25:15,360 --> 01:25:17,720
Speaker 3: movies together. The guy that I did Geo with is

1636
01:25:17,760 --> 01:25:21,519
Speaker 3: actually the guy that wrote the libretto for my first opera,

1637
01:25:21,880 --> 01:25:25,840
Speaker 3: Michael Christoffer. You know, doing Love and Basketball, that was

1638
01:25:25,880 --> 01:25:27,639
Speaker 3: like really a lot of fun. I had a great

1639
01:25:27,840 --> 01:25:30,720
Speaker 3: time doing that because for me, man, it's like it

1640
01:25:31,120 --> 01:25:32,920
Speaker 3: goes back to the thing I was telling you about earlier.

1641
01:25:32,960 --> 01:25:36,400
Speaker 3: It's about learning and expanding. You know, all of those

1642
01:25:37,040 --> 01:25:39,920
Speaker 3: all of those projects helped me to grow in a

1643
01:25:39,920 --> 01:25:43,160
Speaker 3: lot of different ways. You know, I'm not the guy

1644
01:25:43,200 --> 01:25:45,960
Speaker 3: that ever think that I have it together. You know,

1645
01:25:46,200 --> 01:25:50,599
Speaker 3: I'm always trying to acquire knowledge and experiences, you know,

1646
01:25:51,000 --> 01:25:53,240
Speaker 3: and I look at all of those things. What was

1647
01:25:53,280 --> 01:25:55,680
Speaker 3: the TV show that I did with Halle Barry Their

1648
01:25:55,760 --> 01:25:56,800
Speaker 3: eyes were watching God?

1649
01:25:57,200 --> 01:26:02,559
Speaker 4: Oh wow? Yeah, Michael, Yeah. You know, No, you don't

1650
01:26:02,560 --> 01:26:05,200
Speaker 4: do projects unless you really feel I'm Terrence.

1651
01:26:06,479 --> 01:26:08,519
Speaker 3: Just no sense of doing it. As a matter of fact.

1652
01:26:08,640 --> 01:26:11,000
Speaker 3: You know what's interesting about that. It was when I

1653
01:26:11,080 --> 01:26:13,160
Speaker 3: first got in the business, man, I had to turn

1654
01:26:13,200 --> 01:26:17,040
Speaker 3: down eleven scripts, you know, and I hated doing it,

1655
01:26:17,439 --> 01:26:19,559
Speaker 3: but I had to do it for a reason because

1656
01:26:19,960 --> 01:26:24,679
Speaker 3: you know, all of the Loving scripts were black films,

1657
01:26:25,040 --> 01:26:27,080
Speaker 3: you know. And one of the things that I tried

1658
01:26:27,120 --> 01:26:30,080
Speaker 3: to do was and they weren't you know, like Harriet

1659
01:26:30,080 --> 01:26:32,720
Speaker 3: Tublin or anything like that. You know. One of the

1660
01:26:32,760 --> 01:26:34,600
Speaker 3: things that I was trying to make a point to

1661
01:26:34,720 --> 01:26:36,840
Speaker 3: my agent at the time, it's different a to I

1662
01:26:36,840 --> 01:26:39,280
Speaker 3: have a different agent now, was I don't want you

1663
01:26:39,320 --> 01:26:42,040
Speaker 3: to see me that way. You know, I don't mind

1664
01:26:42,120 --> 01:26:45,839
Speaker 3: doing those films. I don't have a problem doing those pictures,

1665
01:26:46,120 --> 01:26:49,320
Speaker 3: but I'm turning them down because that's all you're bringing to.

1666
01:26:49,280 --> 01:26:50,920
Speaker 2: Me, you know what I mean.

1667
01:26:51,479 --> 01:26:53,280
Speaker 3: And you need to see me in such a way

1668
01:26:53,320 --> 01:26:56,720
Speaker 3: where anything should be on my table, not just that,

1669
01:26:57,520 --> 01:26:59,519
Speaker 3: you know. And and I paid a price for it.

1670
01:26:59,560 --> 01:27:02,439
Speaker 3: I didn't work for for a long time, you know

1671
01:27:02,439 --> 01:27:06,160
Speaker 3: what I mean. But I just felt like if I

1672
01:27:06,200 --> 01:27:08,519
Speaker 3: didn't take a stand, they will just see me as

1673
01:27:08,600 --> 01:27:14,280
Speaker 3: one thing. And I hated it because I wasn't trying

1674
01:27:14,280 --> 01:27:17,920
Speaker 3: to make an indictment on the films, you know, you

1675
01:27:17,960 --> 01:27:19,920
Speaker 3: see what I mean. It wasn't that I wasn't trying

1676
01:27:19,920 --> 01:27:22,000
Speaker 3: to make an indictment on the films. What I was

1677
01:27:22,000 --> 01:27:25,439
Speaker 3: saying about was to my agent, It's like, yo, dude, really,

1678
01:27:25,560 --> 01:27:27,599
Speaker 3: I mean, because I have a certain part it became comical.

1679
01:27:27,640 --> 01:27:31,439
Speaker 3: I'm like eleven scripts, dude, really really eleven.

1680
01:27:32,479 --> 01:27:35,559
Speaker 2: Any notable films that you had to turn down or

1681
01:27:35,600 --> 01:27:38,479
Speaker 2: that you've turned down that were like a damn. I

1682
01:27:38,479 --> 01:27:43,880
Speaker 2: didn't know that Avatar was going to be. I really

1683
01:27:43,920 --> 01:27:45,280
Speaker 2: wanted to do the Miles movie.

1684
01:27:45,479 --> 01:27:45,720
Speaker 3: You know.

1685
01:27:46,840 --> 01:27:54,479
Speaker 2: I was going to ask you you died you got no.

1686
01:27:54,920 --> 01:27:57,320
Speaker 5: Yeah, I think it was good to see when they

1687
01:27:57,320 --> 01:27:58,360
Speaker 5: were talking about doing it.

1688
01:27:58,400 --> 01:28:00,760
Speaker 3: You know, Miles listen, that's my hero. So I get

1689
01:28:00,800 --> 01:28:03,559
Speaker 3: it right, No, I want to be a part of it.

1690
01:28:04,800 --> 01:28:06,720
Speaker 5: Although I did like, I did like what Glass did

1691
01:28:06,760 --> 01:28:08,280
Speaker 5: for I mean, I didn't have no problems with the

1692
01:28:08,360 --> 01:28:10,720
Speaker 5: music I thought the movie was in, but I really

1693
01:28:10,720 --> 01:28:12,320
Speaker 5: did like what Glass did for that stuff.

1694
01:28:18,280 --> 01:28:22,799
Speaker 2: Okay, so scoring, I'm not. I'm not a full time scorer,

1695
01:28:22,960 --> 01:28:26,400
Speaker 2: so I'm not that deep in the poem, still in

1696
01:28:26,439 --> 01:28:29,719
Speaker 2: the shallow end of it and shout out to Spike

1697
01:28:29,760 --> 01:28:32,400
Speaker 2: who got me my first scoring thing with a commercial.

1698
01:28:32,600 --> 01:28:37,599
Speaker 2: But what I what I do notice is that I'm

1699
01:28:37,720 --> 01:28:39,600
Speaker 2: used to it now. But in the very beginning, I

1700
01:28:39,680 --> 01:28:43,160
Speaker 2: used to be frustrated because oftentimes you're having sort of

1701
01:28:43,200 --> 01:28:50,439
Speaker 2: creative uh direction conversations with people who aren't necessarily they

1702
01:28:50,439 --> 01:28:55,040
Speaker 2: don't speak the language. It's very frustrating. So but the

1703
01:28:55,120 --> 01:28:57,600
Speaker 2: thing is is that how do you handle Like I

1704
01:28:57,680 --> 01:29:00,360
Speaker 2: learned early and it's hard, especially hard for me because

1705
01:29:01,080 --> 01:29:03,679
Speaker 2: I learned early in scoring that drums get in the way.

1706
01:29:05,280 --> 01:29:08,519
Speaker 2: So I took drums. You know, if you're asking a

1707
01:29:08,560 --> 01:29:10,719
Speaker 2: drummer to score a film and then I take drums

1708
01:29:10,760 --> 01:29:13,439
Speaker 2: out of it. I've learned like to stay out of

1709
01:29:13,439 --> 01:29:16,360
Speaker 2: the dialogue's way and all those things. But now I

1710
01:29:16,439 --> 01:29:20,080
Speaker 2: kind of have a new system where, you know, I've

1711
01:29:20,160 --> 01:29:23,679
Speaker 2: dealt so much with with people, with people like knowing

1712
01:29:23,720 --> 01:29:26,000
Speaker 2: what they don't want as opposed to what they do want.

1713
01:29:26,640 --> 01:29:30,320
Speaker 2: Whereas I'll just ask them, Okay, you obviously have like

1714
01:29:30,920 --> 01:29:34,759
Speaker 2: something in your head five songs, Give me five songs

1715
01:29:34,760 --> 01:29:36,920
Speaker 2: in your head that you think fits the scene, and

1716
01:29:36,960 --> 01:29:40,080
Speaker 2: then I can craft around that and it makes it easy.

1717
01:29:40,120 --> 01:29:43,639
Speaker 2: But what's your what's your process in dealing with someone

1718
01:29:43,640 --> 01:29:47,760
Speaker 2: that doesn't speak the language, And kind of makes you

1719
01:29:47,800 --> 01:29:50,679
Speaker 2: go back, like what was your hardest task as a filmmaker?

1720
01:29:51,280 --> 01:29:53,639
Speaker 3: If you're gonna're gonna, we're not gonna go there.

1721
01:29:53,960 --> 01:30:00,479
Speaker 2: You know, that's all down to them, Like were you okay, Well,

1722
01:30:00,479 --> 01:30:02,639
Speaker 2: you had to go back and do something over again

1723
01:30:02,680 --> 01:30:03,200
Speaker 2: and over again.

1724
01:30:03,840 --> 01:30:08,360
Speaker 3: No, No, I've never had had that. It's more along

1725
01:30:08,400 --> 01:30:12,240
Speaker 3: the lines of just trying to find a baseline of communication,

1726
01:30:12,640 --> 01:30:15,080
Speaker 3: you know what I mean. Miles Game, who was my

1727
01:30:16,200 --> 01:30:18,080
Speaker 3: mentor in this business, that was the one thing that

1728
01:30:18,120 --> 01:30:19,800
Speaker 3: he told me. He said, that's what you're really being

1729
01:30:19,800 --> 01:30:22,639
Speaker 3: paid for. He said, listen man, we all can write

1730
01:30:22,720 --> 01:30:24,920
Speaker 3: music for film. You know what I mean. You know

1731
01:30:25,080 --> 01:30:28,320
Speaker 3: it's it's it's really about following the story and becoming

1732
01:30:28,320 --> 01:30:30,719
Speaker 3: a storyteller with your music. He said. The hard partner

1733
01:30:31,160 --> 01:30:32,680
Speaker 3: is just trying to figure out which way to go

1734
01:30:32,720 --> 01:30:34,679
Speaker 3: with that because a lot of times there's so many

1735
01:30:34,720 --> 01:30:37,280
Speaker 3: ways to deal with it. You know, you have to

1736
01:30:37,360 --> 01:30:40,439
Speaker 3: find that common ground with the person who's producing the project.

1737
01:30:40,720 --> 01:30:43,360
Speaker 3: And that's where you know. A good friend of mine,

1738
01:30:43,520 --> 01:30:47,440
Speaker 3: Mike Post, you know, he's a great TV Yeah. Yeah,

1739
01:30:47,479 --> 01:30:49,960
Speaker 3: Mike told me one time. He said, listen man, he

1740
01:30:50,080 --> 01:30:53,640
Speaker 3: had a project and he said he was having an

1741
01:30:53,680 --> 01:30:57,040
Speaker 3: issue talking to a director and I thought this was

1742
01:30:57,080 --> 01:30:59,360
Speaker 3: brilliant man. He said, man, why don't you come over

1743
01:30:59,400 --> 01:31:02,240
Speaker 3: to my studio? Yo, And Mike would just sit down

1744
01:31:02,240 --> 01:31:03,880
Speaker 3: and play a chord and say, all right, tell me

1745
01:31:03,920 --> 01:31:05,679
Speaker 3: what you feel, and then he would write it down.

1746
01:31:06,240 --> 01:31:08,120
Speaker 3: You can play another chord and say, tell me what

1747
01:31:08,200 --> 01:31:11,800
Speaker 3: you feel. And he created a baseline of communication. From

1748
01:31:11,840 --> 01:31:15,040
Speaker 3: that point of view, I try to do more of

1749
01:31:15,080 --> 01:31:17,400
Speaker 3: what you what you were just talking about. I mean,

1750
01:31:17,840 --> 01:31:21,720
Speaker 3: you know when I when I said, listen, tell me

1751
01:31:21,760 --> 01:31:24,360
Speaker 3: what it is that you're hearing. If you have a playlist,

1752
01:31:24,479 --> 01:31:29,000
Speaker 3: send me the playlist. You know what I mean. And

1753
01:31:28,680 --> 01:31:32,479
Speaker 3: and you're always trying to get at the core. But

1754
01:31:32,520 --> 01:31:35,479
Speaker 3: here's here's the here's the thing about it, though. You know,

1755
01:31:36,000 --> 01:31:39,320
Speaker 3: the people who are coming to you have to be

1756
01:31:39,439 --> 01:31:40,679
Speaker 3: open to stuff too.

1757
01:31:41,000 --> 01:31:42,240
Speaker 8: And they have to trust you.

1758
01:31:42,320 --> 01:31:45,200
Speaker 3: Yeah, they have to trust you, man. And when and

1759
01:31:45,240 --> 01:31:48,240
Speaker 3: when and when there isn't that trust, it can be rough.

1760
01:31:48,520 --> 01:31:48,720
Speaker 2: You know.

1761
01:31:49,000 --> 01:31:52,439
Speaker 3: Look but look man, but sometimes as a musician, you

1762
01:31:52,560 --> 01:31:55,200
Speaker 3: gotta you gotta open up your eyes to listen. I

1763
01:31:55,360 --> 01:32:00,800
Speaker 3: just worked with Regina King on Miami Miami, right, And

1764
01:32:01,479 --> 01:32:03,719
Speaker 3: you know when we first started talking about the score.

1765
01:32:03,880 --> 01:32:06,200
Speaker 3: You know, I had pitched a lot of different ideas

1766
01:32:06,600 --> 01:32:08,920
Speaker 3: to her and I sentiment she said, well no, I

1767
01:32:09,360 --> 01:32:11,000
Speaker 3: kept thinking, she said, I think it should be just

1768
01:32:11,040 --> 01:32:14,120
Speaker 3: like one instrument. I kept pitching these other ideas to

1769
01:32:14,160 --> 01:32:17,800
Speaker 3: her and she and looked to her credit, she checked

1770
01:32:17,800 --> 01:32:20,000
Speaker 3: it all out, listened to everything, you know, and then

1771
01:32:20,080 --> 01:32:21,960
Speaker 3: she said, you know, because you know, it was the

1772
01:32:22,000 --> 01:32:24,639
Speaker 3: first time doing it, you know, first time recom there.

1773
01:32:25,040 --> 01:32:27,040
Speaker 3: So she went through the process and she said, yeah,

1774
01:32:27,040 --> 01:32:29,960
Speaker 3: but I'm still feeling this other thing. So we went

1775
01:32:30,040 --> 01:32:33,120
Speaker 3: that direction and we just decided to just do piano,

1776
01:32:33,280 --> 01:32:35,240
Speaker 3: and it wound up being beautiful and wound up being

1777
01:32:35,240 --> 01:32:38,479
Speaker 3: a very unique thing. Everybody's talking about the music for

1778
01:32:38,560 --> 01:32:41,559
Speaker 3: the film, you know, and that's just where me as

1779
01:32:41,600 --> 01:32:44,280
Speaker 3: a film composer, you know, I came at it with

1780
01:32:44,320 --> 01:32:46,920
Speaker 3: a certain thing, but I had to sit back and go, Okay,

1781
01:32:47,000 --> 01:32:48,840
Speaker 3: I'll see where she's coming from. I went to them,

1782
01:32:49,160 --> 01:32:53,400
Speaker 3: you know, with another director too, similar kind of situation,

1783
01:32:53,600 --> 01:32:56,759
Speaker 3: so both people have to be open on both sides.

1784
01:32:56,920 --> 01:32:59,240
Speaker 3: And when you run into that situation where you don't

1785
01:32:59,280 --> 01:33:02,640
Speaker 3: have that, it's just difficult, bro. I mean, there's no

1786
01:33:02,680 --> 01:33:06,160
Speaker 3: other way around it. Because the word is collaboration, you know,

1787
01:33:06,360 --> 01:33:10,920
Speaker 3: not dictatorship, you know what I'm saying. So that's where

1788
01:33:11,240 --> 01:33:14,040
Speaker 3: for me, I've been blessed, you know, because most of

1789
01:33:14,080 --> 01:33:17,400
Speaker 3: the people that I've been working with are true collaborators,

1790
01:33:17,600 --> 01:33:21,840
Speaker 3: you know. I've had people tell me sometimes, damn, bro,

1791
01:33:21,960 --> 01:33:23,800
Speaker 3: you gave me some insight into my film that I

1792
01:33:23,800 --> 01:33:25,320
Speaker 3: didn't see, which is a compliment.

1793
01:33:25,520 --> 01:33:25,720
Speaker 2: You know.

1794
01:33:26,640 --> 01:33:29,920
Speaker 3: Then I've had people, you know, who expand my horizons

1795
01:33:29,960 --> 01:33:32,720
Speaker 3: by getting me to see a bigger picture about how

1796
01:33:32,760 --> 01:33:35,559
Speaker 3: to tell stories, you know. So that's the reason why

1797
01:33:35,600 --> 01:33:36,280
Speaker 3: I love doing this.

1798
01:33:36,960 --> 01:33:39,240
Speaker 5: Have you learned or have it Has it been your

1799
01:33:39,280 --> 01:33:44,479
Speaker 5: experience that doing film composing for film and.

1800
01:33:44,439 --> 01:33:45,200
Speaker 7: TV and stuff.

1801
01:33:45,800 --> 01:33:47,760
Speaker 8: Has it been your experience that that has helped you

1802
01:33:48,080 --> 01:33:49,360
Speaker 8: in your.

1803
01:33:49,479 --> 01:33:53,479
Speaker 5: Regular quote unquote recording career, because you know, because for me,

1804
01:33:53,640 --> 01:33:56,880
Speaker 5: man like that, you know, as a young man, when

1805
01:33:56,880 --> 01:33:59,439
Speaker 5: I was younger, I would take projection like really personally,

1806
01:33:59,439 --> 01:34:01,000
Speaker 5: like you know a lot of us do. But then

1807
01:34:01,000 --> 01:34:03,439
Speaker 5: when I started doing stuff for TV and music and

1808
01:34:03,520 --> 01:34:07,479
Speaker 5: you know, TV and movies whatever, it's just like, hey,

1809
01:34:07,479 --> 01:34:08,960
Speaker 5: if a song don't work, it just don't work.

1810
01:34:09,080 --> 01:34:11,439
Speaker 2: Just do another song and you.

1811
01:34:11,400 --> 01:34:13,240
Speaker 5: Don't think about it, you know, you don't take it personally.

1812
01:34:13,200 --> 01:34:15,400
Speaker 5: It's just like, don't mean all right, I'm the worst

1813
01:34:15,479 --> 01:34:17,320
Speaker 5: songwriting the words. It's like, Yo, this shit didn't work.

1814
01:34:17,360 --> 01:34:19,840
Speaker 3: Just do another one, right, and that's you out, man,

1815
01:34:19,880 --> 01:34:22,200
Speaker 3: because then it's not an indictment on you, you know what

1816
01:34:22,280 --> 01:34:24,600
Speaker 3: I mean. That's the thing. When you realize that, it

1817
01:34:24,720 --> 01:34:26,360
Speaker 3: kind of freeze you up from all of that other

1818
01:34:26,439 --> 01:34:30,000
Speaker 3: stuff that comes along with that. You know, when you realize, like, man,

1819
01:34:30,040 --> 01:34:33,080
Speaker 3: look it's still in you just go try something else,

1820
01:34:33,200 --> 01:34:35,679
Speaker 3: you know what I mean? And I go and listen.

1821
01:34:35,720 --> 01:34:35,840
Speaker 4: Bro.

1822
01:34:36,360 --> 01:34:39,400
Speaker 3: Sometimes I go through that before it gets to the director,

1823
01:34:41,680 --> 01:34:44,880
Speaker 3: I'm saying, I'll work on some stuff. And while I'm

1824
01:34:45,000 --> 01:34:47,519
Speaker 3: doing it, Bro, I'm sitting there going, what it's missing something,

1825
01:34:47,520 --> 01:34:49,519
Speaker 3: it's missing something. Let me go ahead and work on that, boom,

1826
01:34:49,760 --> 01:34:51,599
Speaker 3: And I'll do that for a day or two, bro,

1827
01:34:51,760 --> 01:34:53,320
Speaker 3: and then come back and I go, you know what

1828
01:34:53,400 --> 01:34:59,519
Speaker 3: it is missing the real cue, So let me the

1829
01:34:59,520 --> 01:35:01,439
Speaker 3: way and start over from scratch.

1830
01:35:01,880 --> 01:35:02,080
Speaker 7: Yeah.

1831
01:35:02,120 --> 01:35:04,840
Speaker 2: How how has that helped you in your hold the

1832
01:35:04,880 --> 01:35:05,720
Speaker 2: live performance?

1833
01:35:06,120 --> 01:35:08,280
Speaker 5: Yeah, just the live performance and also when recording your

1834
01:35:08,320 --> 01:35:11,040
Speaker 5: records house film composition helped you in that area.

1835
01:35:10,800 --> 01:35:13,640
Speaker 3: Oh man. Look, eventually it opened my eyes up to

1836
01:35:13,680 --> 01:35:16,599
Speaker 3: about using different colors on the band stand. Even when

1837
01:35:16,600 --> 01:35:19,840
Speaker 3: I had my jazz band, I was still putting using

1838
01:35:19,880 --> 01:35:23,280
Speaker 3: the pedals and stuff on my horn, you know, effects

1839
01:35:23,320 --> 01:35:26,960
Speaker 3: on my horn, and which eventually let me into the ecollective.

1840
01:35:27,080 --> 01:35:30,960
Speaker 3: You know, what I mean, because for me, like I

1841
01:35:31,000 --> 01:35:34,040
Speaker 3: told you earlier, it's about utilizing these tools to tell

1842
01:35:34,040 --> 01:35:37,240
Speaker 3: a story. Bro, you know what I mean. And it's

1843
01:35:37,360 --> 01:35:40,760
Speaker 3: kind of funny. You know, It's like everybody, h there

1844
01:35:40,840 --> 01:35:43,320
Speaker 3: was this great guitarist, man, I guess you got to

1845
01:35:43,360 --> 01:35:45,200
Speaker 3: know leonel Awake and he played with Herbie.

1846
01:35:45,360 --> 01:35:47,240
Speaker 2: Yeah, I was gonna ask you this man. I love him, Man,

1847
01:35:47,280 --> 01:35:47,679
Speaker 2: he's dope.

1848
01:35:48,240 --> 01:35:50,360
Speaker 3: So you know when Leonet was in my band, Man,

1849
01:35:50,400 --> 01:35:52,519
Speaker 3: we do these shows and Leonett would be playing and

1850
01:35:52,880 --> 01:35:55,040
Speaker 3: have these loops going and all of this stuff going on,

1851
01:35:55,920 --> 01:35:57,920
Speaker 3: and everybody would always come up after the show and

1852
01:35:58,000 --> 01:35:59,640
Speaker 3: want to look at the pedals, you know, and they

1853
01:35:59,720 --> 01:36:03,639
Speaker 3: wanted technique for ele So it said, Bro, Okay, he's

1854
01:36:03,640 --> 01:36:06,639
Speaker 3: got the pedals, but the pedals are tools. It really

1855
01:36:06,640 --> 01:36:09,599
Speaker 3: starts here, you know what I mean. It's not mind.

1856
01:36:10,160 --> 01:36:13,040
Speaker 3: So that's the thing that film helped me to realize.

1857
01:36:13,080 --> 01:36:16,559
Speaker 3: It's like, you know, are you still trying to tell

1858
01:36:16,560 --> 01:36:20,080
Speaker 3: the story the same way that Miles told the story

1859
01:36:20,360 --> 01:36:22,960
Speaker 3: and he's not even doing it that way anymore? So,

1860
01:36:23,880 --> 01:36:25,479
Speaker 3: and look, I got to tell you this story. This

1861
01:36:25,600 --> 01:36:28,920
Speaker 3: was this was man, this was funny. Uh, but it

1862
01:36:28,960 --> 01:36:30,960
Speaker 3: was a wake up call. For me. So I'm on

1863
01:36:31,000 --> 01:36:34,880
Speaker 3: tour with Herbie Hancock. This was right before Barack Obama

1864
01:36:35,040 --> 01:36:40,000
Speaker 3: was elected the first time, and uh we were we

1865
01:36:40,000 --> 01:36:42,519
Speaker 3: were on tour in Europe and we were playing some

1866
01:36:42,520 --> 01:36:46,080
Speaker 3: some of the Herbie's classic tunes, but he had put

1867
01:36:46,160 --> 01:36:48,639
Speaker 3: these new arrangements on them, so we had to speak

1868
01:36:48,720 --> 01:36:51,479
Speaker 3: like a child, and he had put me in it

1869
01:36:51,520 --> 01:36:54,040
Speaker 3: and did some other stuff to it. And then one

1870
01:36:54,120 --> 01:36:57,439
Speaker 3: day at soundcheck, man, he started playing a straight ahead

1871
01:36:57,560 --> 01:37:00,719
Speaker 3: version to speak like a child. So Kendricks guy drummer,

1872
01:37:00,760 --> 01:37:03,720
Speaker 3: he drummed up and started playing, and James Jenis was

1873
01:37:03,760 --> 01:37:06,920
Speaker 3: playing base and he started walking and Herbie started playing

1874
01:37:06,920 --> 01:37:10,640
Speaker 3: and we were just sitting there going, that's killing, you

1875
01:37:10,640 --> 01:37:12,960
Speaker 3: know what I mean, And because they sounded like old

1876
01:37:13,040 --> 01:37:16,559
Speaker 3: Herbie from the Blue Note manday, Yeah, that was killing.

1877
01:37:17,080 --> 01:37:19,040
Speaker 3: And Herbie, you know, we were trying not to make

1878
01:37:19,120 --> 01:37:20,840
Speaker 3: noise because we didn't want Herbie to see how we

1879
01:37:20,840 --> 01:37:24,360
Speaker 3: were reacting to what he was doing. Man, Herbie stood

1880
01:37:24,439 --> 01:37:28,720
Speaker 3: up and he goes, that just sounds so old to me. Wow,

1881
01:37:29,600 --> 01:37:30,240
Speaker 3: And we were.

1882
01:37:30,120 --> 01:37:34,680
Speaker 2: Like, yeah, trying to play it off.

1883
01:37:34,960 --> 01:37:38,920
Speaker 3: Yeah right, yeah, okay, all right, all right, yeah, yeah,

1884
01:37:38,920 --> 01:37:39,639
Speaker 3: that's an ult, sir.

1885
01:37:40,120 --> 01:37:42,000
Speaker 2: How do you, how do you stop from being in

1886
01:37:42,280 --> 01:37:43,920
Speaker 2: But how do you stop from being in your head?

1887
01:37:43,960 --> 01:37:47,840
Speaker 2: Because I think oftentimes I know many an artists that

1888
01:37:48,000 --> 01:37:51,559
Speaker 2: will make all these new arrangements of their same songs

1889
01:37:51,600 --> 01:37:55,559
Speaker 2: because they think that the audience has been there at

1890
01:37:55,600 --> 01:37:57,759
Speaker 2: all nine thousand shows of their entire career.

1891
01:37:58,280 --> 01:37:59,960
Speaker 3: Yeah and off.

1892
01:38:00,000 --> 01:38:03,880
Speaker 2: Sometimes yes, the audience wants the meat and potatoes version

1893
01:38:04,560 --> 01:38:06,519
Speaker 2: of the song that would serve to them as they

1894
01:38:06,680 --> 01:38:09,400
Speaker 2: remember it, because you're there to serve their memory, or

1895
01:38:09,560 --> 01:38:11,599
Speaker 2: at least the audience thinks that you're there to serve

1896
01:38:11,640 --> 01:38:14,479
Speaker 2: their memory. But how do you how do you stop

1897
01:38:15,439 --> 01:38:20,479
Speaker 2: from going down that that rabbit hole of reinvention to

1898
01:38:20,520 --> 01:38:23,839
Speaker 2: the point where you lose the original script.

1899
01:38:24,200 --> 01:38:26,360
Speaker 3: I just don't do the reinvention part, you know what

1900
01:38:26,400 --> 01:38:28,519
Speaker 3: I mean, because I know what you're talking about, because

1901
01:38:28,560 --> 01:38:31,880
Speaker 3: and I've seen it do exactly that. So I try

1902
01:38:31,920 --> 01:38:33,920
Speaker 3: to stay away from it a little bit. I mean,

1903
01:38:34,200 --> 01:38:38,120
Speaker 3: you know, every nine and then we might do something.

1904
01:38:38,200 --> 01:38:41,559
Speaker 3: But the stuff that happens with us, it happens naturally.

1905
01:38:41,680 --> 01:38:43,799
Speaker 3: It may just happen over the course of us playing

1906
01:38:44,360 --> 01:38:46,560
Speaker 3: every night. Guys may throw a little something in it

1907
01:38:46,960 --> 01:38:52,719
Speaker 3: all a part, But I try to go that road,

1908
01:38:53,520 --> 01:38:55,880
Speaker 3: you know, because what we try to do is we

1909
01:38:56,000 --> 01:38:59,840
Speaker 3: try to just keep moving forward, you know. Excuse me,

1910
01:39:00,200 --> 01:39:05,080
Speaker 3: So for us, you know, we have a project and

1911
01:39:05,120 --> 01:39:08,880
Speaker 3: that that's in can now. I still have to to

1912
01:39:09,000 --> 01:39:12,040
Speaker 3: finish where we did the music of Wayne Shorter with

1913
01:39:12,280 --> 01:39:16,080
Speaker 3: Turtle out in the String Quartet, you know, and it's

1914
01:39:16,120 --> 01:39:20,000
Speaker 3: a really cool album and uh, you know, we gotta

1915
01:39:20,040 --> 01:39:22,080
Speaker 3: we're gonna put Once we put that out, we'll probably

1916
01:39:22,080 --> 01:39:23,000
Speaker 3: be turning out music.

1917
01:39:24,160 --> 01:39:27,719
Speaker 2: I gotta ask before we wrap up about what made

1918
01:39:27,760 --> 01:39:30,800
Speaker 2: you want to create? First of all, how does one

1919
01:39:30,840 --> 01:39:33,080
Speaker 2: create an opera?

1920
01:39:33,520 --> 01:39:34,600
Speaker 4: Yes?

1921
01:39:34,680 --> 01:39:38,040
Speaker 2: I even reading that, like, I don't know, I had

1922
01:39:38,080 --> 01:39:42,960
Speaker 2: the hiccups, Like obously I felt I felt very overwhelmed,

1923
01:39:43,080 --> 01:39:45,040
Speaker 2: Like wait a minute, how does one it even begin

1924
01:39:45,160 --> 01:39:50,920
Speaker 2: to craft an opera? Like, so walk us through, uh

1925
01:39:51,560 --> 01:39:53,920
Speaker 2: in creating operas? And how how does it start?

1926
01:39:55,479 --> 01:39:58,840
Speaker 3: Okay, it starts by somebody coming up to you and saying, man,

1927
01:39:58,880 --> 01:40:00,960
Speaker 3: we want you to write an opera and me bending

1928
01:40:01,000 --> 01:40:02,960
Speaker 3: over the table trying to smell their breath and make

1929
01:40:03,000 --> 01:40:07,400
Speaker 3: sure they weren't drunk. And I was like, do you

1930
01:40:07,439 --> 01:40:09,960
Speaker 3: have the right, dude, me write an opera? And they

1931
01:40:09,960 --> 01:40:12,080
Speaker 3: said ye know, And you know, the guy Jim Robinson,

1932
01:40:12,080 --> 01:40:14,960
Speaker 3: who has become a really good friend of mine. He

1933
01:40:15,040 --> 01:40:16,880
Speaker 3: was like, yeah, he said, I love the album The

1934
01:40:16,880 --> 01:40:19,479
Speaker 3: Tale of God's Will. And they were trying to find

1935
01:40:19,520 --> 01:40:23,840
Speaker 3: some diversity and you know what they were doing and

1936
01:40:23,880 --> 01:40:28,200
Speaker 3: creating new operas in Saint Louis. So once they hired me,

1937
01:40:28,360 --> 01:40:31,120
Speaker 3: they listen, man, they were smart about how they did it.

1938
01:40:31,160 --> 01:40:33,920
Speaker 3: So once they signed me up commission me to do this,

1939
01:40:35,040 --> 01:40:39,360
Speaker 3: they brought me to see their season and I actually

1940
01:40:39,560 --> 01:40:42,120
Speaker 3: just sat there and went to a bunch of operas

1941
01:40:42,560 --> 01:40:46,439
Speaker 3: in Saint Louis, right y, St Louis. Yeah, and then

1942
01:40:46,560 --> 01:40:49,760
Speaker 3: and then once I once I did that, then you know,

1943
01:40:50,000 --> 01:40:54,160
Speaker 3: they paired me. You know, I started writing some sketches

1944
01:40:54,160 --> 01:40:58,719
Speaker 3: out and look, bro it it is a daunting task.

1945
01:40:58,920 --> 01:41:02,160
Speaker 3: And the first time I did it, I was so

1946
01:41:02,320 --> 01:41:04,799
Speaker 3: freaked out about it. They had to reschedule my premier,

1947
01:41:05,320 --> 01:41:07,719
Speaker 3: you know what I mean. I was supposed to open

1948
01:41:07,800 --> 01:41:09,600
Speaker 3: one year and I said, no, no, no, no, no, he

1949
01:41:09,600 --> 01:41:12,000
Speaker 3: ain't ready. Let's do another year because I was the one,

1950
01:41:12,600 --> 01:41:14,160
Speaker 3: you know, because I was just trying to do so

1951
01:41:14,240 --> 01:41:16,519
Speaker 3: much research and I was just like overwhelmed with the

1952
01:41:16,520 --> 01:41:20,160
Speaker 3: whole idea. But it was my composition teacher again, Roger,

1953
01:41:20,240 --> 01:41:22,280
Speaker 3: he said, man, stop trying to write an opera. Just

1954
01:41:22,280 --> 01:41:26,000
Speaker 3: tell a story, you know. And when once he did that,

1955
01:41:26,000 --> 01:41:28,160
Speaker 3: that kind of freed me up. And then I thought

1956
01:41:28,200 --> 01:41:30,400
Speaker 3: about something a friend of mine was saying. You know,

1957
01:41:30,439 --> 01:41:33,679
Speaker 3: he said, listen, bro, look go ahead and just write

1958
01:41:33,720 --> 01:41:36,200
Speaker 3: your stuff, write your oper and tell your story. He said.

1959
01:41:36,200 --> 01:41:37,880
Speaker 3: If it doesn't work, you could just say that just

1960
01:41:37,880 --> 01:41:39,719
Speaker 3: ain't my shit, you know what I mean. I tried

1961
01:41:39,760 --> 01:41:43,080
Speaker 3: it my thing, and I did, and I just tried

1962
01:41:43,120 --> 01:41:45,760
Speaker 3: to be as honest as I could. But here's the thing.

1963
01:41:45,960 --> 01:41:48,880
Speaker 3: My father wanted to be an opera singer. My father

1964
01:41:49,000 --> 01:41:51,320
Speaker 3: was a barratrone. So I used to hear operatic music

1965
01:41:51,360 --> 01:41:53,479
Speaker 3: in the house all the time, you know what I mean.

1966
01:41:54,160 --> 01:41:56,760
Speaker 3: And all of that, all of those tones, all of

1967
01:41:56,800 --> 01:42:01,280
Speaker 3: those those lines, and all of that development of how

1968
01:42:01,280 --> 01:42:04,240
Speaker 3: an orchestra can have a rush of energy, all of

1969
01:42:04,240 --> 01:42:07,160
Speaker 3: that was in my system. You know. I didn't really

1970
01:42:07,200 --> 01:42:12,000
Speaker 3: realize that. Yeah. And then when we when I started,

1971
01:42:12,280 --> 01:42:16,080
Speaker 3: when I had the first draft of the melodic lines, man,

1972
01:42:16,120 --> 01:42:18,240
Speaker 3: we said, actually before then, you know what they did,

1973
01:42:18,280 --> 01:42:20,680
Speaker 3: which was beautiful. And then, man, if anybody wants to

1974
01:42:20,800 --> 01:42:23,519
Speaker 3: write an operation to do this, what they did was

1975
01:42:23,920 --> 01:42:27,640
Speaker 3: they had a group of actors just read the libretto

1976
01:42:27,960 --> 01:42:32,559
Speaker 3: like a play, and I recorded it right because then

1977
01:42:32,680 --> 01:42:34,960
Speaker 3: I could hear the story, you know what I mean,

1978
01:42:35,000 --> 01:42:36,560
Speaker 3: I could hear it un full. I could hear the

1979
01:42:36,640 --> 01:42:39,519
Speaker 3: inflections and the voices and all of that stuff. So

1980
01:42:39,600 --> 01:42:41,720
Speaker 3: once I got the melodic line down, then we just

1981
01:42:41,720 --> 01:42:44,400
Speaker 3: started having workshops with singers, man, and I started learning

1982
01:42:44,400 --> 01:42:47,200
Speaker 3: about how to write for voice, because come on, writing

1983
01:42:47,200 --> 01:42:48,960
Speaker 3: for an instrument, bro, if I'm writing for cello, the

1984
01:42:49,000 --> 01:42:51,040
Speaker 3: cello's rangers from here to here, you know, I know

1985
01:42:51,120 --> 01:42:54,200
Speaker 3: what it is, you know. But every baritone is different,

1986
01:42:54,320 --> 01:42:57,080
Speaker 3: you know what I mean? So some people call themselves baritone,

1987
01:42:57,280 --> 01:42:59,320
Speaker 3: and then more of a bass baritone they could produce

1988
01:42:59,400 --> 01:43:02,360
Speaker 3: more load low tones, and some other guys are more

1989
01:43:02,400 --> 01:43:05,599
Speaker 3: like in the tenor range. So I had to go

1990
01:43:05,640 --> 01:43:08,479
Speaker 3: through all of that. But the main thing about it

1991
01:43:08,520 --> 01:43:11,559
Speaker 3: all is that they basically just kind of like ushered

1992
01:43:11,600 --> 01:43:13,840
Speaker 3: me through every step of it. And once I got

1993
01:43:13,880 --> 01:43:15,519
Speaker 3: through it, man, when it came time to do the

1994
01:43:15,520 --> 01:43:18,480
Speaker 3: second one, I just had so I had more experience

1995
01:43:18,479 --> 01:43:21,200
Speaker 3: and I just felt more comfortable with what it is

1996
01:43:21,200 --> 01:43:23,840
Speaker 3: that I wanted to do, and I got to tell you.

1997
01:43:23,960 --> 01:43:26,519
Speaker 3: It's so rewarding, man, because you sit in a room

1998
01:43:26,560 --> 01:43:29,840
Speaker 3: all day writing these lines. But man, when these guys

1999
01:43:29,840 --> 01:43:33,120
Speaker 3: start to move around stage singing these lines and these

2000
01:43:33,120 --> 01:43:37,000
Speaker 3: words and they bring in the lighting and the boardrobe

2001
01:43:37,000 --> 01:43:39,400
Speaker 3: and all of this stuff, it's a really powerful thing.

2002
01:43:39,439 --> 01:43:43,120
Speaker 3: And I tell people it's the highest form of a

2003
01:43:43,200 --> 01:43:46,559
Speaker 3: musical that your lover ever see. You know what I mean.

2004
01:43:48,320 --> 01:43:51,479
Speaker 3: I think there's room for all different types of people

2005
01:43:51,880 --> 01:43:54,439
Speaker 3: to experience operate, you know. And I'll just say this

2006
01:43:54,520 --> 01:43:57,800
Speaker 3: and I'll let it go. Will you do a third Yeah,

2007
01:43:58,360 --> 01:44:00,599
Speaker 3: as a matter of fact that there's talks about that now.

2008
01:44:00,760 --> 01:44:04,320
Speaker 3: But you know, when when my opera came to New Orleans, Man,

2009
01:44:05,320 --> 01:44:07,360
Speaker 3: it was a bit of a controversial thing. That were

2010
01:44:07,360 --> 01:44:09,360
Speaker 3: a lot of people who were seizing ticket holders who

2011
01:44:09,360 --> 01:44:13,920
Speaker 3: wouldn't release their tickets and didn't come to my show. Yeah,

2012
01:44:13,960 --> 01:44:16,200
Speaker 3: but I said that cool. Yeah, that's cool. I mean

2013
01:44:16,400 --> 01:44:18,719
Speaker 3: because the people that did come packed the place.

2014
01:44:19,040 --> 01:44:19,719
Speaker 4: Hell yeah.

2015
01:44:20,360 --> 01:44:22,599
Speaker 3: And when they packed it, I remember this brother man.

2016
01:44:22,640 --> 01:44:24,160
Speaker 3: He came up to me. He must have been like

2017
01:44:24,200 --> 01:44:27,880
Speaker 3: seventy five years old, and one thing he said, he said, Man,

2018
01:44:27,920 --> 01:44:31,599
Speaker 3: if this is opera, I will come right, I said,

2019
01:44:32,080 --> 01:44:35,479
Speaker 3: And that was the best compliment I could have ever gotten,

2020
01:44:35,560 --> 01:44:39,000
Speaker 3: because what it made me feel like was, that's part

2021
01:44:39,040 --> 01:44:41,439
Speaker 3: of what's missing in the opera is our called it?

2022
01:44:41,840 --> 01:44:42,439
Speaker 3: You know what I mean?

2023
01:44:43,120 --> 01:44:45,840
Speaker 5: Those story someone who never would have been got into

2024
01:44:45,880 --> 01:44:47,160
Speaker 5: opera otherwise if not for.

2025
01:44:47,120 --> 01:44:49,960
Speaker 3: You, because he could relate to the story. You know

2026
01:44:49,960 --> 01:44:52,599
Speaker 3: what I mean. The story was Neil Griffith in nineteen

2027
01:44:52,640 --> 01:44:54,559
Speaker 3: sixty five. So he can really he can relate.

2028
01:44:54,680 --> 01:44:56,360
Speaker 4: And I was going to ask you, why is full

2029
01:44:56,400 --> 01:44:59,080
Speaker 4: circle moment? Like I thought about New Orleans, and I

2030
01:44:59,080 --> 01:45:01,560
Speaker 4: thought about Casey Lynn and being like the director of

2031
01:45:01,640 --> 01:45:05,160
Speaker 4: his opera, like out of all the directors making.

2032
01:45:05,040 --> 01:45:07,439
Speaker 3: What she did. That's the second one. She wrote for

2033
01:45:07,439 --> 01:45:10,200
Speaker 3: the second one. Okay, my brother for the second one,

2034
01:45:10,320 --> 01:45:13,960
Speaker 3: because you know, I love Casey man, and and uh,

2035
01:45:14,280 --> 01:45:17,640
Speaker 3: when it came time to do Charles Blows book, I

2036
01:45:17,680 --> 01:45:20,160
Speaker 3: had to have her that. What was funny was they

2037
01:45:20,160 --> 01:45:22,599
Speaker 3: flew they flew d to Saint Louis man to hang out.

2038
01:45:23,160 --> 01:45:26,880
Speaker 3: And man, you know, Casey is like a dog with

2039
01:45:26,960 --> 01:45:27,400
Speaker 3: a bone.

2040
01:45:27,439 --> 01:45:27,639
Speaker 4: Man.

2041
01:45:27,760 --> 01:45:31,519
Speaker 3: So wherever you saw Charles walking with Casey light behind,

2042
01:45:31,640 --> 01:45:35,439
Speaker 3: you know, asking like three days. But she she did

2043
01:45:35,479 --> 01:45:35,840
Speaker 3: her thing.

2044
01:45:35,920 --> 01:45:39,960
Speaker 4: She was brilliant. I feel like She's a little unsung,

2045
01:45:40,040 --> 01:45:41,559
Speaker 4: but she sung a lot of places.

2046
01:45:42,320 --> 01:45:45,400
Speaker 3: I mean, look at me, man, you know yeah.

2047
01:45:46,080 --> 01:45:49,360
Speaker 5: Oh, I was gonna say, man, my favorite score of

2048
01:45:49,400 --> 01:45:51,920
Speaker 5: yours and I think some just my favorite music of yours.

2049
01:45:52,560 --> 01:45:54,920
Speaker 5: It's from a movie that wasn't that popular. But I

2050
01:45:54,960 --> 01:45:57,439
Speaker 5: love what you did for she hate me scoring?

2051
01:45:57,800 --> 01:45:58,439
Speaker 4: Why you do it?

2052
01:45:58,880 --> 01:46:02,080
Speaker 2: Why? Man? I love that fucking score.

2053
01:46:02,120 --> 01:46:05,360
Speaker 5: That ship is gorgeous, dude, you ship me like I mean,

2054
01:46:05,360 --> 01:46:10,320
Speaker 5: the movie was the movie, but the score, and we already.

2055
01:46:10,640 --> 01:46:12,679
Speaker 4: Spike about the movie, so you don't got to hold

2056
01:46:12,760 --> 01:46:14,679
Speaker 4: up a lot.

2057
01:46:14,560 --> 01:46:15,519
Speaker 3: Of people are trusting.

2058
01:46:16,760 --> 01:46:18,760
Speaker 5: Yeah, but the score, man, I love you know what

2059
01:46:18,800 --> 01:46:21,640
Speaker 5: you dating? Like your record with row Me don that

2060
01:46:21,760 --> 01:46:24,240
Speaker 5: Adam and Eve and Eve you know that dude?

2061
01:46:24,280 --> 01:46:26,920
Speaker 3: Man oh man, you know me playing some of the

2062
01:46:27,000 --> 01:46:30,880
Speaker 3: keyboard lines on that. Yeah, ask your boy Derek is

2063
01:46:30,920 --> 01:46:31,680
Speaker 3: playing based on that?

2064
01:46:31,720 --> 01:46:32,240
Speaker 2: Man, yep.

2065
01:46:32,920 --> 01:46:38,320
Speaker 5: Yeah, what do you remember recording by because that that melody? Like,

2066
01:46:38,360 --> 01:46:39,880
Speaker 5: I just I love that, man.

2067
01:46:39,960 --> 01:46:42,200
Speaker 3: I just remember being in the studio with him and

2068
01:46:42,240 --> 01:46:45,040
Speaker 3: the energy was just like on point from the first

2069
01:46:45,080 --> 01:46:48,640
Speaker 3: tape and it just felt like, I don't know how

2070
01:46:48,640 --> 01:46:50,640
Speaker 3: to explain it. I guess you guys have gone through this.

2071
01:46:51,200 --> 01:46:53,640
Speaker 3: You know, you start off doing that track and it

2072
01:46:53,680 --> 01:46:55,960
Speaker 3: has that energy and you think that's sitting and somebody

2073
01:46:56,520 --> 01:46:59,720
Speaker 3: had something and it just keeps you know what I mean.

2074
01:47:00,200 --> 01:47:03,720
Speaker 3: And that's what was happening with that track man. You know, man,

2075
01:47:03,760 --> 01:47:06,080
Speaker 3: we just had so much fun and Raoul was open

2076
01:47:06,120 --> 01:47:09,000
Speaker 3: to it all, you know, because I remember there's this

2077
01:47:09,400 --> 01:47:13,760
Speaker 3: there's this little solo keyboard line that I played right

2078
01:47:13,800 --> 01:47:16,640
Speaker 3: going into one of the transitions, and he was he

2079
01:47:16,760 --> 01:47:19,840
Speaker 3: was cool with everything, man, you know, so we we

2080
01:47:19,840 --> 01:47:21,360
Speaker 3: were just going for it, having fun.

2081
01:47:22,439 --> 01:47:27,320
Speaker 2: Well I'm I'm predicting, yes, even if it's against my

2082
01:47:27,520 --> 01:47:34,400
Speaker 2: own film. Well no, only because but the thing is

2083
01:47:34,439 --> 01:47:38,479
Speaker 2: Trend and Atticus are Actually it's it's so weird when

2084
01:47:38,720 --> 01:47:43,200
Speaker 2: the Academy allows a nominee to to come in twice,

2085
01:47:43,200 --> 01:47:45,599
Speaker 2: because it's just going to split. They're in for two films,

2086
01:47:45,640 --> 01:47:52,040
Speaker 2: They're in for Soul there fornk. Yeah, so that yeah,

2087
01:47:53,479 --> 01:47:55,680
Speaker 2: like this this could be a year. But not to

2088
01:47:55,720 --> 01:47:58,639
Speaker 2: gas you up on that, but is that I mean,

2089
01:47:58,880 --> 01:48:01,920
Speaker 2: I know the the PC answers. Yes, I don't get

2090
01:48:01,960 --> 01:48:07,360
Speaker 2: caught up in those things for the love, but you know,

2091
01:48:07,640 --> 01:48:11,840
Speaker 2: it's it has to be an exhilarating honor too.

2092
01:48:12,760 --> 01:48:17,200
Speaker 4: And this day tomorrow is voting day, so just say no.

2093
01:48:17,439 --> 01:48:19,160
Speaker 3: Look man, no, I ain't got no shame in my

2094
01:48:19,160 --> 01:48:20,920
Speaker 3: game when any of that comes across, you know what

2095
01:48:20,960 --> 01:48:22,680
Speaker 3: I mean. I never thought this would happened to me.

2096
01:48:22,840 --> 01:48:25,360
Speaker 3: Are you kidding? Dude? I thought I was gonna be

2097
01:48:25,360 --> 01:48:27,840
Speaker 3: a dude who had a day job and play jazz

2098
01:48:27,840 --> 01:48:30,160
Speaker 3: because I love playing music. So all of this stuff

2099
01:48:30,240 --> 01:48:32,200
Speaker 3: is gravey gravy, you know what I mean. And then

2100
01:48:32,240 --> 01:48:36,360
Speaker 3: to be recognized in such a way, and and and

2101
01:48:36,520 --> 01:48:40,120
Speaker 3: amongst some of some of the films that some have

2102
01:48:40,200 --> 01:48:42,639
Speaker 3: been some of the greatest films that have been produced. Man,

2103
01:48:42,640 --> 01:48:45,920
Speaker 3: it's a huge honor, you know what I mean. I mean,

2104
01:48:46,920 --> 01:48:49,000
Speaker 3: you're right, it's not. It's not the reason that we

2105
01:48:49,160 --> 01:48:51,680
Speaker 3: do this obviously, you know what I mean. You've had

2106
01:48:51,680 --> 01:48:55,400
Speaker 3: a passion for just being creative period. But but the

2107
01:48:55,520 --> 01:48:59,360
Speaker 3: honor itself is huge, you know what I mean. It

2108
01:48:59,400 --> 01:49:01,040
Speaker 3: doesn't go back asked me, you know what I mean.

2109
01:49:02,040 --> 01:49:05,519
Speaker 3: I'm sorry. My father's not around to see that, you know.

2110
01:49:05,560 --> 01:49:07,360
Speaker 3: And probably a good thing because they would have to

2111
01:49:07,439 --> 01:49:12,040
Speaker 3: keep his ass off the stage if you have the show.

2112
01:49:12,080 --> 01:49:16,200
Speaker 3: But you know, it's one of those things that makes

2113
01:49:16,200 --> 01:49:18,960
Speaker 3: you proud for your family, my kids, because they really

2114
01:49:18,960 --> 01:49:20,920
Speaker 3: get a big kick out of it. My wife. Man,

2115
01:49:21,160 --> 01:49:23,720
Speaker 3: hell yeah, when I got nominated first time, Man, I

2116
01:49:23,760 --> 01:49:26,840
Speaker 3: was on the road. I came home. Man, it was

2117
01:49:26,920 --> 01:49:31,960
Speaker 3: like ship all over the house everywhere. Man, I couldn't

2118
01:49:32,040 --> 01:49:35,320
Speaker 3: I was. I said, Man, I just want to relax. Man,

2119
01:49:35,360 --> 01:49:37,720
Speaker 3: So you know, I said, I'm going upstairs. One of

2120
01:49:37,720 --> 01:49:39,200
Speaker 3: them says, it was all over the.

2121
01:49:39,200 --> 01:49:42,719
Speaker 4: Bed because es Oh was coming extra zero.

2122
01:49:44,840 --> 01:49:49,559
Speaker 3: All of the events when we went to that was

2123
01:49:49,600 --> 01:49:51,240
Speaker 3: for her. That had nothing to do with me, you

2124
01:49:51,320 --> 01:49:53,760
Speaker 3: know what I mean. I just that was it.

2125
01:49:53,960 --> 01:49:58,760
Speaker 2: Yes, if anyone is on their way to uh an

2126
01:49:58,840 --> 01:50:02,080
Speaker 2: e got or a ghetto, I definitely feel to you man,

2127
01:50:02,160 --> 01:50:03,280
Speaker 2: and oh thank you for sake.

2128
01:50:04,640 --> 01:50:06,320
Speaker 4: I was just gonna ask, does it means something that

2129
01:50:06,479 --> 01:50:08,600
Speaker 4: John Baptiste is in the in the category with you

2130
01:50:08,680 --> 01:50:09,240
Speaker 4: in New Orleans?

2131
01:50:09,280 --> 01:50:09,559
Speaker 8: Brothers?

2132
01:50:09,880 --> 01:50:12,280
Speaker 3: That my brother man. You know, I've been knowing that dude,

2133
01:50:12,400 --> 01:50:14,760
Speaker 3: man since he was a little kid. You know. As

2134
01:50:14,800 --> 01:50:16,680
Speaker 3: a matter of fact, one of the Knights that we

2135
01:50:16,800 --> 01:50:19,479
Speaker 3: played at the jazz Fest, we did a night show

2136
01:50:19,520 --> 01:50:22,880
Speaker 3: at the club here at Snug Harbor, and John Baptiste

2137
01:50:22,880 --> 01:50:24,960
Speaker 3: was that after entertainer when he was a young kid

2138
01:50:25,080 --> 01:50:28,640
Speaker 3: Man came up behind her, Herbie Hancock. So when I

2139
01:50:28,640 --> 01:50:30,760
Speaker 3: saw him doing all this stuff he's been doing in

2140
01:50:30,800 --> 01:50:33,200
Speaker 3: New York. And we just recently, not too long before

2141
01:50:33,200 --> 01:50:36,320
Speaker 3: the Pandemic, did a show together at Carnegie Hall, Man

2142
01:50:36,600 --> 01:50:40,040
Speaker 3: and we texted back and forth. You know the nominations.

2143
01:50:40,320 --> 01:50:42,080
Speaker 4: Can I just say too, because I just realized in

2144
01:50:42,120 --> 01:50:45,240
Speaker 4: this conversation that meanwhile, we've had three people who worked

2145
01:50:45,240 --> 01:50:48,040
Speaker 4: with you on the on this show from New Orleans,

2146
01:50:48,080 --> 01:50:51,080
Speaker 4: PJ Moore and of course Tank, of course John Baptiste.

2147
01:50:51,120 --> 01:50:53,040
Speaker 4: But I want to defend us and say, the reason

2148
01:50:53,080 --> 01:50:55,360
Speaker 4: that we waited so long to have you is because

2149
01:50:55,400 --> 01:50:57,800
Speaker 4: in our minds we was coming to New Orleans and

2150
01:50:57,840 --> 01:50:59,519
Speaker 4: we was going to have a real show with terror.

2151
01:51:00,520 --> 01:51:03,080
Speaker 4: That's the only reason that it took us so long

2152
01:51:03,160 --> 01:51:04,480
Speaker 4: to get that.

2153
01:51:04,479 --> 01:51:06,720
Speaker 3: That's a good look. Thank thank You know. We did

2154
01:51:06,720 --> 01:51:08,000
Speaker 3: a song for one night in Miami.

2155
01:51:08,320 --> 01:51:09,879
Speaker 4: I know, I know, it's awesome.

2156
01:51:11,040 --> 01:51:14,200
Speaker 3: She came in and it's funny because it's one of

2157
01:51:14,200 --> 01:51:16,320
Speaker 3: those things where you want to tell your students on

2158
01:51:16,479 --> 01:51:18,439
Speaker 3: him and all. That woman came in here and did

2159
01:51:18,479 --> 01:51:19,799
Speaker 3: two takes and it was done.

2160
01:51:20,320 --> 01:51:23,280
Speaker 4: Yeah right, that sound right? That girl and PJ big

2161
01:51:23,360 --> 01:51:24,120
Speaker 4: up to him to you.

2162
01:51:24,200 --> 01:51:25,720
Speaker 3: Oh, PJ too. He was another one.

2163
01:51:25,720 --> 01:51:25,840
Speaker 4: Man.

2164
01:51:25,840 --> 01:51:28,000
Speaker 3: I remember the first time I met him, he told

2165
01:51:28,000 --> 01:51:29,599
Speaker 3: me he was a musician. He was a young kid.

2166
01:51:29,720 --> 01:51:32,160
Speaker 3: I must have been about twenty and twenty one years old,

2167
01:51:32,400 --> 01:51:34,320
Speaker 3: and I'm like, yeah, okay man. And then for some

2168
01:51:34,360 --> 01:51:39,439
Speaker 3: reason he sent me some of this stuff and I went, wow,

2169
01:51:39,960 --> 01:51:41,960
Speaker 3: what And then I lost track of him, you know

2170
01:51:41,960 --> 01:51:43,559
Speaker 3: what I mean. And then when I found track of

2171
01:51:43,600 --> 01:51:47,080
Speaker 3: him again, he was like PJ. I was like, Okay,

2172
01:51:47,520 --> 01:51:49,200
Speaker 3: that's bound to happen, that's for sure.

2173
01:51:49,600 --> 01:51:49,880
Speaker 7: Sure.

2174
01:51:50,520 --> 01:51:54,639
Speaker 5: Yeah, oh man, we have to ask like last quot,

2175
01:51:54,720 --> 01:51:59,840
Speaker 5: last last quote? Man, the when the levees broke. Ohh

2176
01:52:00,600 --> 01:52:03,519
Speaker 5: I totally forgot yeah, man, Like just to talk about

2177
01:52:03,560 --> 01:52:07,040
Speaker 5: that experience, just you know, the just the emotional journey

2178
01:52:07,080 --> 01:52:08,000
Speaker 5: of scoring that.

2179
01:52:08,280 --> 01:52:10,800
Speaker 3: Well, you know the wild part about that man. You know,

2180
01:52:10,920 --> 01:52:14,000
Speaker 3: going through that period of in our history, bro was

2181
01:52:14,040 --> 01:52:17,320
Speaker 3: a traumatic thing, you know, because it was something you

2182
01:52:17,360 --> 01:52:19,880
Speaker 3: never thought, whatever really happened in this country. And then

2183
01:52:20,080 --> 01:52:22,559
Speaker 3: the way it went down, the way we were talked

2184
01:52:22,560 --> 01:52:26,080
Speaker 3: about is being refugees. It was so disrespectful to look

2185
01:52:26,160 --> 01:52:28,360
Speaker 3: on the television and see people that look like people

2186
01:52:28,360 --> 01:52:31,200
Speaker 3: in my family and they were being called such things.

2187
01:52:31,280 --> 01:52:34,479
Speaker 3: You know. It was like you couldn't You wanted to scream,

2188
01:52:34,560 --> 01:52:36,320
Speaker 3: but there was no place to go, you know what

2189
01:52:36,360 --> 01:52:39,920
Speaker 3: I'm saying. So we were in a listen. I had

2190
01:52:39,920 --> 01:52:42,439
Speaker 3: to go to la because I had an apartment there.

2191
01:52:43,640 --> 01:52:46,559
Speaker 3: Because we couldn't come back to the Wars. I couldn't

2192
01:52:46,560 --> 01:52:50,719
Speaker 3: find my mom for two weeks. When I finally found

2193
01:52:51,040 --> 01:52:52,840
Speaker 3: When I finally found my mom and said, Mom, been

2194
01:52:52,880 --> 01:52:54,320
Speaker 3: calling you for two weeks, I said, I heard that

2195
01:52:54,360 --> 01:53:04,960
Speaker 3: thing buzzing in my purse. We were doing the music

2196
01:53:05,000 --> 01:53:10,880
Speaker 3: to Spike Lee's movie Inside Man. Yes, and normally he

2197
01:53:11,080 --> 01:53:12,840
Speaker 3: find me to New York, but he said, no, Man,

2198
01:53:12,880 --> 01:53:14,760
Speaker 3: you stay with your family in l A. And I'm

2199
01:53:14,760 --> 01:53:17,240
Speaker 3: coming to you. And when he came to my apartment,

2200
01:53:17,240 --> 01:53:18,680
Speaker 3: he made he walked in the door. The first thing

2201
01:53:18,720 --> 01:53:21,080
Speaker 3: he said was he didn't even say hi. He said, Man,

2202
01:53:21,120 --> 01:53:23,679
Speaker 3: I'm doing a documentary on those levees, and I'm gonna

2203
01:53:23,680 --> 01:53:26,840
Speaker 3: give those people a chance to tell their story. And

2204
01:53:26,960 --> 01:53:28,800
Speaker 3: you know, my respect for him went through the roof

2205
01:53:28,880 --> 01:53:31,800
Speaker 3: right at that moment, you know. And that's the most

2206
01:53:31,800 --> 01:53:35,080
Speaker 3: comprehensive thing I've ever seen done on all the cultures

2207
01:53:35,080 --> 01:53:39,559
Speaker 3: of New Orleans, you know, and to to watch it.

2208
01:53:40,240 --> 01:53:42,679
Speaker 3: You know, we were actually recording in music to inside.

2209
01:53:42,680 --> 01:53:42,880
Speaker 7: Man.

2210
01:53:43,280 --> 01:53:45,280
Speaker 3: That's how he found out that my mom hadn't gone

2211
01:53:45,320 --> 01:53:47,240
Speaker 3: in the house. Ship. You know, I was out there.

2212
01:53:48,960 --> 01:53:51,479
Speaker 3: I come back in for a playback, and then Spike goes,

2213
01:53:51,479 --> 01:53:53,640
Speaker 3: we're gonna familiar mom going in the house. I'm like,

2214
01:53:53,760 --> 01:53:57,200
Speaker 3: what you know? And my mom said, well, people need

2215
01:53:57,240 --> 01:53:59,240
Speaker 3: to see what we're going to, you know what I mean.

2216
01:53:59,479 --> 01:54:02,720
Speaker 3: And that was one of the referenced things to do

2217
01:54:02,800 --> 01:54:04,880
Speaker 3: with my mom because you know, I'd went to the

2218
01:54:04,920 --> 01:54:08,680
Speaker 3: house the night before. I already knew what was up,

2219
01:54:09,120 --> 01:54:11,439
Speaker 3: what was about to go down. And when she said

2220
01:54:11,479 --> 01:54:14,160
Speaker 3: I hope my house is fine, it just broke, you know,

2221
01:54:14,240 --> 01:54:16,800
Speaker 3: breaks you up. She had a friend of hers who

2222
01:54:16,840 --> 01:54:21,160
Speaker 3: had come home, got out his car, saw his house

2223
01:54:21,360 --> 01:54:22,960
Speaker 3: and had a heart attack and died right in front

2224
01:54:22,960 --> 01:54:25,040
Speaker 3: of the house. Shit, you know what I mean. So

2225
01:54:25,120 --> 01:54:26,720
Speaker 3: there were a lot of stories like that that were

2226
01:54:26,720 --> 01:54:29,640
Speaker 3: going on. So when it came time to make the record, man,

2227
01:54:30,240 --> 01:54:32,800
Speaker 3: you know, I kept wondering if I was sounding angry

2228
01:54:32,800 --> 01:54:35,960
Speaker 3: because I was pissed. You know, I was just pissed.

2229
01:54:36,000 --> 01:54:39,919
Speaker 3: I kept being pissed. I'm like, you know, this is America.

2230
01:54:40,040 --> 01:54:43,520
Speaker 3: This shit shouldn't happen. Who designed those levees. If it

2231
01:54:43,560 --> 01:54:45,240
Speaker 3: was one of us, we'd be in jail, you know

2232
01:54:45,280 --> 01:54:47,960
Speaker 3: what I mean. It's just that's simple. You know, it's

2233
01:54:48,040 --> 01:54:50,600
Speaker 3: faulty design. And people lost their lives because of when

2234
01:54:50,600 --> 01:54:53,880
Speaker 3: people lost their homes because of it. So I kept

2235
01:54:53,880 --> 01:54:57,000
Speaker 3: trying to say to myself, don't sound angry, don't sound angry.

2236
01:54:57,040 --> 01:55:00,160
Speaker 3: But all of those stories, all of those arrangements I

2237
01:55:00,280 --> 01:55:02,560
Speaker 3: kind of based off of stories that happened, you know,

2238
01:55:02,680 --> 01:55:06,520
Speaker 3: during that period. And one of the blessed things about

2239
01:55:06,560 --> 01:55:10,080
Speaker 3: it is that once we did it and recorded it,

2240
01:55:10,440 --> 01:55:14,240
Speaker 3: you know, and released it. Man, this one guy came

2241
01:55:14,280 --> 01:55:17,840
Speaker 3: to one of our shows and he said, Man, he said,

2242
01:55:17,880 --> 01:55:20,320
Speaker 3: I lost my best friend in Katrina. And he said,

2243
01:55:20,360 --> 01:55:24,440
Speaker 3: I wasn't wasn't able to mourn, and he said, and then,

2244
01:55:24,800 --> 01:55:27,280
Speaker 3: you know, they were having a memorial for him like

2245
01:55:27,360 --> 01:55:31,440
Speaker 3: a year afterwards, and he said, I put your album

2246
01:55:31,520 --> 01:55:35,800
Speaker 3: on and as I was listening to it, he said,

2247
01:55:35,840 --> 01:55:38,720
Speaker 3: as I was pulling up to the church funeral, Dirge

2248
01:55:38,760 --> 01:55:42,640
Speaker 3: started to play and he said, I just lost it.

2249
01:55:42,680 --> 01:55:44,680
Speaker 3: And he said that was the first time he could

2250
01:55:44,720 --> 01:55:48,000
Speaker 3: ever moan the lost more one the loss of my friend.

2251
01:55:48,920 --> 01:55:51,480
Speaker 3: So you know, when you hear stories like that, you know,

2252
01:55:51,560 --> 01:55:54,240
Speaker 3: you feel like that's why you create music to help

2253
01:55:54,280 --> 01:55:57,760
Speaker 3: people like deal with stuff, you know. And and one

2254
01:55:57,760 --> 01:55:59,480
Speaker 3: of the things we kept saying with that album. One

2255
01:55:59,480 --> 01:56:01,280
Speaker 3: of the things we said it with the breakfast stuff,

2256
01:56:01,280 --> 01:56:03,480
Speaker 3: with the gun violence. You know, it's like, let the

2257
01:56:03,560 --> 01:56:07,440
Speaker 3: music absorber, let the music absorb your frustration and pain,

2258
01:56:09,840 --> 01:56:13,680
Speaker 3: strategic about how we move forward, you know, and creating

2259
01:56:13,680 --> 01:56:15,879
Speaker 3: a more equitable life for us in this country.

2260
01:56:17,360 --> 01:56:17,800
Speaker 8: That's real.

2261
01:56:18,800 --> 01:56:22,080
Speaker 3: Thank you for sharing that, man, I appreciate that. Thank you.

2262
01:56:22,600 --> 01:56:26,520
Speaker 2: Thank you on behalf of on pay Bill Sugar Steve

2263
01:56:26,800 --> 01:56:29,800
Speaker 2: and f Tikolo and like, yeah.

2264
01:56:29,320 --> 01:56:32,160
Speaker 4: Thank you, thank you, thank you. Flowers, flowers, flowers, flowers.

2265
01:56:32,360 --> 01:56:33,360
Speaker 8: Thank you for all you do man.

2266
01:56:33,640 --> 01:56:36,880
Speaker 5: Your music, like all your music, it definitely becomes just

2267
01:56:36,880 --> 01:56:39,680
Speaker 5: like a whole other character in all the movies that

2268
01:56:39,760 --> 01:56:42,360
Speaker 5: you do. And I watch them just as much for

2269
01:56:42,400 --> 01:56:45,840
Speaker 5: your music as I do movies, Like.

2270
01:56:45,840 --> 01:56:50,200
Speaker 4: For real, that is that is listening truth. Thank you.

2271
01:56:50,320 --> 01:56:54,120
Speaker 3: Yeah, yes, absolutely, I love what you guys need, man,

2272
01:56:54,200 --> 01:56:58,600
Speaker 3: So keep it up. Man, Thank you, all.

2273
01:56:57,640 --> 01:56:59,760
Speaker 2: Right, this quest love then we'll see on the next

2274
01:56:59,760 --> 01:57:06,600
Speaker 2: ground around of what's love supreme. Thank you y'o, what's up?

2275
01:57:06,640 --> 01:57:07,440
Speaker 2: It's is fante.

2276
01:57:07,760 --> 01:57:10,000
Speaker 5: Make sure you keep up with us on Instagram, at

2277
01:57:10,080 --> 01:57:11,880
Speaker 5: QLs and let us know what you think.

2278
01:57:11,920 --> 01:57:13,520
Speaker 2: You know it should be next to sit down with us.

2279
01:57:13,760 --> 01:57:16,120
Speaker 7: Don't forget to subscribe to our podcast all right.

2280
01:57:16,640 --> 01:57:27,920
Speaker 1: Peace Must Love Supreme is a production of iHeart Radio.

2281
01:57:30,520 --> 01:57:33,800
Speaker 2: For more podcasts from iHeart Radio, visit the iHeart Radio app,

2282
01:57:34,000 --> 01:57:37,040
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.