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

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Speaker 2: What's Up. It's June and that means it's Black Music Month,

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Speaker 2: and every year on Questlove Supreme and now The Quest

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Speaker 2: Love Show, we honor it by bringing you an episode

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Speaker 2: every day that celebrates black music.

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Speaker 1: It's history and its impact.

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Speaker 2: My team and I have selected episodes from our archive

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Speaker 2: that we feel are specially relevant to the celebration, offering history,

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Speaker 2: insight a little fun along the way. So be on

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Speaker 2: the lookout for four brand new episodes throughout June, each

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Speaker 2: connected to the past, president future of black music. We're

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Speaker 2: going to highlight trailblazers, innovators, cultural conduits, and revolutionaries whose

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Speaker 2: word continues to shape the world around us.

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Speaker 1: Happy June, Happy Black Music Month.

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Speaker 2: Ladies and gentlemen. Welcome to another episode of Quest Love Supreme.

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Speaker 2: I'm your host, Quest Love. We have Teams Supreme with

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Speaker 2: us today. Uh, how are you good? I'm good.

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Speaker 3: I'm excited about this episode.

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Speaker 4: Good.

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Speaker 1: I like to wait?

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Speaker 2: Are these are the same glasses you always wear? I

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Speaker 2: always feel like you have a new pair of glasses

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Speaker 2: on every time I see you.

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Speaker 5: No, I got like four of five different movies, you know.

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Speaker 6: I feel Okay, I see where the money.

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Speaker 7: Came through.

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Speaker 3: I'm waiting for folks, wait for both.

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Speaker 2: I see h Steve, what's up man?

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Speaker 7: Uh?

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Speaker 2: Nothing, that's great to know. I appreciate it. Uh on

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Speaker 2: paid Bill Man, everything is good. You mentioned earlier that

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Speaker 2: you are fasting.

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Speaker 8: No, I'm not fasting. Thank you for pointing out my

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Speaker 8: lack of religious fervor.

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Speaker 1: Thank you.

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Speaker 8: Yeah, he's just not drinking.

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Speaker 2: I'm just not drinking. So that's the same thing as

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Speaker 2: sort of fast day today, fantolo.

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Speaker 6: I'm chilling man. I'm chilling man. Been looking forward to

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Speaker 6: this one. I'm a big terrorist Splancher fan. So yes,

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Speaker 6: he's been waiting on this one.

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Speaker 1: Man, for real.

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Speaker 8: You just gave away here the guests.

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Speaker 2: But well that's good. That makes my way, That makes

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Speaker 2: me enter away shorter on the episode too. Our guest

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Speaker 2: today is a renowned composer, musician, trumpeter, one time member

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Speaker 2: of the Loneld Hampton Orchestra and the world famous art

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Speaker 2: Blinky Jazz Messengers. Not to mention composer of too well

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Speaker 2: received operas, but it's his near thirty year association with

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Speaker 2: the great Oscar Winner. I'm sorry, I was like Spiker Winner.

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Speaker 1: Yeah, yes, with.

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Speaker 2: Oscar winner Spike Lee. His association with him for the

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Speaker 2: last thirty years is probably, in my opinion, probably one

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Speaker 2: of the best combo of film scorer and director. Thank

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Speaker 2: that I know for real in cinema history. And that's

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Speaker 2: just not blowing smoke. He's up for his second Oscar

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Speaker 2: nomination for scoring. Duh.

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Speaker 1: Yes, five bloods.

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Speaker 2: Duh. Ladies and gentlemen, please welcome to Quest Love Supreme.

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Speaker 2: The Great Terrence Blanchard.

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Speaker 7: How are you, yes, man, what's happening? How you guys

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Speaker 7: doing doing?

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Speaker 1: Good?

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Speaker 2: Brother?

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Speaker 1: Good to see you again. Man. We met like years

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Speaker 1: ago at the Grammys. This is probably twenty ten. My

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Speaker 1: group deported to change.

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Speaker 6: Nominated and we met in like the Little Dinner or whatever,

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Speaker 6: and oh you were still you were one of the

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Speaker 6: coolest dudes there. Man, Like you were just super chill.

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Speaker 6: And everyone else I remember a lot of those people

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Speaker 6: they were kind of I don't know whatever, but you

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Speaker 6: were just super down to earth, novel remember that very

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Speaker 6: houghty tody.

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Speaker 1: But you was folks. So I really appreciate that.

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Speaker 7: Man.

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Speaker 2: Wait, can I can I ask a question? Fronte was

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Speaker 2: a h Wait the Grammys throws they threw dinners.

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Speaker 1: Well it's after the joint.

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Speaker 6: So like so at the time when I went, the

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Speaker 6: one and only time I went, because I ain't I

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Speaker 6: don't really need to do that ship no more so

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Speaker 6: the time it was in the Staples Center, and like

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Speaker 6: it was they have the pre tail a little dinner.

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Speaker 2: Yeah, oh, I was about I'm like, wait a minute, yeah, yeah, okay,

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Speaker 2: the Governor's okay, that okay, that makes sense. I thought

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Speaker 2: the nomination dinner thing that I never knew about.

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Speaker 9: And I've been in this joint for twenty years, but

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Speaker 9: they should make a documentary about the pre awards because

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Speaker 9: in that room, it's like the guys, the people best

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Speaker 9: liner notes, like yeah, like it's the fucking craziest room

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Speaker 9: you've ever been in.

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Speaker 8: I met Amy Mann in that room and she was

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Speaker 8: just like chilling. She got an for Best liner Notes.

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Speaker 8: We're like, what did you get on here for? She's

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Speaker 8: like best liner Notes. I was like, that's not a thing.

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Speaker 1: She was like, it is a thing.

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Speaker 8: And that was the first time I met you. Because

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Speaker 8: he had to be my Grammy best day ever.

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Speaker 7: You know, you know what's funny, but saying that, man,

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Speaker 7: I've been going to the Grammys a number of years,

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Speaker 7: and I remember when the pre show was just that man,

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Speaker 7: it was a pre show, not too many people. But

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Speaker 7: now it's like the hang dude, yeah, and.

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Speaker 8: Like people get fully dressed up, like and it's like

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Speaker 8: two in the afternoon and you're like fully I was,

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Speaker 8: the guys are like bright red, they're ready to go,

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Speaker 8: like everybody's ready to.

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Speaker 2: Like yeah, I was going to say, I was going

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Speaker 2: to say that in my maybe six times that I've

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Speaker 2: done that, I always wind up sitting uh in the

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Speaker 2: Latin section, and that I was going to say that

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Speaker 2: the snark and energy that that section has every time

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Speaker 2: Jose Feliciano wednsday role. Now it's better now, but there

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Speaker 2: was a point where, like I I by my fourth year,

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Speaker 2: I was like I couldn't wait. I was looking forward

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Speaker 2: to just sitting in the Latin section so I could

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Speaker 2: hear them all get mad because you know sometimes when

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Speaker 2: you well, the voting system is way different now, but

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Speaker 2: there was a point where everyone had access to everyone's

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Speaker 2: category and this like before twenty ten, and you just

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Speaker 2: vote for the name, you know, so in the Latin section,

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Speaker 2: it's like, oh, I know Felice Navid, I know Jose Feliciano,

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Speaker 2: So let me vote for him. And that's how he

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Speaker 2: would like twenty years in a row, just win the category. Meanwhile,

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Speaker 2: like the most popular artist of that genre.

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Speaker 1: Just like even though he.

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Speaker 8: Put out a record that year, he just he had

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Speaker 8: no idea.

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Speaker 2: He just he definitely had no idea. He didn't. Where

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Speaker 2: are you right now, Terrence.

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Speaker 7: I'm in New Orleans, man. I mean I moved LA,

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Speaker 7: you know, because I was teaching at duc LA. But

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Speaker 7: you know, my home is not really ready yet and

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Speaker 7: I needed to work and begin at the beginning of

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Speaker 7: the pandemic. Man, I just came back home, and I

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Speaker 7: came back. I've been here for a year. I'm going anywhere.

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Speaker 2: Okay, Wait, I'm glad you mentioned New Orleans. So I

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Speaker 2: will say that the last time that a musical giant

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Speaker 2: from New Orleans was on our show, which was Branford Marcellus.

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Speaker 2: If you know him, you already know what I'm about

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Speaker 2: to say is true. No one loves to deflate the

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Speaker 2: air out of any jazz urban legend balloons that I

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Speaker 2: fantasize about more than Branford. So like every everything that

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Speaker 2: you know, everything that I tried to romanticize over, like

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Speaker 2: what I thought music and jazz and musicianship was like

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Speaker 2: he was just gleefully deflate that. No, that wasn't you know, and.

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Speaker 7: My boy, you know, and I think I always messed

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Speaker 7: with him. I said, man, you must failed debate class

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Speaker 7: in high school, you know what I mean.

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Speaker 2: Yeah, yeah, so I was saying. But basically, the one

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Speaker 2: thing that he totally deflated my balloon on was this

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Speaker 2: notion that I was fed when I was a kid

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Speaker 2: about obsessively practicing. And you know, I brought up a

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Speaker 2: story about the time when his brother won a Grammy

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Speaker 2: and thanked his dad for like making me practice and

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Speaker 2: da da da da dah. So you know, I grew

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Speaker 2: up with this thing where my dad was like, Yo,

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Speaker 2: five to ten hours, da da practice practice practice, like

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Speaker 2: you know, straight backstage dad stuff. And you know, for

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Speaker 2: the record, I'll say that David Murray is probably the

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Speaker 2: only jazz figure that I met that has lived up

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Speaker 2: to that myth where he told me like he practices

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Speaker 2: eight to ten hours a day with his acts.

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Speaker 1: So I'm just this is my first question. I'm just

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Speaker 1: asking for the gate.

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Speaker 2: Is the notion of the obsessive musician waking up at

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Speaker 2: five am and practicing the scales and exercise and going

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Speaker 2: till nine pm like before gig. Is that just some

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Speaker 2: myth that's been planned in my head that was never real,

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Speaker 2: you know, just to keep me off the streets by

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Speaker 2: my dad.

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Speaker 7: Or but he's be single and don't have kids, you heard. Yeah, no, no, no, no, man.

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Speaker 7: I look, I get up early, and I do get

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Speaker 7: to work. I mean, I'll come in and I'll start

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Speaker 7: working because my studio is kind of separate from the house,

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Speaker 7: so I can make some noise and I disturb people.

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Speaker 7: But it depends on it depends on what you're dealing

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Speaker 7: with at the time.

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Speaker 4: Man.

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Speaker 7: There are moments where I get up and I practice

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Speaker 7: all day because I know that I'm trying to get

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Speaker 7: in shape to do certain things, you know. And then

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Speaker 7: with my career, since I'm composing a lot, man, there

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Speaker 7: are moments when I'm just sitting in here writing, you

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Speaker 7: know what I mean. I had to in some rewrites

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Speaker 7: for the opera. I'm sitting here working on the television

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Speaker 7: show right now, and I'm getting ready to start working

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Speaker 7: on a film, and you know, so this is why

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Speaker 7: I spend a lot of my time. I think the

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Speaker 7: I think the most important thing about it all, bro,

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Speaker 7: is just to figure out what's the best way for

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Speaker 7: you to be effective. Because you can sit down in

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Speaker 7: practice for five hours, bro, but if you ain't really

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Speaker 7: focused and you're not.

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Speaker 1: You know, and if you're not applying it the right way.

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Speaker 7: No, thirty minutes to do you a lot better, you

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Speaker 7: know what I mean? Thirty minutes like really focus, accomplish something,

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Speaker 7: you know what I mean?

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Speaker 1: Really?

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Speaker 2: Yeah, someone told me to practice what I don't know which,

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Speaker 2: Well there's a theory behind that. Yeah, but what about

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Speaker 2: muscle memory? What about you know, whenever you see someone

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Speaker 2: practicing in a movie or already hear the answer my

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Speaker 2: head and it's real stupid, but whenever you see anyone

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Speaker 2: like that, the myth of practicing is like they start

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Speaker 2: their scales and see and then they go half note

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Speaker 2: d D da da. But it is practicing muscle memory

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Speaker 2: or is it strictly just exploring what you don't know?

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Speaker 7: Is there's two forms. There is the muscle memory part,

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Speaker 7: but the thing about it you try to build up

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Speaker 7: that vocabulary to the point where you become flexible. So

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Speaker 7: there are other aspects of practicing where it's all mental,

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Speaker 7: where you try to send yourself in different directions and

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Speaker 7: see if your body can respond. And if your body

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Speaker 7: can't respond, that's when you go back to the muscle

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Speaker 7: memory part to kind of really figure out what is

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Speaker 7: it that I'm not doing. Oh, it's this interval that's

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Speaker 7: hanging me up. So let me come back here and

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Speaker 7: work on this interval, you know what I mean, until

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Speaker 7: I get that muscle memory down in my brain, and

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Speaker 7: then I could go back to doing the improvised stuff.

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Speaker 7: Because the thing about it, Bro, I like it. This

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Speaker 7: is what I tell my students.

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Speaker 5: Bro.

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Speaker 7: It's like being It's like being Kyrie Irving, Bro, you

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Speaker 7: know what I mean. Of course he knows how to dribble,

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Speaker 7: but man, does he really know what he's going to

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Speaker 7: do when he's coming down on a fast break, you

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Speaker 7: know what I mean, right in the heat of the moment.

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Speaker 7: But he has to have the skills to like execute

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Speaker 7: anything that happens in his brain within the split second,

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Speaker 7: you know. So that's what you're trying to achieve by

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Speaker 7: practicing and breaking it down into the various elements.

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Speaker 2: Wow, Chris Branford to say that to.

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Speaker 4: Me, it's about to be a good class.

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Speaker 3: A good class.

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Speaker 7: I'm always relating stuff to the sports. You know what

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Speaker 7: I mean, Repelicans are playing the Lakers right now, but

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Speaker 7: I'm not looking at the screen.

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Speaker 2: We appreciate your tention to thinking. Well, okay, So I

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Speaker 2: do have a trumpet question though, because the amount of

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Speaker 2: times that I've played with serious trumpet players, and I

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Speaker 2: always notice that usually I mean, if they're they're they're

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Speaker 2: sort of going, you know, hard in the paint. If

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Speaker 2: they'll usually tie out in forty minutes, like they'll start

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Speaker 2: holding your lip, all right, So can you explain that

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Speaker 2: whole thing like the UMBI sure, because someday.

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Speaker 7: Yeah, yeah, the armbature. Well, think about it like this.

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Speaker 7: You know, you have a piece of metal that's pressed

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Speaker 7: up against your lips other than like a reed instrument.

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Speaker 7: Right now, I'm taking anything away from read instrument, just

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Speaker 7: talking about brass, right, it's a very strenuous thing to

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Speaker 7: have that thing up against your lips and use these

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Speaker 7: muscles right on both sides of your umber shore. So look, man,

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Speaker 7: that's why that's the only reason why you need to practice.

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Speaker 7: You got to condition yourself. You have to get strong,

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Speaker 7: you know, and it's there's no way around that. That's

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Speaker 7: the thing I try to tell my students.

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Speaker 5: Bro.

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Speaker 7: Then Charlie Parker said, it ain't magic, it just seems

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Speaker 7: like it is, you know what I mean. So I

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Speaker 7: mean that part you have to just put in the

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Speaker 7: time an effort to build up the muscles. And that's

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Speaker 7: the thing, Like, that's like scaring me to death right now,

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Speaker 7: because man, I've been in the pandemic. I've been sitting

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Speaker 7: here chilling and right you know, I got some shows

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Speaker 7: coming up, so I got to get back and you know,

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Speaker 7: practice mode and set the build back up so I

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Speaker 7: can be in condition to play for.

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Speaker 6: A show that you do about how long would you

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Speaker 6: say you played by yourself?

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Speaker 1: What do you have to work up to? Oh?

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Speaker 7: Man, I'm you know. The goal is always to try

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Speaker 7: to build up to play two hours. Wow, that's impossible

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Speaker 7: because you know you never really played two hours straight.

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Speaker 7: But that's that's what you try to put in your mind.

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Speaker 7: And then when it comes time to do the show. Listen, man,

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Speaker 7: some of the old musicians, Brother used to always you know,

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Speaker 7: pull my cold and stuff. You know, say, look, man,

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Speaker 7: why you got to be the first cat to play

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Speaker 7: the solo? Bro? Let them dudes jump out there. You

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Speaker 7: just played the melody that's a very strenuous melody on

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Speaker 7: your chops. You need to let them and you take

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Speaker 7: a break, go on the side and look cool and

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Speaker 7: just wait your time.

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Speaker 1: You know.

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Speaker 7: It's little things like that brouh over the course of time.

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Speaker 7: It really helps you to maintain because when you looked

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Speaker 7: at Myles Man, you know, look, bro, Miles had it.

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Speaker 7: You know. Miles used to would play some break, he

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Speaker 7: would stop, he would take a break, you know. And

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Speaker 7: when he would take that break, it was doing two things.

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Speaker 7: It was doing something musically and it was also doing

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Speaker 7: something physically. He was allowing himself to recover.

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Speaker 1: Yeah, I was a trumpet player.

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Speaker 6: I played trumpet like in like middle school, high school

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Speaker 6: and stuff. And so I would always go and watch,

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Speaker 6: you know, I would just watch how they would keep

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Speaker 6: that when you talk about the amateur and my band

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Speaker 6: teacher would always say that it's like a muscle and

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Speaker 6: you had to work it. And so a good friend

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Speaker 6: of mine, Cy Smith, she's a singer and she's been

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Speaker 6: touring before prior to COVID and everything, she had been

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Speaker 6: touring with Chris Body and so and so I went

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Speaker 6: and saw her at Body Show and Body he does

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Speaker 6: exactly what you're saying, like he'll play a little bit

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Speaker 6: and then you have a girl come out play the violin.

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Speaker 6: They didn't play a little more than sousing. They didn't

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Speaker 6: play a little bit, you know what I mean. It's

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Speaker 6: it's total like attack and release.

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Speaker 2: So that's that's not just yeah selectively.

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Speaker 5: Wow, that's exclusive. People don't think don't think that. They

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Speaker 5: just think you're taking an artistic break.

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Speaker 7: Well, it is both. I mean, it's both things. I

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Speaker 7: mean because part of it is you know, it's it's

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Speaker 7: ingrained in us because that's part of the orientation of

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Speaker 7: what what you've heard on all of the records that

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Speaker 7: you've studied, you know what I mean. It's like Miles

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Speaker 7: always knew how to use space. So that's always a

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Speaker 7: part of my thinking just musically. But but it serves

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Speaker 7: two purposes, you know, it serves an autistic money and

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Speaker 7: it also serves a physical mind.

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Speaker 3: So that exercises that you guys.

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Speaker 7: Oh yeah, there are a lot of exercises. They are

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Speaker 7: things that I do, you know, to sit down and

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Speaker 7: just and it has nothing to do with music. It's

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Speaker 7: just simply the strengthen these muscles.

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Speaker 2: So okay, I was going to say, how damaging is

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Speaker 2: it to reach that? Okay, let's let's take a cat

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Speaker 2: like well, I was gonna say Minard Ferguson like Monard

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Speaker 2: is uh you know, is the sample at the beginning

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Speaker 2: of Lords to the Underground Funky Child, That's that's that's

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Speaker 2: Monard on a soft day. That's that's like that's Monard

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Speaker 2: playing Mary had a little lamb. So he's just you know,

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Speaker 2: Minard is closer to like the Clayton Gunnals rubble without

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Speaker 2: a pause, squeal t squeal, like he just plays in

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Speaker 2: for the longest time. What what muscles or like what

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Speaker 2: powers have to be activated in order to assisted or

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Speaker 2: hit that out the part? Because even even when playing

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Speaker 2: with Doc Severson, who's well within his eighties now, he

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Speaker 2: he goes from zero.

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Speaker 7: To that's one hundred crazy. That's crazy watching him play Bro.

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Speaker 7: If I knew that Bro, I'd be doing it, you

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Speaker 7: know what I mean.

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Speaker 1: Okay, I'm glad.

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Speaker 7: It's just a difference of muscle. The interesting thing that

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Speaker 7: I was a guy like that, I think a lot

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Speaker 7: of it has to do with the formulation here. I'm

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Speaker 7: not this is just me speculated because when you watch

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Speaker 7: guys who have that high high range. The lord register

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Speaker 7: sounds a little different. Yeah, you know what I mean.

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Speaker 7: And it's a it's a different and it's a different approach.

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Speaker 7: So you know, for me, man, I've always been like

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Speaker 7: Miles Davis, Clarck, Terry, Freddie Hubber, Woody Shaw type of

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Speaker 7: du you know. I like those nice brown tones when

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Speaker 7: you when you listen to Miles Davis playing that poor

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Speaker 7: game best record bro, his tone is just immaculate and

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Speaker 7: just I've been hooked since I was sixteen. You know,

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Speaker 7: that's back in the days when we used to have

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Speaker 7: the faux bar, you know in our house that had

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Speaker 7: like the flickering lights when you had the record player

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Speaker 7: under knee.

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Speaker 2: Yes, yes, I have those. Oh god, I just myself.

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Speaker 10: Yes, come on, it's so good and put on Miles man.

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Speaker 7: And I was sitting down in my room in the

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Speaker 7: front of the house and just listen to Miles Davis

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Speaker 7: with those lights on all night long.

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Speaker 2: Okay, So with okay, I'm glad you answered that question

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Speaker 2: because sometimes I'll look at a at a musician and

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Speaker 2: kind of side eye them because I didn't realize that,

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Speaker 2: you know, you need a certain amount of tune or

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Speaker 2: or lungs to hit certain things now.

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Speaker 3: Form listen to this, be shocked that you didn't know that.

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Speaker 4: No.

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Speaker 2: I mean sometimes I just feel like in my head,

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Speaker 2: my first thing is like, okay, are you just being

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Speaker 2: psychosomatic right now? Like wow, just like I'm just thinking

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Speaker 2: that there is.

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Speaker 7: A part to that, you know what there is? I mean,

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Speaker 7: there was a mental side. Tur It. Man, there's a

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Speaker 7: great classical trumpet playing in Charlitie Shalutor who played in

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Speaker 7: Boston Pops for years as a good friend of mine. Man,

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Speaker 7: I was backstage before showing night and I was doing

385
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Speaker 7: something and when I went up to hit this high

386
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Speaker 7: seat I was playing for him, I missed it, and

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Speaker 7: he goes, oh, man, stop thinking about it. You just

388
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Speaker 7: work because I'm standing there. Just go ahead do the thing.

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Speaker 7: And when I when he said that, you know, came

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Speaker 7: out just as clear as a bell. So there is

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Speaker 7: a part of the psychological part of it.

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Speaker 6: I mean in terms of like dizzy, because he would

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Speaker 6: always you know, like blow his cheeks out. And I

394
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Speaker 6: remember as a as a kid, when I would play

395
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Speaker 6: my bands, you should always say like you don't do.

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Speaker 2: That, don't do that.

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Speaker 1: You know what I'm saying. Well, he.

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Speaker 6: Was like, nah, don't do that, Dan, That's gonna mess

399
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Speaker 6: you up. So what is it about? What is it

400
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Speaker 6: about that that makes for I guess for bad playing

401
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Speaker 6: or improper form?

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Speaker 7: Well, you know the thing about it, It was Disney

403
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Speaker 7: was such a freaking menture man. Because when you play

404
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Speaker 7: the trumpet, most people think you try to bring your

405
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Speaker 7: lips backward. You don't want to do that because that

406
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Speaker 7: creates a thin layer of skin, right, what you try

407
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Speaker 7: to try to focus forward? Right, and we try to

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Speaker 7: do what you try to create what we call a

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Speaker 7: pucker right. Well, dizzey, he blew all of the blove

410
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Speaker 7: of us in his cheeks, right yeah. Wow. And then

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Speaker 7: after he did that, that's why his chiefs could expand.

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Speaker 7: But when this could expand, what happened He created a perfect.

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Speaker 1: Punker m.

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Speaker 3: Because he had no choice.

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Speaker 7: Wow, it worked for him. You know what I mean?

416
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Speaker 7: I don't. I don't just that.

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Speaker 1: I ain't trying to blow out the blood. This is

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Speaker 1: my cheek. That don't sound fun.

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Speaker 3: Nobody ever told us kids that we would have stopped.

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Speaker 7: Oh man.

421
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Speaker 2: So as a drummer, I know the texture and tone

422
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Speaker 2: preferences that I have when I judge or do my whatever.

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Speaker 2: Ten second judgment on Okay, they have a good sound,

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Speaker 2: they have a good tone, but how is that how

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Speaker 2: do you judge that for trumpet players? All right, so

426
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Speaker 2: you mentioned Dizzy and I'll give you a weird R

427
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Speaker 2: and B example. So you know eighty one when did

428
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Speaker 2: original music Aquarium come out?

429
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Speaker 1: Eighty one? All right?

430
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Speaker 2: So I was ten years old when Stevie wonders do

431
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Speaker 2: I do?

432
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Speaker 1: Comes out?

433
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Speaker 2: And of course you know, he does this big ass

434
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Speaker 2: build up.

435
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Speaker 1: Ladies and gentlemen.

436
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Speaker 2: And then Disney sort of in my mind, I'm thinking,

437
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Speaker 2: damn with that sort of introduction, I would expect Dizzey

438
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Speaker 2: to come out the gate like evil Knievel, like to.

439
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Speaker 1: Live up to that thing.

440
00:22:34,200 --> 00:22:40,920
Speaker 2: Instead, he held back and always wanted to, always wanted

441
00:22:40,960 --> 00:22:43,000
Speaker 2: to know, and not like I know in my world,

442
00:22:43,240 --> 00:22:47,800
Speaker 2: I've made a living out of less is more. As

443
00:22:47,880 --> 00:22:50,760
Speaker 2: much as I could hold back, I've made and that

444
00:22:50,800 --> 00:22:53,480
Speaker 2: takes a lot of faith to not want to show

445
00:22:53,560 --> 00:22:55,399
Speaker 2: up and I'll do drummers and you know, let your

446
00:22:55,400 --> 00:22:59,760
Speaker 2: egos start talking to you. But how do you so, okay,

447
00:22:59,760 --> 00:23:03,760
Speaker 2: why would you in choosing poor game best? Like, what

448
00:23:03,960 --> 00:23:07,600
Speaker 2: is it about that album that tells you like the

449
00:23:07,640 --> 00:23:10,440
Speaker 2: tone is immaculate and I'm assuming that you're speaking from

450
00:23:10,520 --> 00:23:14,720
Speaker 2: a A Jordan Game sixth level of perfection, like he's

451
00:23:14,800 --> 00:23:17,280
Speaker 2: just hitting it out the park.

452
00:23:17,760 --> 00:23:20,640
Speaker 7: Yeah, it's a it's a well listen, it's a it's

453
00:23:20,680 --> 00:23:26,280
Speaker 7: that perfect marriage between like tone and expression like it.

454
00:23:26,800 --> 00:23:29,640
Speaker 7: For me, I prefer Miles because I love that tone,

455
00:23:29,720 --> 00:23:32,439
Speaker 7: but I also loved Dizzy, and I also loved a

456
00:23:32,480 --> 00:23:35,560
Speaker 7: lot of other guys that had like a more edgy

457
00:23:35,640 --> 00:23:36,920
Speaker 7: or sharper tone.

458
00:23:37,000 --> 00:23:37,199
Speaker 1: You know.

459
00:23:37,840 --> 00:23:41,560
Speaker 7: Uh. But the thing about Miles that got me bro was, man,

460
00:23:41,640 --> 00:23:45,439
Speaker 7: the dude say boo and just you just got a

461
00:23:45,480 --> 00:23:48,639
Speaker 7: whole bunch of information in those three notes, just the

462
00:23:48,680 --> 00:23:51,679
Speaker 7: way he played it. And I think it's because he

463
00:23:51,920 --> 00:23:54,520
Speaker 7: was so counter to everything else that was going on.

464
00:23:54,760 --> 00:23:57,840
Speaker 7: Everybody else was trying to, like you said, prove how

465
00:23:57,920 --> 00:24:00,639
Speaker 7: much they could play, and for him, it was really

466
00:24:00,720 --> 00:24:05,160
Speaker 7: just about expressing, you know, the lyrics behind those those

467
00:24:05,320 --> 00:24:11,359
Speaker 7: those those beautiful songs, you know, And it just took me.

468
00:24:11,440 --> 00:24:13,680
Speaker 7: It just caught me, caught my attention from the time

469
00:24:13,680 --> 00:24:16,720
Speaker 7: that I was like fifteen, sixteen years old, and I've

470
00:24:16,800 --> 00:24:21,679
Speaker 7: just been hooked ever since. Now that's my first impression. Now,

471
00:24:21,720 --> 00:24:23,800
Speaker 7: when you listen to Clifton Brown. Clifton Brown has a

472
00:24:23,840 --> 00:24:27,760
Speaker 7: totally different type of sound. But man, there's a thing

473
00:24:27,880 --> 00:24:31,280
Speaker 7: that's connected to the way he's phrasing the notes.

474
00:24:31,560 --> 00:24:32,160
Speaker 1: You know what I mean.

475
00:24:34,080 --> 00:24:36,480
Speaker 7: This is just an honesty and purity about it.

476
00:24:36,520 --> 00:24:36,639
Speaker 1: Bro.

477
00:24:36,720 --> 00:24:39,040
Speaker 7: It just hits me right in my soul. And I

478
00:24:39,040 --> 00:24:41,480
Speaker 7: got to say this brother, the same thing with you. Brother. Look, man,

479
00:24:41,480 --> 00:24:45,320
Speaker 7: with that snare drum sound, bruh, Your snare drum sound bruh.

480
00:24:45,359 --> 00:24:52,840
Speaker 7: Had me jacked up for a long time. Yeah. No, seriously, seriously, man,

481
00:24:53,640 --> 00:24:54,600
Speaker 7: Yeah no, seriously.

482
00:24:54,640 --> 00:24:54,760
Speaker 1: Bro.

483
00:24:54,800 --> 00:24:56,680
Speaker 7: It's like you know then you said that you gotta

484
00:24:56,760 --> 00:24:58,639
Speaker 7: do a movie and stuff you try to put cruise

485
00:24:58,680 --> 00:25:00,119
Speaker 7: then said, damn, I get that that.

486
00:25:02,040 --> 00:25:05,800
Speaker 8: You don't have pluggins that have like the quest love plugins, right,

487
00:25:05,880 --> 00:25:09,119
Speaker 8: you know that those exist. I've heard, like if you

488
00:25:09,119 --> 00:25:10,800
Speaker 8: want that's there, there's like a plug.

489
00:25:10,880 --> 00:25:13,800
Speaker 2: Yeah, I've seen I've seen it. Yeah.

490
00:25:13,840 --> 00:25:15,960
Speaker 1: Okay, well track Masters knows about it very well.

491
00:25:16,000 --> 00:25:20,119
Speaker 2: Oh Jesus Christ. Right, So okay, this this is the

492
00:25:20,200 --> 00:25:24,359
Speaker 2: I guess, the perfect segue. Now, Okay, since you're talking

493
00:25:24,359 --> 00:25:29,200
Speaker 2: about your fandom for Miles Davis in real time discovering

494
00:25:29,280 --> 00:25:31,600
Speaker 2: at fourteen fifteen, First of all, how old were you

495
00:25:31,640 --> 00:25:34,480
Speaker 2: when you got serious about the trumpet?

496
00:25:34,800 --> 00:25:37,360
Speaker 7: When I was about that age. You know, I had

497
00:25:37,359 --> 00:25:39,080
Speaker 7: a trumpet from the time I was in about fourth

498
00:25:39,080 --> 00:25:40,119
Speaker 7: grade elementary school.

499
00:25:40,160 --> 00:25:40,280
Speaker 3: Man.

500
00:25:40,320 --> 00:25:42,760
Speaker 7: But look, I thought I was going to be athlete.

501
00:25:42,760 --> 00:25:45,320
Speaker 7: I thought I was going to play football. And you know,

502
00:25:47,119 --> 00:25:49,119
Speaker 7: I went to one of those by U classics, bro,

503
00:25:49,200 --> 00:25:52,399
Speaker 7: and I saw Grandma's team come off the bus. That

504
00:25:52,520 --> 00:25:54,800
Speaker 7: was it for me. Bro. I was like, big guys

505
00:25:55,080 --> 00:25:55,919
Speaker 7: following me around.

506
00:25:56,800 --> 00:25:58,080
Speaker 1: What position did you play.

507
00:25:58,560 --> 00:26:00,800
Speaker 7: When I was my litle league, man, I played lineback.

508
00:26:00,840 --> 00:26:04,199
Speaker 7: And you know what.

509
00:26:06,119 --> 00:26:07,359
Speaker 3: About high school? At least?

510
00:26:08,359 --> 00:26:10,720
Speaker 7: No, no, no, no, no, no, no no no. By the

511
00:26:10,720 --> 00:26:13,240
Speaker 7: time I got the high school, I already made that decision.

512
00:26:13,680 --> 00:26:15,919
Speaker 7: I knew I was gonna be as big as those dudes.

513
00:26:16,400 --> 00:26:18,080
Speaker 7: I just knew it wasn't gonna happen, you know what

514
00:26:18,080 --> 00:26:21,520
Speaker 7: I'm saying. So wow, No it was. I was about

515
00:26:21,600 --> 00:26:23,800
Speaker 7: fourteen fifteen round at the same time, and that was

516
00:26:23,840 --> 00:26:25,640
Speaker 7: at the same time that I wound up going to

517
00:26:25,680 --> 00:26:28,760
Speaker 7: the Archig School in New Orleans, New Orleans Center for

518
00:26:28,800 --> 00:26:31,520
Speaker 7: the Creative Arts, And that's where my life changed, man,

519
00:26:31,560 --> 00:26:34,960
Speaker 7: because they just introduced me to everything. You know, I

520
00:26:35,160 --> 00:26:38,359
Speaker 7: just clutching brown on a cam and everything. I just

521
00:26:38,480 --> 00:26:41,080
Speaker 7: I learned so much. That was the first time. Man,

522
00:26:41,920 --> 00:26:44,600
Speaker 7: I remember wanting to go to school every day, you know.

523
00:26:44,640 --> 00:26:47,600
Speaker 7: I remember I got sick one day and I had

524
00:26:47,640 --> 00:26:49,600
Speaker 7: to catch myself. My mom was said, boy, you should

525
00:26:49,600 --> 00:26:51,080
Speaker 7: stay home, and I was like, no, I got to

526
00:26:51,119 --> 00:26:53,199
Speaker 7: go to school. Damn that. I really just said it, right,

527
00:26:54,960 --> 00:26:57,040
Speaker 7: But it was like that because I was learning so much,

528
00:26:57,160 --> 00:26:57,840
Speaker 7: you know, every day.

529
00:26:58,240 --> 00:27:02,600
Speaker 2: Okay, So I have I have a Miles question for you. Now, Okay,

530
00:27:02,880 --> 00:27:06,359
Speaker 2: I'll compare it or or at least parallel with all Right,

531
00:27:06,440 --> 00:27:09,120
Speaker 2: let me my north star is Prince. So I'll say that,

532
00:27:09,440 --> 00:27:13,439
Speaker 2: and I irk Prince fans to this day because I

533
00:27:13,480 --> 00:27:16,880
Speaker 2: will only hang on to seventy eight to eighty eight,

534
00:27:18,040 --> 00:27:20,840
Speaker 2: and it'll irk them to death because it doesn't validate

535
00:27:20,880 --> 00:27:22,480
Speaker 2: when they got hipped prop well he made Da Da

536
00:27:22,520 --> 00:27:25,840
Speaker 2: Da in nineteen ninety four and whatever. And to me,

537
00:27:26,160 --> 00:27:30,080
Speaker 2: it's like, you know, I mean, every everyone has a

538
00:27:30,119 --> 00:27:32,120
Speaker 2: streak period. I mean you go look at Stevie Wonders

539
00:27:32,119 --> 00:27:35,119
Speaker 2: discograph and say, okay, this was his streak period. So

540
00:27:35,800 --> 00:27:40,000
Speaker 2: just now, because I'm more or less discovered Miles in

541
00:27:40,040 --> 00:27:43,200
Speaker 2: my twenties and way after the fact, like it's it's

542
00:27:43,240 --> 00:27:46,480
Speaker 2: different when on the Corner is introduced to you as

543
00:27:46,560 --> 00:27:52,880
Speaker 2: a masterpiece as opposed to being around seventy three to hear. Right,

544
00:27:53,040 --> 00:27:59,640
Speaker 2: So how we're two babies. Well you're a too too

545
00:27:59,640 --> 00:28:07,399
Speaker 2: baby because your age are just every episode. So all right,

546
00:28:07,480 --> 00:28:13,760
Speaker 2: yeah so you were baby? No, But I just mean, like,

547
00:28:14,359 --> 00:28:20,000
Speaker 2: you know, were you able to discern the difference between

548
00:28:20,760 --> 00:28:24,159
Speaker 2: like what were your thoughts on, Like, Okay, I always

549
00:28:24,160 --> 00:28:26,520
Speaker 2: clown a song like I do I'm going to hell

550
00:28:26,600 --> 00:28:32,679
Speaker 2: for this, a song like Jean Pierre, which I'm so not.

551
00:28:33,080 --> 00:28:35,080
Speaker 2: I'm so not a fan of Jean Pierre. It's almost

552
00:28:35,119 --> 00:28:37,800
Speaker 2: like Showgirls, Like I've made fun of that song so

553
00:28:37,960 --> 00:28:40,440
Speaker 2: much that well, let me ask you this. You ever

554
00:28:40,480 --> 00:28:42,240
Speaker 2: clown something so much that you like it like a

555
00:28:42,280 --> 00:28:43,320
Speaker 2: Stockholm syndrome thing.

556
00:28:43,360 --> 00:28:44,880
Speaker 7: Okay, but let me ask you this. Were you not

557
00:28:44,960 --> 00:28:47,560
Speaker 7: a fan of it from the beginning or just because

558
00:28:47,960 --> 00:28:50,040
Speaker 7: people you know ran it into the ground?

559
00:28:51,120 --> 00:28:55,160
Speaker 2: Okay. So with with Miles's discography, I decided when I

560
00:28:55,200 --> 00:28:56,680
Speaker 2: was going to get into him that I was going

561
00:28:56,760 --> 00:29:00,520
Speaker 2: to go in chronological order, okay, And so you know,

562
00:29:00,640 --> 00:29:02,680
Speaker 2: so I started when I was fourteen, so I didn't

563
00:29:02,720 --> 00:29:06,760
Speaker 2: even get to like we want Miles and you're underrest

564
00:29:06,760 --> 00:29:08,240
Speaker 2: and all that stuff. I didn't get to there until

565
00:29:08,240 --> 00:29:12,320
Speaker 2: I was in my twenties, and by then I had,

566
00:29:12,960 --> 00:29:16,960
Speaker 2: you know, I ingusted so much of classic Miles that

567
00:29:17,920 --> 00:29:20,200
Speaker 2: and I haven't read the books or none of that stuff,

568
00:29:20,240 --> 00:29:21,880
Speaker 2: so I didn't even know about like what he was

569
00:29:21,920 --> 00:29:25,040
Speaker 2: going through in his life. But for me, I was

570
00:29:25,080 --> 00:29:29,239
Speaker 2: just like, I guess this is okay, Like I mean,

571
00:29:29,280 --> 00:29:31,959
Speaker 2: I just gave him cart blots for everything he does

572
00:29:32,120 --> 00:29:36,800
Speaker 2: is magic and gold. But like, what were you? And

573
00:29:36,800 --> 00:29:40,280
Speaker 2: I'm so glad I'm talking to someone not named Marcellus

574
00:29:40,520 --> 00:29:43,680
Speaker 2: because you know, both of them, for many reasons, have

575
00:29:43,680 --> 00:29:48,040
Speaker 2: have polar opposite opinions on him, especially but I just

576
00:29:48,040 --> 00:29:54,800
Speaker 2: needed a third party to hit me to that time period.

577
00:29:55,040 --> 00:29:56,320
Speaker 7: Well you know what it was. You know what it

578
00:29:56,360 --> 00:29:59,480
Speaker 7: was for me, Mancy. I was always fascinated with Miles

579
00:29:59,520 --> 00:30:02,160
Speaker 7: because Miles is always the underdog. A lot of people

580
00:30:02,160 --> 00:30:05,640
Speaker 7: don't realize that, you know, Yeah, man and Billy X

581
00:30:05,680 --> 00:30:10,120
Speaker 7: Sign's band, you had Dizzeygill eSPI and uh Fat Fast

582
00:30:10,120 --> 00:30:13,720
Speaker 7: and Viral in the band, and he was like one

583
00:30:13,760 --> 00:30:15,840
Speaker 7: of the third fourth trumpet players in the band. And

584
00:30:16,440 --> 00:30:19,080
Speaker 7: it wasn't He wasn't one of the strongest guys, you

585
00:30:19,160 --> 00:30:21,640
Speaker 7: know what I mean. Wow, So you know, he was

586
00:30:21,680 --> 00:30:23,760
Speaker 7: always like the underdog. So that's why he went a

587
00:30:23,800 --> 00:30:28,120
Speaker 7: totally different direction. So for me, I've always been fascinated

588
00:30:28,160 --> 00:30:32,880
Speaker 7: with everything Miles did because I'm kind of like a

589
00:30:32,960 --> 00:30:35,440
Speaker 7: historian when it comes to him. I guess, you know,

590
00:30:35,480 --> 00:30:37,160
Speaker 7: I don't know if history is the right word, but

591
00:30:38,200 --> 00:30:40,920
Speaker 7: you know, I'm always fascinated by the things that he

592
00:30:41,080 --> 00:30:44,720
Speaker 7: wanted to do because he was so heavily affected by

593
00:30:44,760 --> 00:30:47,040
Speaker 7: that earlier period of playing with Bird and playing with

594
00:30:47,080 --> 00:30:51,000
Speaker 7: Benny x Stein in that band that it made him

595
00:30:51,280 --> 00:30:54,720
Speaker 7: forced him to find this other approach that was totally

596
00:30:54,760 --> 00:30:57,840
Speaker 7: different from the Royal Eldridge's and Disy Gillspies and all

597
00:30:57,840 --> 00:31:01,160
Speaker 7: of those guys, right, and then finding that approach, he

598
00:31:01,320 --> 00:31:03,520
Speaker 7: just all of a sudden blazed the whole new trail.

599
00:31:03,720 --> 00:31:06,080
Speaker 7: And then you can see he just never looked back

600
00:31:06,080 --> 00:31:08,880
Speaker 7: from that point. He just kept moving and kept moving forward,

601
00:31:09,240 --> 00:31:11,080
Speaker 7: and that was his thing. So by the time he

602
00:31:11,200 --> 00:31:13,960
Speaker 7: got to doing Jean Pierre, We Want Miles and all

603
00:31:14,000 --> 00:31:17,800
Speaker 7: of those things, you know, I wasn't looking for and

604
00:31:18,160 --> 00:31:20,040
Speaker 7: I know this made be sacles to say. But I

605
00:31:20,120 --> 00:31:24,280
Speaker 7: wasn't looking for the next big musical breakthrough for Miles,

606
00:31:24,400 --> 00:31:26,440
Speaker 7: you know what I mean. I was just fascinated by

607
00:31:27,400 --> 00:31:31,280
Speaker 7: why he made those choices and just watching the journey. Yeah,

608
00:31:31,320 --> 00:31:33,280
Speaker 7: they have they have to be a reason. You know,

609
00:31:34,160 --> 00:31:36,880
Speaker 7: I didn't think that. You know, I got a chance

610
00:31:36,920 --> 00:31:39,640
Speaker 7: to meet him around that period. You know, he saw

611
00:31:39,680 --> 00:31:44,240
Speaker 7: me play and uh at this jazz festival in Florida.

612
00:31:44,320 --> 00:31:44,480
Speaker 4: Men.

613
00:31:44,680 --> 00:31:47,960
Speaker 7: And unbeknownst to me, when I was in Italy, he

614
00:31:48,040 --> 00:31:51,560
Speaker 7: did an interview with some Italian journalists and he said

615
00:31:51,840 --> 00:31:54,000
Speaker 7: they asked him, so, who do you like out of

616
00:31:54,040 --> 00:31:56,040
Speaker 7: the young players? And he said, I like Terrence. But

617
00:31:56,120 --> 00:31:57,160
Speaker 7: I didn't know he said this.

618
00:31:57,280 --> 00:31:58,880
Speaker 4: So wow.

619
00:31:59,320 --> 00:32:01,320
Speaker 7: Yeah, so all of these journalists. I come out of

620
00:32:01,360 --> 00:32:04,080
Speaker 7: the hotel and Perugia and all of the journalists come

621
00:32:04,160 --> 00:32:05,760
Speaker 7: running up to me, you know, and they said, well,

622
00:32:05,800 --> 00:32:07,480
Speaker 7: what do you think about what Miles said about you?

623
00:32:07,520 --> 00:32:09,560
Speaker 7: And I go, you know it's Miles, you go, so

624
00:32:09,720 --> 00:32:10,080
Speaker 7: what are you?

625
00:32:10,360 --> 00:32:10,440
Speaker 1: Right?

626
00:32:11,000 --> 00:32:11,120
Speaker 4: Right?

627
00:32:14,440 --> 00:32:14,560
Speaker 5: Right?

628
00:32:14,720 --> 00:32:19,840
Speaker 7: Right? This is direction. So after that, he had a

629
00:32:19,880 --> 00:32:23,000
Speaker 7: show that night and al Foster was playing drums right

630
00:32:23,040 --> 00:32:24,800
Speaker 7: and uh. I'll never forget it.

631
00:32:24,840 --> 00:32:24,959
Speaker 2: Man.

632
00:32:25,000 --> 00:32:27,560
Speaker 7: When they came off the stage, they would always clear

633
00:32:27,640 --> 00:32:30,560
Speaker 7: path for Miles, you know, always everybody had to step back,

634
00:32:31,000 --> 00:32:34,320
Speaker 7: and I was standing there and Al could see, you know,

635
00:32:34,400 --> 00:32:36,000
Speaker 7: me looking at Miles. And then he just knew I

636
00:32:36,040 --> 00:32:38,520
Speaker 7: never met Miles, and he said, men, come on back

637
00:32:38,560 --> 00:32:41,160
Speaker 7: and introduce you to Miles. And when I walked in,

638
00:32:41,320 --> 00:32:46,960
Speaker 7: Miles was you know, I was like, he said, keep

639
00:32:46,960 --> 00:32:51,920
Speaker 7: doing what you're doing, motherfucker, you know wow. And he

640
00:32:52,040 --> 00:32:54,160
Speaker 7: was always cool with me, man, every time I was

641
00:32:54,200 --> 00:32:57,560
Speaker 7: seeing him after that. So for me, I didn't look

642
00:32:57,640 --> 00:33:01,560
Speaker 7: at him as a person, you know, I always still

643
00:33:02,520 --> 00:33:07,240
Speaker 7: thought he was always making moves, strategic move You didn't

644
00:33:07,240 --> 00:33:09,680
Speaker 7: have to aglieve with him. You didn't have to like him,

645
00:33:09,760 --> 00:33:11,600
Speaker 7: you know what I mean. But he was making moves

646
00:33:11,600 --> 00:33:14,560
Speaker 7: in his mind. So when I hear those records, that's

647
00:33:14,600 --> 00:33:18,160
Speaker 7: what I hear. I love to too. I think I

648
00:33:18,160 --> 00:33:22,240
Speaker 7: think those records are brilliant because you don't see anything

649
00:33:22,440 --> 00:33:27,280
Speaker 7: like that. You haven't seen anything like that since that record,

650
00:33:27,640 --> 00:33:31,680
Speaker 7: where you have somebody like of that caliber who's not

651
00:33:31,960 --> 00:33:35,320
Speaker 7: taking that music lightly, you know what I mean, who's

652
00:33:35,400 --> 00:33:37,480
Speaker 7: really coming at it from a place where he's trying

653
00:33:37,480 --> 00:33:40,120
Speaker 7: to do something interesting and trying to contribute and.

654
00:33:40,040 --> 00:33:44,200
Speaker 1: Not troduced by Marcus Miller, not.

655
00:33:44,120 --> 00:33:46,480
Speaker 7: Trying to take advantage, you know what I mean. That's

656
00:33:46,480 --> 00:33:48,760
Speaker 7: the thing that I really dug about that record. You know,

657
00:33:48,840 --> 00:33:50,280
Speaker 7: I love that record, you know, it's one of my

658
00:33:50,360 --> 00:33:53,720
Speaker 7: favorite favorite records. But that's I dig about Miles. I

659
00:33:53,800 --> 00:33:55,640
Speaker 7: want my career to be like Miles. I don't want

660
00:33:55,640 --> 00:33:57,840
Speaker 7: to sound the same if you pick up a record

661
00:33:58,440 --> 00:34:00,480
Speaker 7: from now and then to pick up a record from

662
00:34:00,640 --> 00:34:02,800
Speaker 7: from from me twenty years ago. You know what I

663
00:34:02,880 --> 00:34:05,920
Speaker 7: mean to me that that's that's the tragedy, you know,

664
00:34:06,000 --> 00:34:08,040
Speaker 7: because life, the life would be boring if you did

665
00:34:08,080 --> 00:34:09,680
Speaker 7: the same ship all the time, you know.

666
00:34:09,880 --> 00:34:10,239
Speaker 1: For real.

667
00:34:15,280 --> 00:34:18,560
Speaker 6: Man, One question I had about Miles, and I've talked to.

668
00:34:18,719 --> 00:34:21,760
Speaker 1: Being glassproow, Like we debated this before, would.

669
00:34:21,560 --> 00:34:23,719
Speaker 6: You say that Miles, because in my mind, the way

670
00:34:23,760 --> 00:34:26,440
Speaker 6: I came into him was he kind of the first

671
00:34:26,480 --> 00:34:31,840
Speaker 6: guy to to create what we now know as smooth jazz,

672
00:34:31,880 --> 00:34:33,640
Speaker 6: so to speak, Like, I know, it's kind of looked

673
00:34:33,680 --> 00:34:37,279
Speaker 6: as a as a it's smooth jazz has looked at

674
00:34:37,320 --> 00:34:39,439
Speaker 6: as kind of a pejorative now, you know what I'm saying.

675
00:34:39,480 --> 00:34:43,120
Speaker 6: But at the time when I got into jazz, I

676
00:34:43,200 --> 00:34:46,120
Speaker 6: was a kid, and so you know, kind of blue.

677
00:34:46,320 --> 00:34:48,200
Speaker 1: That was like homework music for me, you know what

678
00:34:48,239 --> 00:34:50,839
Speaker 1: I'm saying. And I was like, okay, I can put

679
00:34:50,880 --> 00:34:53,040
Speaker 1: this song. Yeah, you know what I mean.

680
00:34:53,080 --> 00:34:59,040
Speaker 7: I'm like, yo, yeah, because I never thought about it.

681
00:34:59,080 --> 00:35:01,480
Speaker 7: I never thought you would kind of blue and that

682
00:35:01,680 --> 00:35:03,799
Speaker 7: and that. But I can see where you're going with that.

683
00:35:03,920 --> 00:35:05,560
Speaker 7: I never thought about that with Mius. You know what

684
00:35:05,600 --> 00:35:07,640
Speaker 7: I thought you were going to say, was was it

685
00:35:07,719 --> 00:35:09,799
Speaker 7: true at Miles was the guy that created like the

686
00:35:09,840 --> 00:35:14,280
Speaker 7: fusion thing? And I like, yeah, because those those guys

687
00:35:14,280 --> 00:35:16,319
Speaker 7: were coming at it from all different angles, you.

688
00:35:16,239 --> 00:35:16,680
Speaker 1: Know what I mean.

689
00:35:16,719 --> 00:35:19,360
Speaker 7: But I'd have to put some thought into that about

690
00:35:19,360 --> 00:35:22,759
Speaker 7: the smooth jazz thing because you know, even though, because

691
00:35:23,000 --> 00:35:25,400
Speaker 7: you know it's funny before you said the kind of blue,

692
00:35:26,200 --> 00:35:29,279
Speaker 7: I was going to say, because you know, you had like, uh,

693
00:35:30,560 --> 00:35:33,000
Speaker 7: Lucky Thompson and all of those guys, they were one

694
00:35:33,520 --> 00:35:37,080
Speaker 7: more of the R and B is kind of instrumental music.

695
00:35:37,120 --> 00:35:39,800
Speaker 7: And then I kind of let in years later to

696
00:35:39,920 --> 00:35:41,440
Speaker 7: like a Groover Washington.

697
00:35:41,200 --> 00:35:44,080
Speaker 1: Kind David Sanborn and stuff like that.

698
00:35:44,280 --> 00:35:48,200
Speaker 7: Yeah. So but when you threw you threw me for

699
00:35:48,239 --> 00:35:49,200
Speaker 7: a loop with the cod.

700
00:35:50,920 --> 00:35:52,960
Speaker 6: I mean that was just me as a gig, Like

701
00:35:53,239 --> 00:35:55,719
Speaker 6: were talked about this kind of where you are when

702
00:35:55,760 --> 00:35:57,920
Speaker 6: you come to the music, what your experience is with it,

703
00:35:57,960 --> 00:35:59,160
Speaker 6: and so for me it would come on.

704
00:35:59,320 --> 00:36:01,520
Speaker 1: I'm like, this is just chill ship. I do my

705
00:36:01,560 --> 00:36:02,000
Speaker 1: homework too.

706
00:36:03,040 --> 00:36:06,400
Speaker 2: But I think before smooth jazz, there was cool, and

707
00:36:06,640 --> 00:36:11,000
Speaker 2: cool was you know, Bertha Cool, which is probably a

708
00:36:12,040 --> 00:36:16,160
Speaker 2: better example of smooth jazz. You know. Actually, Steve, you

709
00:36:16,160 --> 00:36:20,000
Speaker 2: are the Creed tailor uh expert here. Now I'm a

710
00:36:20,040 --> 00:36:23,040
Speaker 2: Cretailor fan only because a lot of his stuff is

711
00:36:23,040 --> 00:36:27,680
Speaker 2: so breakbeat oriented, you know, all that Bob James stuff,

712
00:36:27,800 --> 00:36:31,040
Speaker 2: all the you know, all the all this stuff, even

713
00:36:31,080 --> 00:36:36,759
Speaker 2: Krover like. But I know that jazz experts or the

714
00:36:36,880 --> 00:36:41,200
Speaker 2: jazz police, will you know, give that a raspberry down

715
00:36:41,280 --> 00:36:44,040
Speaker 2: in two seconds? But I don't know.

716
00:36:44,280 --> 00:36:49,240
Speaker 7: I would think that won't worry from New Orleans.

717
00:36:50,400 --> 00:36:52,839
Speaker 1: Listen you how did you escape the cult?

718
00:36:52,880 --> 00:36:56,759
Speaker 7: Then here's here's the thing about we don't deal with

719
00:36:56,840 --> 00:36:58,880
Speaker 7: the jazz poof you know what I mean, There's a

720
00:36:59,440 --> 00:37:04,880
Speaker 7: there's a different between like upholding something right and moving

721
00:37:04,920 --> 00:37:08,080
Speaker 7: something forward, you know what I mean? Like, well, I've

722
00:37:08,120 --> 00:37:10,440
Speaker 7: been teaching I'm not teaching it now, but when I

723
00:37:10,520 --> 00:37:12,520
Speaker 7: was working at the Monk Institute, man, I hung around

724
00:37:12,560 --> 00:37:16,279
Speaker 7: Herbie and Wayne for over fifteen years, you know what

725
00:37:16,360 --> 00:37:20,200
Speaker 7: I mean, And being around those dudes, they constantly make

726
00:37:20,280 --> 00:37:23,279
Speaker 7: you think about things. And Wayne Charlotte used to say,

727
00:37:23,400 --> 00:37:25,040
Speaker 7: jazz means I dare you.

728
00:37:25,040 --> 00:37:25,600
Speaker 1: You know what I mean?

729
00:37:25,640 --> 00:37:28,960
Speaker 7: So that's the way that I look at it. Wow,

730
00:37:31,080 --> 00:37:33,480
Speaker 7: I don't like. I don't like the divisions and music,

731
00:37:34,239 --> 00:37:37,200
Speaker 7: you know, because we already have too many divisions in life,

732
00:37:37,440 --> 00:37:39,160
Speaker 7: you know, we don't need divisions of music. As a

733
00:37:39,160 --> 00:37:41,600
Speaker 7: matter of fact. I remember years ago when I was

734
00:37:41,640 --> 00:37:43,480
Speaker 7: with all Blakey Man. We were in Paris, and I

735
00:37:43,520 --> 00:37:46,080
Speaker 7: don't know if you know Marvel Miller was very jazz pianist.

736
00:37:46,880 --> 00:37:49,839
Speaker 7: Would we would? I hate that meit this, But we

737
00:37:49,840 --> 00:37:53,879
Speaker 7: was homesick, so we went to McDonald's and shit, be the.

738
00:37:53,800 --> 00:38:00,960
Speaker 2: Only one that would go to in America that there.

739
00:38:03,200 --> 00:38:06,000
Speaker 1: Are exactly.

740
00:38:07,840 --> 00:38:08,040
Speaker 2: Ship.

741
00:38:08,800 --> 00:38:09,920
Speaker 8: Yeah.

742
00:38:10,160 --> 00:38:13,359
Speaker 7: While we were sitting there, man, I remember we heard

743
00:38:13,440 --> 00:38:17,600
Speaker 7: Nancy Wilson, we heard uh, we heard some R and B,

744
00:38:18,239 --> 00:38:21,160
Speaker 7: we heard some classical music, and it was all being

745
00:38:21,200 --> 00:38:22,720
Speaker 7: played from the same station.

746
00:38:23,800 --> 00:38:26,480
Speaker 3: Oh Europe, Oh Europe, you know.

747
00:38:27,320 --> 00:38:30,600
Speaker 7: And it was all African American artists. I'm assuming classical.

748
00:38:30,760 --> 00:38:34,439
Speaker 7: I was assuming the classical person, and I was sitting

749
00:38:34,440 --> 00:38:37,600
Speaker 7: there saying wow, and and it was deep because it

750
00:38:37,640 --> 00:38:39,920
Speaker 7: took us a minute to realize it because when you,

751
00:38:39,920 --> 00:38:41,719
Speaker 7: you know, you first sit down, you kind of think, oh,

752
00:38:41,760 --> 00:38:43,040
Speaker 7: this is just gonna be like some R and B

753
00:38:43,040 --> 00:38:44,960
Speaker 7: stuff that's playing. The next thing, you know, it's like

754
00:38:44,960 --> 00:38:47,520
Speaker 7: Timmy finn, I got something that's playing, What what the hell?

755
00:38:47,960 --> 00:38:50,640
Speaker 7: And then if something else playing, and I went, see, man,

756
00:38:51,440 --> 00:38:54,160
Speaker 7: this is what's really cool because then we're starting to

757
00:38:54,160 --> 00:38:57,920
Speaker 7: see the breath of who we are as a community bro,

758
00:38:58,120 --> 00:39:02,600
Speaker 7: not this kind of localized yeah, you know, and it

759
00:39:02,680 --> 00:39:07,400
Speaker 7: keeps people fearful, keeps people fearful of trynics experience something different,

760
00:39:07,600 --> 00:39:08,200
Speaker 7: you know what I mean?

761
00:39:08,840 --> 00:39:12,359
Speaker 2: Yeah, all right, Steve, I'm asking your question unless you're

762
00:39:12,360 --> 00:39:13,400
Speaker 2: going to ask you right now.

763
00:39:13,960 --> 00:39:16,239
Speaker 11: Well, I have a question, but I doubt you know

764
00:39:16,280 --> 00:39:16,680
Speaker 11: what it is.

765
00:39:17,760 --> 00:39:19,960
Speaker 2: Okay, Well then I'm taking your question.

766
00:39:20,840 --> 00:39:22,560
Speaker 1: Okay, I can wait.

767
00:39:23,360 --> 00:39:26,200
Speaker 2: All right, ask your question, Steve. No, I don't want

768
00:39:26,239 --> 00:39:28,880
Speaker 2: to ruin I don't want to ruin your flow. I

769
00:39:28,960 --> 00:39:31,880
Speaker 2: was going to ask what was the first album that you.

770
00:39:33,080 --> 00:39:34,920
Speaker 11: Oh no, that's not my My question is where's your

771
00:39:34,960 --> 00:39:36,960
Speaker 11: album collection right now? So we can pull up and

772
00:39:37,560 --> 00:39:41,440
Speaker 11: you know that's the question.

773
00:39:42,560 --> 00:39:45,120
Speaker 7: You know what, you know what's funny about that, bro? Man,

774
00:39:45,560 --> 00:39:48,319
Speaker 7: My wife just has some cabinets built and we put

775
00:39:48,360 --> 00:39:52,319
Speaker 7: all the records over over there, you know, and I

776
00:39:52,360 --> 00:39:54,320
Speaker 7: got my turntable over there and everything.

777
00:39:55,560 --> 00:39:57,680
Speaker 1: I've switched everything over the digital.

778
00:39:57,800 --> 00:40:02,279
Speaker 3: Dude, Okay, you off the floor.

779
00:40:02,320 --> 00:40:03,040
Speaker 2: Save space.

780
00:40:04,480 --> 00:40:06,520
Speaker 7: No no, no, no, no, it's not you know, you know,

781
00:40:06,800 --> 00:40:17,640
Speaker 7: you know, I get I know a lot of dudes

782
00:40:17,719 --> 00:40:17,920
Speaker 7: like that.

783
00:40:18,000 --> 00:40:19,719
Speaker 1: I get it. I get it. You know.

784
00:40:20,000 --> 00:40:24,719
Speaker 7: It's it's interesting, man, because uh I felt bad one day, man,

785
00:40:24,760 --> 00:40:27,000
Speaker 7: when my kids they were they were little. They're grown now,

786
00:40:27,040 --> 00:40:29,080
Speaker 7: but when they were little, I felt bad.

787
00:40:29,200 --> 00:40:29,359
Speaker 5: Man.

788
00:40:29,400 --> 00:40:32,840
Speaker 7: I pulled out the turntable and I gave him some records,

789
00:40:32,880 --> 00:40:34,719
Speaker 7: and the watching them put the needle on the thing

790
00:40:34,840 --> 00:40:37,480
Speaker 7: and with such amazement in their eyes, was.

791
00:40:37,480 --> 00:40:42,520
Speaker 8: Like, I went, wow, Right, my daughter just found CDs yesterday.

792
00:40:42,719 --> 00:40:45,359
Speaker 8: She's like, what are these? I was like, really, ship, Yeah,

793
00:40:45,520 --> 00:40:47,520
Speaker 8: she took and then she took them. She took them

794
00:40:47,719 --> 00:40:50,239
Speaker 8: and she used them to paint on they like to

795
00:40:50,320 --> 00:40:51,920
Speaker 8: paint to make art out of because she didn't know

796
00:40:51,960 --> 00:40:52,319
Speaker 8: what to do.

797
00:40:52,280 --> 00:40:53,680
Speaker 1: With the season. It was a moment.

798
00:40:55,320 --> 00:40:57,000
Speaker 7: A good friend of mine, a good friend of mine,

799
00:40:57,040 --> 00:40:58,920
Speaker 7: he used to sell records here. He had a he

800
00:40:58,960 --> 00:41:00,880
Speaker 7: had a store any walls ago, we're read just how

801
00:41:00,960 --> 00:41:03,319
Speaker 7: was hanging out and my daughter Sidney, who was living

802
00:41:03,360 --> 00:41:06,160
Speaker 7: in Brooklyn. Man, he knows she's a musician, she's a

803
00:41:06,160 --> 00:41:10,000
Speaker 7: songwriter and everything. So he pulls out in one of

804
00:41:10,040 --> 00:41:12,200
Speaker 7: the first Sony Walkman.

805
00:41:12,960 --> 00:41:15,120
Speaker 1: The Yellow Ones, first one.

806
00:41:15,600 --> 00:41:18,520
Speaker 7: Yeah yeah, and he gave it to her.

807
00:41:18,960 --> 00:41:19,719
Speaker 3: What's she doing with dad?

808
00:41:19,920 --> 00:41:23,759
Speaker 7: She told, I said, I gave her this long, long

809
00:41:23,920 --> 00:41:26,640
Speaker 7: lecture about you don't even know what you have. You

810
00:41:26,680 --> 00:41:29,200
Speaker 7: need to respect what it is you have, blah blah blah,

811
00:41:29,239 --> 00:41:32,400
Speaker 7: because it was in pristine condition, you know what I mean. Wowe,

812
00:41:32,480 --> 00:41:35,400
Speaker 7: it's still worked. I mean you know she has it.

813
00:41:35,560 --> 00:41:38,239
Speaker 7: She has it wrapped up in in uh in her room.

814
00:41:38,280 --> 00:41:41,640
Speaker 1: Now. I didn't let her take her to Brooklyn like.

815
00:41:41,640 --> 00:41:43,799
Speaker 5: You guys and bragging writs real quick about your kids though,

816
00:41:43,800 --> 00:41:45,960
Speaker 5: because I didn't know about your daughter as a songwriter.

817
00:41:46,520 --> 00:41:49,080
Speaker 7: Oh yeah, yeah yeah. My son actually wrote some stuff

818
00:41:49,080 --> 00:41:50,080
Speaker 7: from one of my albums.

819
00:41:50,120 --> 00:41:50,319
Speaker 1: Man.

820
00:41:50,600 --> 00:41:55,400
Speaker 7: You know he's a great songwriter to Jay poetry, right, yeah.

821
00:41:56,880 --> 00:41:59,000
Speaker 3: We're about to follow him Terrence with the name.

822
00:41:59,239 --> 00:42:02,880
Speaker 7: Jay Ray Oliver, but the red spelled like r E.

823
00:42:03,120 --> 00:42:05,640
Speaker 3: I okay, and then what's your daughter?

824
00:42:06,160 --> 00:42:11,800
Speaker 7: My daughters like her name is Sydney, but she Tom.

825
00:42:12,120 --> 00:42:14,640
Speaker 7: She's got like Tom girl or something that's I hamble on.

826
00:42:14,840 --> 00:42:15,880
Speaker 1: I g you know, I can't.

827
00:42:16,360 --> 00:42:16,759
Speaker 4: That's fine.

828
00:42:16,800 --> 00:42:18,480
Speaker 3: I just wanted to know at least we can find myself.

829
00:42:18,480 --> 00:42:21,200
Speaker 7: That's one of my first record with a band called

830
00:42:21,719 --> 00:42:29,239
Speaker 7: about the releasing, you know, against Priest Nice.

831
00:42:29,719 --> 00:42:32,240
Speaker 2: All right, yeah, but okay, So what was the first

832
00:42:32,280 --> 00:42:34,280
Speaker 2: album that you purchased?

833
00:42:34,840 --> 00:42:40,279
Speaker 7: Oh, man, okay, I have to class fighter. See it

834
00:42:40,280 --> 00:42:42,040
Speaker 7: was funny because you were talking about me and Ferguson

835
00:42:42,160 --> 00:42:43,840
Speaker 7: the other big Me and not Ferguson fan when I

836
00:42:43,880 --> 00:42:45,920
Speaker 7: was a kid. So some of that stuff with some

837
00:42:45,960 --> 00:42:48,680
Speaker 7: of the first stuff I bought. But when I really

838
00:42:48,719 --> 00:42:52,840
Speaker 7: started to get serious about jazz, man, it was Miles

839
00:42:52,920 --> 00:42:57,640
Speaker 7: David's Funny, My Funny, Valentine Live and Brown and Roach

840
00:42:58,000 --> 00:43:01,200
Speaker 7: Max Roach and Clipping Brown.

841
00:43:00,719 --> 00:43:03,200
Speaker 2: With Jackie on it.

842
00:43:03,280 --> 00:43:06,879
Speaker 7: Yes, okay, I used to wear those records out.

843
00:43:07,480 --> 00:43:08,680
Speaker 2: I've gotten to jazz early.

844
00:43:09,600 --> 00:43:12,080
Speaker 7: Yeah, because you know, living in New Orleans, man, I mean,

845
00:43:12,120 --> 00:43:14,600
Speaker 7: you know, you're just exposed to all of these great musicians.

846
00:43:14,640 --> 00:43:18,040
Speaker 7: You hear guys playing instruments all the time. You know,

847
00:43:18,120 --> 00:43:20,959
Speaker 7: so you just kind of is this in your system?

848
00:43:21,440 --> 00:43:22,680
Speaker 1: Can I ask my question now?

849
00:43:23,040 --> 00:43:27,800
Speaker 11: I mean, yes, it's not related to vinyl records or anything,

850
00:43:27,840 --> 00:43:30,600
Speaker 11: but your your actual trumpet.

851
00:43:31,080 --> 00:43:32,239
Speaker 2: Yes, for people who.

852
00:43:32,160 --> 00:43:35,400
Speaker 11: Have seen you play live or on video, it looks

853
00:43:35,400 --> 00:43:40,040
Speaker 11: different than normal trumpet. And I think me and our

854
00:43:40,120 --> 00:43:42,760
Speaker 11: viewers might be curious, what's the difference between your trumpet

855
00:43:42,800 --> 00:43:46,600
Speaker 11: and quote unquote normal trumpet, and like, does it have

856
00:43:46,640 --> 00:43:50,000
Speaker 11: anything to do with the you know, the mouthpiece especially

857
00:43:50,120 --> 00:43:52,680
Speaker 11: looks looks different. Does that have anything to do with

858
00:43:52,680 --> 00:43:55,120
Speaker 11: what we were talking about earlier the physical aspect of

859
00:43:55,520 --> 00:43:56,400
Speaker 11: having a.

860
00:43:56,440 --> 00:43:58,160
Speaker 7: Little bit I mean it's maybe by a guy named

861
00:43:58,239 --> 00:44:02,440
Speaker 7: David on that and the models Roger a I'm sorry,

862
00:44:02,640 --> 00:44:05,759
Speaker 7: r a Ja. And what he does is when you

863
00:44:05,840 --> 00:44:08,799
Speaker 7: see it, it has a lot of thick bracing on it,

864
00:44:09,320 --> 00:44:11,799
Speaker 7: and the reason why the mouthpiece is there, and it's

865
00:44:11,840 --> 00:44:15,279
Speaker 7: actually removable, but it takes a long long time to

866
00:44:15,440 --> 00:44:18,560
Speaker 7: unscrew because what he's trying to do is to try

867
00:44:18,600 --> 00:44:22,960
Speaker 7: to create a really tight fit, so nothing really vibrates

868
00:44:22,960 --> 00:44:25,080
Speaker 7: in the metal. But when you get to the bell,

869
00:44:25,200 --> 00:44:28,319
Speaker 7: he makes a really really large bell that's dense and

870
00:44:28,360 --> 00:44:31,279
Speaker 7: when you pluck it, man, it rings right, So that's

871
00:44:31,320 --> 00:44:34,239
Speaker 7: the only thing that resonates on the horn. And his

872
00:44:34,440 --> 00:44:38,560
Speaker 7: theory is that by keeping everything else so rigid, the

873
00:44:38,680 --> 00:44:42,920
Speaker 7: sound goes through the horn rather quickly and creates a

874
00:44:42,960 --> 00:44:44,480
Speaker 7: broader tone coming at the bell.

875
00:44:45,440 --> 00:44:49,120
Speaker 11: And what about the physical aspect of is it easier

876
00:44:49,160 --> 00:44:50,320
Speaker 11: on your on your mouth?

877
00:44:51,280 --> 00:44:53,160
Speaker 7: No, I mean it's the same. I mean, he would

878
00:44:53,160 --> 00:44:55,040
Speaker 7: like to tell you it's easier because you know, it's

879
00:44:55,040 --> 00:44:58,840
Speaker 7: slotted better, and blah blah blah. It's still a trumpet.

880
00:44:58,920 --> 00:45:01,080
Speaker 7: It's still still a pH demanding thing.

881
00:45:01,440 --> 00:45:01,600
Speaker 1: You know.

882
00:45:01,680 --> 00:45:03,560
Speaker 7: That was a great trumpet player. Man, I was telling him.

883
00:45:03,560 --> 00:45:04,959
Speaker 7: I said, Man, I'm trying to get to the point

884
00:45:05,360 --> 00:45:11,359
Speaker 7: it doesn't hurt. He said, man, it hurts. Let it go.

885
00:45:12,239 --> 00:45:14,600
Speaker 6: Man, what is the difference between I used to I

886
00:45:14,600 --> 00:45:17,680
Speaker 6: mean playing I still never really knew trumpet, corn it,

887
00:45:17,880 --> 00:45:18,960
Speaker 6: and flugel.

888
00:45:19,400 --> 00:45:21,560
Speaker 7: Well, I mean both of all three of those. It's

889
00:45:21,600 --> 00:45:23,960
Speaker 7: really about tone. I mean they're going to feel different

890
00:45:24,160 --> 00:45:27,160
Speaker 7: just because of the tubing and everything is going to

891
00:45:27,239 --> 00:45:30,279
Speaker 7: feel like really kind of open. It's you know, corn it.

892
00:45:30,320 --> 00:45:32,680
Speaker 7: For me, it feels a little more restrictive, you know,

893
00:45:33,320 --> 00:45:35,879
Speaker 7: But it's just about tone, you know. And and it's

894
00:45:35,960 --> 00:45:38,719
Speaker 7: kind of interesting because I haven't played corner out of

895
00:45:38,719 --> 00:45:41,280
Speaker 7: fluhorn a long, long long time.

896
00:45:41,640 --> 00:45:43,279
Speaker 6: I guess the notes are still the same as the

897
00:45:43,280 --> 00:45:46,840
Speaker 6: trumpet though it's the same finger and everything, gotcha, exactly

898
00:45:46,880 --> 00:45:48,680
Speaker 6: the same, just different.

899
00:45:49,200 --> 00:45:52,600
Speaker 11: Why did why did art Farmers stop playing trumpet and

900
00:45:52,920 --> 00:45:54,919
Speaker 11: only play flug on exclusively?

901
00:45:55,520 --> 00:45:57,840
Speaker 1: He did it? He plays a fluppet, Yeah, he can.

902
00:45:58,000 --> 00:46:00,759
Speaker 7: He came up. Well, the same guy, the same guy

903
00:46:00,760 --> 00:46:03,000
Speaker 7: that me and my horn made his horn, and he

904
00:46:03,080 --> 00:46:06,960
Speaker 7: came in between a trumpet and a fluval horn and

905
00:46:06,960 --> 00:46:09,879
Speaker 7: that they called it the flumpet, you know, and it

906
00:46:09,960 --> 00:46:15,080
Speaker 7: was designed to kind of bring those physical sin ways

907
00:46:15,120 --> 00:46:17,720
Speaker 7: together to create a tone that's kind of in between.

908
00:46:18,320 --> 00:46:20,680
Speaker 7: But he had, he had, he had. That was something

909
00:46:21,280 --> 00:46:23,399
Speaker 7: A lot of that is like in your in your head, man,

910
00:46:23,719 --> 00:46:25,640
Speaker 7: what you're trying to hear, you know what I mean.

911
00:46:25,719 --> 00:46:30,480
Speaker 7: And that's the beauty of any artistry, you know. You know,

912
00:46:30,600 --> 00:46:32,480
Speaker 7: That's what I try to teach my kids. It's like

913
00:46:33,040 --> 00:46:35,040
Speaker 7: I can't tell you who you are. You know, I

914
00:46:35,040 --> 00:46:36,799
Speaker 7: could just give you the twos to kind of help

915
00:46:37,239 --> 00:46:41,120
Speaker 7: you to develop your ideas, but who you are is

916
00:46:41,160 --> 00:46:45,000
Speaker 7: you're an individual. You have to do that investigation yourself.

917
00:46:45,040 --> 00:46:46,960
Speaker 7: And the more you do that, the more you trust it,

918
00:46:47,000 --> 00:46:49,319
Speaker 7: the more you start to see that maybe you're not

919
00:46:49,480 --> 00:46:51,720
Speaker 7: like somebody else. Maybe you do like a different tone,

920
00:46:51,719 --> 00:46:53,960
Speaker 7: maybe you do like a different set up on your

921
00:46:54,040 --> 00:46:56,200
Speaker 7: drums than somebody else. And that's okay as long as

922
00:46:56,200 --> 00:46:58,440
Speaker 7: you're expressing what it is you want to express.

923
00:46:59,120 --> 00:47:02,160
Speaker 11: I was just wondering if you still play other types

924
00:47:02,440 --> 00:47:06,600
Speaker 11: of if you play other brands or models of trumpet,

925
00:47:06,719 --> 00:47:08,680
Speaker 11: or just exclusively the one that we see you with.

926
00:47:09,080 --> 00:47:13,120
Speaker 7: Yeah, just the moment I'm you know, I haven't played

927
00:47:13,120 --> 00:47:17,400
Speaker 7: a horn that plays as for me, at least plays

928
00:47:17,440 --> 00:47:20,960
Speaker 7: as well as his for me, you know, And maybe

929
00:47:21,000 --> 00:47:25,560
Speaker 7: it's just because I'm accustomed to him.

930
00:47:24,560 --> 00:47:26,560
Speaker 1: But there's a certain.

931
00:47:27,840 --> 00:47:28,040
Speaker 2: You know.

932
00:47:28,239 --> 00:47:32,160
Speaker 7: Maurice Andre was this great classical trumpet player from Paris,

933
00:47:32,200 --> 00:47:34,279
Speaker 7: man and he made a comment one time and it

934
00:47:34,320 --> 00:47:34,920
Speaker 7: stuck with me.

935
00:47:35,160 --> 00:47:35,360
Speaker 2: You know.

936
00:47:36,040 --> 00:47:38,000
Speaker 7: He said there were moments in time that he would

937
00:47:38,040 --> 00:47:40,560
Speaker 7: play that he would forget that he had a horn

938
00:47:40,560 --> 00:47:44,239
Speaker 7: in his hand, you know, And sometimes you're playing them

939
00:47:44,239 --> 00:47:46,799
Speaker 7: on thatt it's kind of like that, you know what

940
00:47:46,800 --> 00:47:50,359
Speaker 7: I mean. It's like the trumpet is just what it is.

941
00:47:50,400 --> 00:47:51,120
Speaker 7: It's an instrument.

942
00:47:51,160 --> 00:47:51,279
Speaker 1: Man.

943
00:47:51,320 --> 00:47:54,200
Speaker 7: My trumpet teacher always used to say, you know, he

944
00:47:55,200 --> 00:47:57,520
Speaker 7: would point to the trump and goes, what does that mean?

945
00:47:57,600 --> 00:47:58,040
Speaker 1: What is that?

946
00:47:58,120 --> 00:48:01,879
Speaker 7: And I'm always given this scientific answer, man, you know, like, oh,

947
00:48:02,000 --> 00:48:04,399
Speaker 7: it's a two man. It's blah blah blah blah blah.

948
00:48:04,400 --> 00:48:07,520
Speaker 7: He goes, no, man, it's a mirror of the mind.

949
00:48:07,800 --> 00:48:08,719
Speaker 7: It's a mirror of.

950
00:48:08,680 --> 00:48:10,400
Speaker 1: The mind, you know.

951
00:48:10,719 --> 00:48:13,960
Speaker 7: And uh, that's the way that I kind of look

952
00:48:14,000 --> 00:48:16,960
Speaker 7: at it. With his horns when I'm playing his horns,

953
00:48:17,000 --> 00:48:18,960
Speaker 7: I don't I get to the point where I'm not

954
00:48:19,000 --> 00:48:22,080
Speaker 7: thinking about playing the trumpet, you know, it's about trying

955
00:48:22,080 --> 00:48:26,319
Speaker 7: to convey an idea to an audience. Growing up in

956
00:48:26,360 --> 00:48:32,640
Speaker 7: New Orleans, especially at the age in your formative years,

957
00:48:33,160 --> 00:48:37,399
Speaker 7: what was your relationship with pop or soul music at

958
00:48:37,400 --> 00:48:41,400
Speaker 7: the time? Like cats I saw, you know cats that

959
00:48:41,480 --> 00:48:44,160
Speaker 7: I grew up with in the seventies. You know, they

960
00:48:44,320 --> 00:48:47,280
Speaker 7: they were you know, they were looking to like Pee

961
00:48:47,280 --> 00:48:49,719
Speaker 7: Wee from the Ohio Players, or like William King from

962
00:48:49,760 --> 00:48:50,480
Speaker 7: the Commondors.

963
00:48:50,600 --> 00:48:54,160
Speaker 2: Like every high school wanted to play like love roller

964
00:48:54,160 --> 00:48:57,440
Speaker 2: Coaster or that sort of thing. Like where what was

965
00:48:57,440 --> 00:49:01,319
Speaker 2: your relationship with just modern music at the time?

966
00:49:02,280 --> 00:49:08,320
Speaker 7: What it was Bernie well Wall, Yes, indeed, Bernie Paulamer, Funker, Bellis,

967
00:49:08,320 --> 00:49:12,480
Speaker 7: earth Wind and Fire Cool in the Gang Mandrel, you know,

968
00:49:13,280 --> 00:49:15,120
Speaker 7: all of those groups. Man, that was the stuff that

969
00:49:15,160 --> 00:49:16,680
Speaker 7: I used to listen to. As a matter of fact,

970
00:49:17,120 --> 00:49:19,200
Speaker 7: I used to play keyboard in the pop band when

971
00:49:19,239 --> 00:49:22,400
Speaker 7: I was in high school and really dug it, you

972
00:49:22,440 --> 00:49:24,480
Speaker 7: know what I mean, had a lot of fun doing it, man,

973
00:49:24,520 --> 00:49:27,080
Speaker 7: and then continued to do it. You know, even when

974
00:49:27,080 --> 00:49:28,560
Speaker 7: I got to college a little bit. We used to

975
00:49:28,600 --> 00:49:30,720
Speaker 7: we used to do a lot of that stuff, playing

976
00:49:30,719 --> 00:49:33,160
Speaker 7: those gigs, and I always had fun. Listen, man, I've

977
00:49:33,160 --> 00:49:36,319
Speaker 7: always loved that music. You know. That's why I loved

978
00:49:36,360 --> 00:49:40,040
Speaker 7: Prince so much, because Prince, to me, was like a throwback.

979
00:49:40,239 --> 00:49:42,360
Speaker 7: You know. Obviously he come out of James Brown. You

980
00:49:42,360 --> 00:49:44,960
Speaker 7: could hear all of that stuff. You could hear, you know,

981
00:49:45,120 --> 00:49:47,080
Speaker 7: where he paid reverence a lot of people that had

982
00:49:47,120 --> 00:49:50,040
Speaker 7: come performed. But the thing that I liked about Prince's

983
00:49:50,120 --> 00:49:52,040
Speaker 7: kind of like Myles to me, and that you know,

984
00:49:52,120 --> 00:49:54,480
Speaker 7: with all of those albums, bro, he was trying something

985
00:49:54,520 --> 00:49:58,080
Speaker 7: different and he was always finding something new to express,

986
00:49:58,360 --> 00:50:02,480
Speaker 7: you know, and uh he was unapologetic about it. I

987
00:50:03,200 --> 00:50:06,680
Speaker 7: just listen, man, you know, he was the only artist

988
00:50:06,680 --> 00:50:09,360
Speaker 7: that I saw at the time that could have like

989
00:50:09,440 --> 00:50:12,400
Speaker 7: a like a heavy metal tune in a country tune

990
00:50:12,440 --> 00:50:15,200
Speaker 7: on the same album, you know what I mean, right,

991
00:50:15,320 --> 00:50:17,359
Speaker 7: and it'll still sound like him, you know what I mean.

992
00:50:17,400 --> 00:50:19,400
Speaker 7: It's like you had to tip your hat to that.

993
00:50:19,560 --> 00:50:22,759
Speaker 2: So so funking soul wasn't a four letter word to

994
00:50:22,800 --> 00:50:23,640
Speaker 2: you at the time.

995
00:50:23,920 --> 00:50:25,520
Speaker 7: Never, never, ever.

996
00:50:25,960 --> 00:50:28,400
Speaker 2: Okay, So now I'll go back to my original question,

997
00:50:28,560 --> 00:50:33,120
Speaker 2: because I know that you've had associations with Ellis Marcellus

998
00:50:34,400 --> 00:50:39,200
Speaker 2: and and his kids. Uh, how did you?

999
00:50:40,280 --> 00:50:40,799
Speaker 1: How did you?

1000
00:50:41,560 --> 00:50:46,000
Speaker 2: How did you escape the at least in my personal,

1001
00:50:46,239 --> 00:50:50,880
Speaker 2: uh point of view, the this kind of get out

1002
00:50:51,239 --> 00:50:59,920
Speaker 2: cultish jazz cultish regime of Marcella's seriousness, which you know,

1003
00:51:00,160 --> 00:51:02,839
Speaker 2: depending on which morsels you talk to is either some

1004
00:51:02,880 --> 00:51:06,879
Speaker 2: of them are wide open or rebellious or some are

1005
00:51:06,960 --> 00:51:10,120
Speaker 2: very much like you must study the book of you know,

1006
00:51:10,320 --> 00:51:13,000
Speaker 2: chapter Jazz Verse Swing.

1007
00:51:13,480 --> 00:51:15,560
Speaker 1: You know, Yeah, how did you escape that?

1008
00:51:16,120 --> 00:51:18,600
Speaker 7: Well? I mean, listen, man, you know, at a certain

1009
00:51:18,640 --> 00:51:23,120
Speaker 7: point of your development, those things are really appropriate to

1010
00:51:23,160 --> 00:51:25,920
Speaker 7: help you to just decipher information, you know. So when

1011
00:51:25,960 --> 00:51:29,040
Speaker 7: I was a young kid, all of that stuff was

1012
00:51:29,040 --> 00:51:33,319
Speaker 7: was really it's really great to make me sit down

1013
00:51:33,360 --> 00:51:37,120
Speaker 7: and focus in practice, you know. But at the same time, bruh,

1014
00:51:37,880 --> 00:51:40,840
Speaker 7: I'm still a compassionate, feeling person. I'm not going to

1015
00:51:40,920 --> 00:51:42,880
Speaker 7: deny what it is that I feel in my soul,

1016
00:51:43,440 --> 00:51:45,279
Speaker 7: you know what I mean. I'm not going to turn

1017
00:51:45,960 --> 00:51:48,520
Speaker 7: I give you another example, you know, forget to mysels.

1018
00:51:48,520 --> 00:51:51,080
Speaker 7: I'll just go to the church. You know, I grew

1019
00:51:51,120 --> 00:51:54,080
Speaker 7: up in a congregational as church in New Orleans. Man

1020
00:51:54,160 --> 00:51:55,920
Speaker 7: Andrew Young was a member of my church.

1021
00:51:56,560 --> 00:51:56,680
Speaker 2: You know.

1022
00:51:57,120 --> 00:51:59,239
Speaker 7: Yeah, he grew up in my church, you know. So

1023
00:52:00,080 --> 00:52:02,000
Speaker 7: it was it was interesting because as long as I

1024
00:52:02,000 --> 00:52:04,680
Speaker 7: play classical music, man, those people love me, you know

1025
00:52:04,719 --> 00:52:07,800
Speaker 7: what I mean. When I started to become a jazz musician,

1026
00:52:07,800 --> 00:52:10,080
Speaker 7: they used to say, well, you know that's that jazz

1027
00:52:10,120 --> 00:52:12,600
Speaker 7: is fine, but you keep keep up with your classics.

1028
00:52:12,160 --> 00:52:12,440
Speaker 5: You hear.

1029
00:52:12,800 --> 00:52:15,480
Speaker 7: And I'm like, you know, that would always bug me

1030
00:52:15,600 --> 00:52:19,680
Speaker 7: because I love music period. You know, there's things that

1031
00:52:19,760 --> 00:52:24,000
Speaker 7: I feel that I can't I will not ever deny,

1032
00:52:24,239 --> 00:52:26,960
Speaker 7: you know. So, so when I'm when I'm listening to

1033
00:52:27,560 --> 00:52:32,160
Speaker 7: you know, uh, when I'm listening to when I'm listening

1034
00:52:32,200 --> 00:52:37,520
Speaker 7: to jodasy Right and and and Jodaicy, some of that

1035
00:52:37,560 --> 00:52:42,360
Speaker 7: ship is like like really funky, you know, I still

1036
00:52:42,680 --> 00:52:46,840
Speaker 7: feel something just as much as when I'm listening to women.

1037
00:52:47,520 --> 00:52:50,479
Speaker 7: And I know people say that as a as a thing.

1038
00:52:50,600 --> 00:52:52,759
Speaker 7: You know, I don't. I'm not doing that, you know,

1039
00:52:54,160 --> 00:52:57,480
Speaker 7: I look at you know, this world is a vast world, man,

1040
00:52:57,560 --> 00:52:59,680
Speaker 7: and God has given all of us different talents to

1041
00:52:59,680 --> 00:53:03,160
Speaker 7: express things in various ways. So there shouldn't be one

1042
00:53:03,200 --> 00:53:06,520
Speaker 7: way to skin a cat, you know what I'm saying.

1043
00:53:07,080 --> 00:53:09,680
Speaker 7: And as long as you're coming at it from a

1044
00:53:09,760 --> 00:53:13,400
Speaker 7: point of view of honesty and sincerity, who gives the

1045
00:53:13,400 --> 00:53:16,080
Speaker 7: ship what it is that you you know what I mean?

1046
00:53:16,480 --> 00:53:20,960
Speaker 7: It's like, that's my personal opinion for me. I think

1047
00:53:21,000 --> 00:53:23,719
Speaker 7: all of that divisive stuff is a way that has

1048
00:53:23,800 --> 00:53:26,920
Speaker 7: kept black people separated from each other in a way

1049
00:53:26,960 --> 00:53:29,799
Speaker 7: that's unnecessary, you know. And I think it's kind of

1050
00:53:29,840 --> 00:53:31,600
Speaker 7: hard for us to see that sometimes.

1051
00:53:32,800 --> 00:53:35,200
Speaker 5: And maybe it's funny because we interviewed him two May

1052
00:53:35,239 --> 00:53:36,840
Speaker 5: and I feel like in a way, he had to

1053
00:53:36,840 --> 00:53:38,920
Speaker 5: fight that fight, so maybe other people wouldn't, because he

1054
00:53:39,080 --> 00:53:41,879
Speaker 5: definitely was vocal about how people felt about him making

1055
00:53:41,880 --> 00:53:44,000
Speaker 5: that transition in the R and B and whatnot.

1056
00:53:44,280 --> 00:53:46,560
Speaker 7: Oh look, you know with my band The E Collective,

1057
00:53:46,600 --> 00:53:48,920
Speaker 7: I heard it. You know, I've been here. You know

1058
00:53:49,160 --> 00:53:51,920
Speaker 7: when we did that, man, it was funny. It was

1059
00:53:51,960 --> 00:53:54,640
Speaker 7: funny when we did our first tour of Europe. Dude,

1060
00:53:54,760 --> 00:53:56,279
Speaker 7: it was funny. Every time we got out in the

1061
00:53:56,320 --> 00:53:58,439
Speaker 7: audience and we saw great hair, we go, oh shit,

1062
00:54:01,040 --> 00:54:03,319
Speaker 7: you know, okay, it's gonna be one of them.

1063
00:54:03,400 --> 00:54:03,640
Speaker 2: Nice.

1064
00:54:03,760 --> 00:54:06,520
Speaker 7: But the funny part about it, man, you know when

1065
00:54:06,560 --> 00:54:09,320
Speaker 7: the band will start to play, and you know, Oscar

1066
00:54:09,360 --> 00:54:11,320
Speaker 7: Sene is the drummer, man, and he's got a strong

1067
00:54:11,400 --> 00:54:13,440
Speaker 7: pocket man, And when the band will start to play,

1068
00:54:14,400 --> 00:54:16,920
Speaker 7: people start tapping their feet and they will start grooving

1069
00:54:16,960 --> 00:54:20,320
Speaker 7: to the music, and we say, oh, okay, gotcha, gotcha, gotcha.

1070
00:54:20,920 --> 00:54:23,960
Speaker 7: So for me, man, music is music, dude, you know

1071
00:54:24,000 --> 00:54:28,640
Speaker 7: what I mean. It's it's uh, you know, it's I

1072
00:54:28,680 --> 00:54:34,240
Speaker 7: don't know. I hate the labeling of things because I've

1073
00:54:34,360 --> 00:54:38,120
Speaker 7: seen it just keep us apart rather than bring us

1074
00:54:38,160 --> 00:54:42,399
Speaker 7: together for too long. And I just wish we could

1075
00:54:42,440 --> 00:54:46,040
Speaker 7: just turn turn that around. We haven't learned from like Herbie.

1076
00:54:46,440 --> 00:54:49,640
Speaker 7: You know what I'm saying, Because Herbie was showing us

1077
00:54:49,680 --> 00:54:50,440
Speaker 7: this years.

1078
00:54:50,200 --> 00:54:53,600
Speaker 5: Ago, you know what I mean, right, y'all was still

1079
00:54:53,600 --> 00:54:55,120
Speaker 5: having a conversation and Mobeta Blues.

1080
00:54:56,360 --> 00:54:58,560
Speaker 7: Yeah, Oh listen, man, Man, you know what, we did

1081
00:54:58,600 --> 00:55:00,560
Speaker 7: more better blues. It was kind of fun because when

1082
00:55:00,760 --> 00:55:03,040
Speaker 7: when when the movie hit, we were like in the

1083
00:55:03,080 --> 00:55:06,200
Speaker 7: top ten on radio charts in d C or some SI.

1084
00:55:10,239 --> 00:55:12,880
Speaker 2: You're from DC to this episode Born and Raised Howard.

1085
00:55:14,840 --> 00:55:16,120
Speaker 1: This episode?

1086
00:55:16,960 --> 00:55:21,040
Speaker 2: Okay today youtu baby born in DC.

1087
00:55:21,160 --> 00:55:24,440
Speaker 1: I got you today's narrative.

1088
00:55:24,840 --> 00:55:30,440
Speaker 2: So with what would you say? Is your your Well,

1089
00:55:30,480 --> 00:55:34,080
Speaker 2: I know you played with Hampton? Uh, but what was

1090
00:55:34,080 --> 00:55:38,400
Speaker 2: your first professional I made it. I don't have to

1091
00:55:38,440 --> 00:55:41,600
Speaker 2: have a part time job. I'm officially gigging. Like, what

1092
00:55:41,760 --> 00:55:45,640
Speaker 2: was your first official moment playing with all Blake? Oh?

1093
00:55:45,680 --> 00:55:47,040
Speaker 1: So Messengers came first?

1094
00:55:47,480 --> 00:55:49,239
Speaker 7: Yeah, man, when I was about nineteen years old, I

1095
00:55:49,320 --> 00:55:52,120
Speaker 7: joined that band and I had to leave school. I

1096
00:55:52,160 --> 00:55:55,800
Speaker 7: was going to Rutgis University in New Jersey and with

1097
00:55:55,960 --> 00:55:56,919
Speaker 7: Regina bell Man.

1098
00:55:57,120 --> 00:56:00,880
Speaker 1: You know, okay, this is up. Yeah, all the school together.

1099
00:56:01,239 --> 00:56:03,399
Speaker 3: Yeah, even though she went to us. That's dope.

1100
00:56:03,440 --> 00:56:06,239
Speaker 2: Ok yeah, I did not know. Yeah, so what was

1101
00:56:06,280 --> 00:56:08,200
Speaker 2: that old key? Tell us about the experience playing with

1102
00:56:08,560 --> 00:56:10,240
Speaker 2: our Oh man.

1103
00:56:10,280 --> 00:56:12,280
Speaker 7: Bruh here with that? Sorry?

1104
00:56:12,360 --> 00:56:14,040
Speaker 8: What year were in the Messengers?

1105
00:56:14,239 --> 00:56:17,680
Speaker 7: It was from eighty two to eighty six, And I

1106
00:56:17,719 --> 00:56:19,560
Speaker 7: tell people, man, I was there for four years. But

1107
00:56:19,640 --> 00:56:24,600
Speaker 7: our aged like about forty. I was a young little

1108
00:56:24,680 --> 00:56:27,600
Speaker 7: kid from New Orleans, fresh off the farm. Bro it was.

1109
00:56:28,080 --> 00:56:30,200
Speaker 7: And then my first tour with him was like ten

1110
00:56:30,239 --> 00:56:31,160
Speaker 7: weeks in Europe.

1111
00:56:31,239 --> 00:56:35,760
Speaker 2: Dude, Wow, tell us everything about it, man from New Orleans.

1112
00:56:35,760 --> 00:56:38,640
Speaker 7: Bro I spoke a little bit of Spanish, brou. It

1113
00:56:38,760 --> 00:56:40,320
Speaker 7: was a trip just trying to eat.

1114
00:56:40,680 --> 00:56:41,319
Speaker 1: Oh my god.

1115
00:56:41,640 --> 00:56:44,200
Speaker 7: And then we hit London the last two weeks of

1116
00:56:44,280 --> 00:56:50,080
Speaker 7: the tour. Bro I was so happy to hear English English. Man.

1117
00:56:50,320 --> 00:56:52,480
Speaker 7: It was crazy, bro it was. It was crazy. But

1118
00:56:52,920 --> 00:56:55,719
Speaker 7: you know, listen, man, I learned a lot about the world.

1119
00:56:55,800 --> 00:56:57,719
Speaker 7: And I came back and I remember I came back

1120
00:56:58,040 --> 00:57:00,520
Speaker 7: and I was telling my mom about my cousin and stuff.

1121
00:57:00,560 --> 00:57:01,840
Speaker 7: I said, you know, we need to figure out a

1122
00:57:01,840 --> 00:57:04,319
Speaker 7: way to get these kids to travel to see the world,

1123
00:57:04,320 --> 00:57:07,440
Speaker 7: because that's the education, you know. And I learned. I

1124
00:57:07,520 --> 00:57:10,479
Speaker 7: learned a great deal. And Art was the type of guy, man,

1125
00:57:11,400 --> 00:57:12,000
Speaker 7: you know what I mean.

1126
00:57:12,600 --> 00:57:13,480
Speaker 1: He he had.

1127
00:57:13,360 --> 00:57:17,439
Speaker 7: An Art was an interesting personality, you know what I mean.

1128
00:57:17,480 --> 00:57:19,680
Speaker 7: He he was the kind of guy he could bullshit

1129
00:57:19,760 --> 00:57:22,440
Speaker 7: you all day long. But then man, they'd be th

1130
00:57:22,440 --> 00:57:25,120
Speaker 7: those moments brou where you would sit down and have

1131
00:57:25,160 --> 00:57:29,640
Speaker 7: a conversation about him, a conversation with him and Bruh,

1132
00:57:29,680 --> 00:57:32,480
Speaker 7: it would be like life lessons, man, you know, And

1133
00:57:32,520 --> 00:57:36,320
Speaker 7: those were always the moments that I truly cherished having

1134
00:57:36,360 --> 00:57:37,960
Speaker 7: with him because you know, it would be like one

1135
00:57:38,000 --> 00:57:40,000
Speaker 7: on one in the dressing room and he would just

1136
00:57:40,040 --> 00:57:43,760
Speaker 7: start talking about some things, and he opened my eyes

1137
00:57:44,560 --> 00:57:46,880
Speaker 7: to a lot of stuff, Bro. And the way I

1138
00:57:46,960 --> 00:57:49,000
Speaker 7: run my band is still based on the way he

1139
00:57:49,120 --> 00:57:52,600
Speaker 7: ran his band by giving guys opportunities a lot, allowing

1140
00:57:52,680 --> 00:57:57,040
Speaker 7: him to contribute to the to to the the repertoire

1141
00:57:57,040 --> 00:57:59,480
Speaker 7: of the group, and to the concept of what's happening

1142
00:57:59,520 --> 00:58:04,400
Speaker 7: with the band. You know, I owe a huge that

1143
00:58:04,560 --> 00:58:07,880
Speaker 7: of gratitude to that man because he really turned me around.

1144
00:58:07,960 --> 00:58:08,120
Speaker 1: Bro.

1145
00:58:08,280 --> 00:58:11,400
Speaker 7: For four years, Dude, think about this.

1146
00:58:11,560 --> 00:58:12,040
Speaker 1: Four years.

1147
00:58:12,040 --> 00:58:14,840
Speaker 7: I met all of my jazz heroes playing with him.

1148
00:58:15,920 --> 00:58:17,920
Speaker 7: That's all. I met them all playing with.

1149
00:58:17,920 --> 00:58:21,080
Speaker 4: Him because Max Roach was around them too, right, Like, man.

1150
00:58:21,120 --> 00:58:26,520
Speaker 7: Max, Okay, we're playing this club in New York, fat Tuesdays.

1151
00:58:26,840 --> 00:58:29,320
Speaker 7: And then the table and it was a small little

1152
00:58:29,320 --> 00:58:34,400
Speaker 7: club and then the table right in front was Max Roach, Uh,

1153
00:58:34,640 --> 00:58:38,200
Speaker 7: Jack dsh and Net and I think Elvin Jones and

1154
00:58:38,240 --> 00:58:40,640
Speaker 7: the three of them were sitting there, you know, and

1155
00:58:40,680 --> 00:58:48,080
Speaker 7: I was like, Yez, you know, I'm fire. You know,

1156
00:58:48,080 --> 00:58:50,640
Speaker 7: I'm in my early twenties and I'm trying. I'm trying

1157
00:58:50,640 --> 00:58:52,040
Speaker 7: to play it off and be cool, but you know,

1158
00:58:52,120 --> 00:58:56,560
Speaker 7: on the inside, I was sweating bullets. Man, Remember And

1159
00:58:56,600 --> 00:58:59,400
Speaker 7: I remember walking by Max and Max was like, really

1160
00:58:59,440 --> 00:59:03,640
Speaker 7: strong man. He grabbed my calf. I don't know why

1161
00:59:03,720 --> 00:59:05,600
Speaker 7: he did it, but he grabbed my caf.

1162
00:59:05,600 --> 00:59:06,840
Speaker 1: You said, man, look at the calves.

1163
00:59:12,440 --> 00:59:14,160
Speaker 7: And I couldn't go nowhere. That was a funny part.

1164
00:59:14,160 --> 00:59:15,160
Speaker 7: I forgot to tell you that part.

1165
00:59:16,440 --> 00:59:17,000
Speaker 1: I couldn't do it.

1166
00:59:17,520 --> 00:59:18,120
Speaker 7: I was stuck.

1167
00:59:18,160 --> 00:59:19,919
Speaker 1: I was like, damn, you know.

1168
00:59:20,240 --> 00:59:21,720
Speaker 4: Like next generation sharecrop a.

1169
00:59:21,760 --> 00:59:30,800
Speaker 2: Talk wait Terrence. When you are when you're young and

1170
00:59:30,960 --> 00:59:35,280
Speaker 2: you're in this institution, Yeah, how do you not how

1171
00:59:35,280 --> 00:59:37,520
Speaker 2: do you resist the temptation to not flex?

1172
00:59:39,240 --> 00:59:40,959
Speaker 1: Oh okay, So like when I DJ.

1173
00:59:41,720 --> 00:59:45,120
Speaker 2: When I DJ, it's me and in the audience, but

1174
00:59:45,200 --> 00:59:48,840
Speaker 2: the second one of my peers comes in the DJ boost,

1175
00:59:50,040 --> 00:59:54,280
Speaker 2: then the temptation, then the temptation to like play that rare,

1176
00:59:54,480 --> 00:59:57,919
Speaker 2: obscure Japanese record that I brought that only we get

1177
00:59:59,240 --> 01:00:02,800
Speaker 2: like the temptation in the flex, and I normally lose

1178
01:00:02,840 --> 01:00:06,440
Speaker 2: my audience if I do it, and I might, you know,

1179
01:00:06,760 --> 01:00:08,960
Speaker 2: and sometimes I've gave it, given it and just let

1180
01:00:08,960 --> 01:00:19,880
Speaker 2: the audience, you know, uh, Prins fans. Everyone loved that ship,

1181
01:00:22,120 --> 01:00:25,160
Speaker 2: whatever it is, AnyWho you.

1182
01:00:24,200 --> 01:00:26,480
Speaker 7: Know, being with I get what you're saying. I understand

1183
01:00:26,520 --> 01:00:28,160
Speaker 7: because you know being with Art Man. Here's the thing

1184
01:00:28,200 --> 01:00:30,800
Speaker 7: you got to remember, that was a long lency a

1185
01:00:30,840 --> 01:00:33,480
Speaker 7: great musicians that came in up man before you, before

1186
01:00:33,560 --> 01:00:36,720
Speaker 7: any of us. Right, so you already humbled just by

1187
01:00:36,760 --> 01:00:38,480
Speaker 7: being in the band. And look at some of those

1188
01:00:38,520 --> 01:00:39,919
Speaker 7: dudes would come by and hang out.

1189
01:00:40,360 --> 01:00:41,680
Speaker 1: Man, you got back.

1190
01:00:41,760 --> 01:00:45,160
Speaker 7: Then you got to remember man, Woody Shaw would show up,

1191
01:00:45,200 --> 01:00:47,480
Speaker 7: Freddie Hubber would show up, and those dudes would just

1192
01:00:47,520 --> 01:00:51,600
Speaker 7: be sitting in the club hanging out. Damn okay, all right, man,

1193
01:00:51,640 --> 01:00:54,360
Speaker 7: he's here checking me out, all right. Adie Henderson was

1194
01:00:54,400 --> 01:00:57,280
Speaker 7: another one. And then the other part of it too

1195
01:00:57,400 --> 01:01:00,400
Speaker 7: is that you know, we really wanted to learn, you know,

1196
01:01:00,520 --> 01:01:03,280
Speaker 7: the our thing was, but I know my thing was

1197
01:01:03,360 --> 01:01:05,400
Speaker 7: I wanted to learn as much as I could about

1198
01:01:05,840 --> 01:01:09,920
Speaker 7: playing music because for some reason, even though I was young,

1199
01:01:10,480 --> 01:01:13,920
Speaker 7: I knew that that moment was something to cherish, you

1200
01:01:14,000 --> 01:01:15,960
Speaker 7: know what I mean. I didn't try to take it

1201
01:01:16,000 --> 01:01:19,320
Speaker 7: for granted. So every little thing that I could, I

1202
01:01:19,360 --> 01:01:21,480
Speaker 7: tried to milk as much out of it as I could,

1203
01:01:21,600 --> 01:01:24,040
Speaker 7: you know. So I was like a fly on the wall.

1204
01:01:24,120 --> 01:01:24,240
Speaker 1: Bro.

1205
01:01:24,480 --> 01:01:27,000
Speaker 7: Sometimes, Man, the guys would come by and they'd be

1206
01:01:27,040 --> 01:01:28,720
Speaker 7: hanging in the dress room bro, and I would just

1207
01:01:28,800 --> 01:01:31,040
Speaker 7: be sitting in a quiet as a church mouse, bro,

1208
01:01:31,240 --> 01:01:34,080
Speaker 7: not saying a word, just watching and listening to these

1209
01:01:34,120 --> 01:01:38,200
Speaker 7: conversations that's being had with Dexa Gordon or or or

1210
01:01:38,440 --> 01:01:44,400
Speaker 7: you know, Walter Davis or Herbie or Algiol came by

1211
01:01:44,560 --> 01:01:49,480
Speaker 7: side saying, well, one time Stanley Clark will come by

1212
01:01:49,560 --> 01:01:50,560
Speaker 7: and play with us, you know.

1213
01:01:51,440 --> 01:01:54,320
Speaker 2: But I've been more on stage, Like what because I

1214
01:01:54,400 --> 01:01:57,160
Speaker 2: know that if you're in that position like the Temptations

1215
01:01:57,160 --> 01:02:00,480
Speaker 2: has not to start showing off. We I mean, I'm

1216
01:02:00,520 --> 01:02:02,440
Speaker 2: not saying you could take extra bars or not without

1217
01:02:02,640 --> 01:02:07,439
Speaker 2: Art getting upset with you, but like what stops you

1218
01:02:07,480 --> 01:02:11,160
Speaker 2: from showing off or we can't do that? Because I

1219
01:02:11,160 --> 01:02:13,240
Speaker 2: could tell when like if cats knew it and I'm

1220
01:02:13,240 --> 01:02:15,360
Speaker 2: watching them and suddenly like they're doing extra ship that

1221
01:02:15,360 --> 01:02:17,080
Speaker 2: they don't need to be doing.

1222
01:02:17,960 --> 01:02:19,120
Speaker 7: I cure us of that because I.

1223
01:02:20,640 --> 01:02:23,360
Speaker 1: Mean, he says, stop playing for the musicians.

1224
01:02:23,360 --> 01:02:26,880
Speaker 5: God damn it, thank you because I paid for his ticket,

1225
01:02:27,080 --> 01:02:30,120
Speaker 5: and I would like to thank you because that did

1226
01:02:30,120 --> 01:02:30,640
Speaker 5: not pay.

1227
01:02:30,480 --> 01:02:32,640
Speaker 4: For that ticket. That you're impressing what.

1228
01:02:32,520 --> 01:02:35,120
Speaker 7: He said, they're going to ask you for a free ticket.

1229
01:02:35,280 --> 01:02:37,320
Speaker 7: And he said, you're gonna have to filing hands off

1230
01:02:37,360 --> 01:02:39,800
Speaker 7: of one goddamn beer because they're not gonna buy nothing.

1231
01:02:39,880 --> 01:02:41,080
Speaker 7: So stop paying.

1232
01:02:42,440 --> 01:02:43,200
Speaker 3: Get out the mirror.

1233
01:02:43,200 --> 01:02:46,240
Speaker 1: I love it, but I'll take that. I'll take that advice.

1234
01:02:46,440 --> 01:02:48,320
Speaker 7: Like if I'll tell you this, but I will tell

1235
01:02:48,320 --> 01:02:50,600
Speaker 7: you this, I will tell you this. Art was a

1236
01:02:50,680 --> 01:02:54,400
Speaker 7: type of dude if your job, your job was always

1237
01:02:54,400 --> 01:02:58,400
Speaker 7: in jeopardy, you know what I mean. So sometimes what

1238
01:02:58,480 --> 01:03:00,760
Speaker 7: he would do is, man, he bring a dude up

1239
01:03:00,800 --> 01:03:02,440
Speaker 7: on your instrument on the bandstand.

1240
01:03:03,240 --> 01:03:05,320
Speaker 1: Oh no, that was.

1241
01:03:05,320 --> 01:03:07,800
Speaker 7: When you had to show out, you know what I'm saying.

1242
01:03:07,880 --> 01:03:15,360
Speaker 7: So because exactly, and I remember, I forgot who it was.

1243
01:03:15,440 --> 01:03:17,960
Speaker 7: I forgot who. I don't forgot who the trump player was.

1244
01:03:18,160 --> 01:03:21,000
Speaker 1: He said, y'all play a ballad together. I want.

1245
01:03:22,360 --> 01:03:23,360
Speaker 4: I don't know him.

1246
01:03:24,840 --> 01:03:28,080
Speaker 1: Wow, that was.

1247
01:03:28,120 --> 01:03:31,160
Speaker 7: Art man, you know. And then and then if there

1248
01:03:31,160 --> 01:03:35,960
Speaker 7: ever was an inkling that Art was unhappy with somebody,

1249
01:03:36,400 --> 01:03:38,040
Speaker 7: you kind of knew because there would be a whole

1250
01:03:38,040 --> 01:03:40,320
Speaker 7: bunch of dudes with that instrument showing up to the gig.

1251
01:03:42,800 --> 01:03:44,240
Speaker 1: I'll never forget one time.

1252
01:03:44,080 --> 01:03:46,240
Speaker 7: Man, there was a whole bunch of ixophone player showed

1253
01:03:46,280 --> 01:03:47,720
Speaker 7: up and they were just sitting on the side of

1254
01:03:47,720 --> 01:03:50,440
Speaker 7: the stage. Man, I was like, damn. And when it

1255
01:03:50,520 --> 01:03:53,360
Speaker 7: got time for Art to let him come up and play.

1256
01:03:54,360 --> 01:03:56,720
Speaker 7: He let him come up. It was about five or

1257
01:03:56,720 --> 01:03:58,800
Speaker 7: six of them. He let him come up and play,

1258
01:03:58,840 --> 01:04:01,320
Speaker 7: and then he called Smedie's St Marvers. Betty Smith was

1259
01:04:01,320 --> 01:04:03,360
Speaker 7: in the audience. He called him up to come play

1260
01:04:03,400 --> 01:04:04,920
Speaker 7: the drums. Then he went in the dressing room.

1261
01:04:04,960 --> 01:04:05,560
Speaker 1: He was chilling.

1262
01:04:05,600 --> 01:04:11,480
Speaker 2: He was like, yeah, yeah, wow, that's coow. So why

1263
01:04:11,600 --> 01:04:15,080
Speaker 2: why did you and uh Donald Harrison decided to leave

1264
01:04:15,480 --> 01:04:18,640
Speaker 2: uh in your fourth year with uh Bar Polikey.

1265
01:04:18,520 --> 01:04:20,560
Speaker 7: Well, we knew it was time, man and and and

1266
01:04:20,680 --> 01:04:22,880
Speaker 7: our band was the type of band where it was

1267
01:04:22,920 --> 01:04:25,400
Speaker 7: like a finishing school for young musicians, so we didn't

1268
01:04:25,400 --> 01:04:28,960
Speaker 7: want to occupy the space any longer. We knew other

1269
01:04:29,040 --> 01:04:32,320
Speaker 7: musicians should have gotten that experience, and they've gotten signed

1270
01:04:32,360 --> 01:04:35,280
Speaker 7: the Columbia Records. We had already made a record with

1271
01:04:35,360 --> 01:04:38,920
Speaker 7: George Wien's label on Concord Records, but Columbia. George Butler

1272
01:04:39,600 --> 01:04:41,920
Speaker 7: had signed us to Columbia and we.

1273
01:04:41,760 --> 01:04:45,000
Speaker 2: Were getting I was gonna say, can you can you

1274
01:04:45,080 --> 01:04:45,840
Speaker 2: describe what?

1275
01:04:46,440 --> 01:04:46,560
Speaker 7: Uh?

1276
01:04:46,760 --> 01:04:49,120
Speaker 2: I know many people that worked with George Butler, especially

1277
01:04:49,200 --> 01:04:55,600
Speaker 2: like during that period, what what was Butler like? As

1278
01:04:56,000 --> 01:04:58,000
Speaker 2: was he an a r of jazz at Columbia or

1279
01:04:58,040 --> 01:04:58,280
Speaker 2: was he.

1280
01:04:59,160 --> 01:05:02,200
Speaker 7: The vice president in our jast? He was, man, George

1281
01:05:02,240 --> 01:05:04,280
Speaker 7: was a cool dude with me. Man, you know, I

1282
01:05:04,360 --> 01:05:07,080
Speaker 7: know a lot of people had took issue with George.

1283
01:05:07,760 --> 01:05:10,720
Speaker 7: George was the type of guy you know he was.

1284
01:05:11,160 --> 01:05:11,640
Speaker 3: He was.

1285
01:05:13,280 --> 01:05:16,560
Speaker 7: How do I say it? He knew how to maneuver,

1286
01:05:17,360 --> 01:05:21,240
Speaker 7: you know, and in his maneuvering, you know, some people

1287
01:05:21,280 --> 01:05:23,360
Speaker 7: didn't like what it is that he would do. But

1288
01:05:23,840 --> 01:05:25,919
Speaker 7: he was good by us, you know what I mean.

1289
01:05:26,600 --> 01:05:30,919
Speaker 7: And I remember even after me and Donald the band

1290
01:05:30,960 --> 01:05:34,040
Speaker 7: split up, he signed me on as a you know,

1291
01:05:34,120 --> 01:05:37,840
Speaker 7: as a solo artist there. And uh, we always had

1292
01:05:37,920 --> 01:05:40,680
Speaker 7: like a really great relationship. Man. You know, I had

1293
01:05:40,680 --> 01:05:44,000
Speaker 7: told him, I had told him this very vogue funny

1294
01:05:44,080 --> 01:05:46,680
Speaker 7: story one time, man, and you know it was funny

1295
01:05:46,960 --> 01:05:48,920
Speaker 7: because George was a real proper guy.

1296
01:05:48,800 --> 01:05:49,040
Speaker 5: You know.

1297
01:05:50,280 --> 01:05:53,120
Speaker 7: But but we would hang out and uh, have some

1298
01:05:53,240 --> 01:05:56,440
Speaker 7: drinks and he'd be like with some friends, told tell

1299
01:05:56,520 --> 01:05:58,040
Speaker 7: them that story, tell him that story.

1300
01:06:00,200 --> 01:06:01,080
Speaker 1: He's a funny dude.

1301
01:06:01,200 --> 01:06:02,720
Speaker 2: I'm afraid to ask for that story now.

1302
01:06:02,920 --> 01:06:06,400
Speaker 4: No, not just because I'm here. You would do it,

1303
01:06:06,400 --> 01:06:07,680
Speaker 4: would you? You would do it if I want to

1304
01:06:07,680 --> 01:06:08,320
Speaker 4: hear because.

1305
01:06:08,120 --> 01:06:11,760
Speaker 5: I'm okay, Okay, that's fine, because I just want you

1306
01:06:11,800 --> 01:06:14,200
Speaker 5: to know I'm raunchy, So I could probably challenge you.

1307
01:06:15,120 --> 01:06:17,320
Speaker 1: Yeah, maybe, yeah, probably Okay.

1308
01:06:17,480 --> 01:06:21,560
Speaker 2: Well, at the time, at the time when when you

1309
01:06:21,760 --> 01:06:26,240
Speaker 2: and Donald were heading up the band, how do you

1310
01:06:26,440 --> 01:06:31,200
Speaker 2: how are decisions made creatively as far as what direction

1311
01:06:31,320 --> 01:06:34,160
Speaker 2: to go or who gets what or who?

1312
01:06:34,320 --> 01:06:36,280
Speaker 7: Yeah, that was that was a tough one. I mean,

1313
01:06:36,360 --> 01:06:37,880
Speaker 7: you know, it was a tough thing. But that we

1314
01:06:37,920 --> 01:06:40,120
Speaker 7: looked at the band as like a workshop man, you know,

1315
01:06:40,200 --> 01:06:43,680
Speaker 7: so everybody was bringing the material and that's basically how

1316
01:06:43,760 --> 01:06:44,240
Speaker 7: we did it.

1317
01:06:44,400 --> 01:06:44,600
Speaker 3: You know.

1318
01:06:46,080 --> 01:06:48,560
Speaker 7: Uh, He'd write music, I'd write music. And then the

1319
01:06:48,720 --> 01:06:51,240
Speaker 7: interesting thing about it, like sometimes he would write music

1320
01:06:51,560 --> 01:06:53,560
Speaker 7: and I would be influenced by what he was writing.

1321
01:06:54,000 --> 01:06:56,400
Speaker 7: So that's why the band had a sound, you know

1322
01:06:56,440 --> 01:06:58,800
Speaker 7: what I mean? Because I think even though we were

1323
01:06:58,840 --> 01:07:03,000
Speaker 7: all writing different material, I think we were all kind

1324
01:07:03,000 --> 01:07:05,760
Speaker 7: of like on the same page music, you know. And

1325
01:07:05,800 --> 01:07:09,880
Speaker 7: then around that time, man having that band together. You

1326
01:07:09,920 --> 01:07:14,560
Speaker 7: know Ralph Peterson who we just lost, God rest his soul.

1327
01:07:15,480 --> 01:07:17,640
Speaker 7: He was like one of the one of the first,

1328
01:07:18,040 --> 01:07:20,760
Speaker 7: one of the drummers in the band, Marvin Smadie Smith

1329
01:07:20,920 --> 01:07:22,240
Speaker 7: was one of the drummers in the band. And then

1330
01:07:22,240 --> 01:07:25,760
Speaker 7: we had Carl Allen uh and you know, you know

1331
01:07:25,800 --> 01:07:27,960
Speaker 7: how it is, and there, you know, with a drummer

1332
01:07:27,960 --> 01:07:30,120
Speaker 7: concept the tone for any band, you know what I mean.

1333
01:07:30,600 --> 01:07:32,680
Speaker 7: So that was also one of the things that kind

1334
01:07:32,720 --> 01:07:35,360
Speaker 7: of helped take the sound of the group when the

1335
01:07:35,400 --> 01:07:36,240
Speaker 7: drummers were changed.

1336
01:07:41,200 --> 01:07:45,720
Speaker 2: I can imagine that your kind of instant foray into

1337
01:07:46,200 --> 01:07:51,360
Speaker 2: the world of scoring for movies wasn't exactly like a

1338
01:07:52,760 --> 01:07:54,960
Speaker 2: goal or at least I assumed. So half the time

1339
01:07:55,040 --> 01:07:56,840
Speaker 2: you wind up in places that you didn't plan on.

1340
01:07:56,920 --> 01:08:00,520
Speaker 2: It just happens to you. So how did you even

1341
01:08:00,640 --> 01:08:03,440
Speaker 2: get involved in the world of scoring?

1342
01:08:04,280 --> 01:08:04,480
Speaker 1: Man?

1343
01:08:04,520 --> 01:08:06,560
Speaker 7: You know, you know, I'm glad you asked that question, man,

1344
01:08:06,640 --> 01:08:08,600
Speaker 7: because I you know, I've been asked that question a

1345
01:08:08,640 --> 01:08:12,680
Speaker 7: lot of well, not that question, I've been asked what's

1346
01:08:13,240 --> 01:08:15,240
Speaker 7: you know, what would you tell young composers? And I'm

1347
01:08:15,280 --> 01:08:18,360
Speaker 7: always at a loss because I'm like, man, I wasn't

1348
01:08:18,360 --> 01:08:20,200
Speaker 7: looking for this and it just fell on my lap.

1349
01:08:20,479 --> 01:08:20,720
Speaker 1: You know.

1350
01:08:21,520 --> 01:08:23,760
Speaker 7: We were doing the pre recorded music for more Better

1351
01:08:23,800 --> 01:08:27,599
Speaker 7: Blues for the actors to act to, you know, and

1352
01:08:27,720 --> 01:08:29,840
Speaker 7: I was getting ready to do my first record solo

1353
01:08:29,920 --> 01:08:32,200
Speaker 7: project I was just telling you about for George Butler

1354
01:08:32,280 --> 01:08:35,640
Speaker 7: Columbia Records. So I had written a song man for

1355
01:08:35,720 --> 01:08:38,360
Speaker 7: the Kids that were mastered in South Africa, and it

1356
01:08:38,439 --> 01:08:41,920
Speaker 7: was called Cinciuato. And we had taken a break in

1357
01:08:42,000 --> 01:08:44,040
Speaker 7: the studio and I was playing it on the piano

1358
01:08:44,080 --> 01:08:46,040
Speaker 7: and Spike walk by and he heard it and he said, man,

1359
01:08:46,080 --> 01:08:47,720
Speaker 7: what is that? And I said, oh, man, this is

1360
01:08:47,720 --> 01:08:50,160
Speaker 7: this thing called Sincuato. He goes, can I use it?

1361
01:08:50,200 --> 01:08:52,600
Speaker 7: I go, yeah, yeah, sure. And we just recorded it

1362
01:08:52,680 --> 01:08:56,639
Speaker 7: just as a solo trumpet piece back then, and and Denzel

1363
01:08:56,720 --> 01:08:58,479
Speaker 7: shot the scene and it's a scene when he's on

1364
01:08:58,520 --> 01:09:02,519
Speaker 7: the bridge playing right right, and then uh, they got

1365
01:09:02,520 --> 01:09:05,360
Speaker 7: to they got back to the editing room. Spike was

1366
01:09:05,360 --> 01:09:07,519
Speaker 7: trying to fill it in. He put training notises and

1367
01:09:07,720 --> 01:09:10,000
Speaker 7: it still wasn't really making what wasn't doing what he

1368
01:09:10,040 --> 01:09:12,320
Speaker 7: wanted to do. So then he came back to me

1369
01:09:12,320 --> 01:09:13,800
Speaker 7: and He said, hey, man, you think you could write

1370
01:09:13,800 --> 01:09:15,000
Speaker 7: a string arrangement for this?

1371
01:09:15,400 --> 01:09:15,600
Speaker 1: You know?

1372
01:09:16,000 --> 01:09:18,840
Speaker 7: And I always tell my students that's the moment. Well

1373
01:09:18,920 --> 01:09:25,639
Speaker 7: you know you lie, you know, And I said, absolute, hell, yeah,

1374
01:09:25,640 --> 01:09:28,479
Speaker 7: I can write arrange before. You know what I mean. So,

1375
01:09:28,720 --> 01:09:33,080
Speaker 7: I mean what I did to calling my teacher, man,

1376
01:09:35,200 --> 01:09:36,920
Speaker 7: and you got to tell me what to do. Dude,

1377
01:09:37,280 --> 01:09:38,360
Speaker 7: you know you had.

1378
01:09:38,240 --> 01:09:40,040
Speaker 6: Never done it before. You had no clue of how

1379
01:09:40,040 --> 01:09:42,559
Speaker 6: to do it. Friday, No, man, Wow.

1380
01:09:42,800 --> 01:09:45,559
Speaker 7: I studied composition, you know what I mean. But but

1381
01:09:45,560 --> 01:09:47,600
Speaker 7: but I never had to do that. And as a

1382
01:09:47,640 --> 01:09:49,120
Speaker 7: matter of fact, that's what he told me, he said,

1383
01:09:49,120 --> 01:09:51,040
Speaker 7: trust the training. I was like, dude, that's not the

1384
01:09:51,360 --> 01:09:51,880
Speaker 7: I was looking for.

1385
01:09:53,160 --> 01:09:59,120
Speaker 2: Wait, so there's there's a musical motif of yours that

1386
01:09:59,160 --> 01:10:03,479
Speaker 2: I've heard and least three or four of Spikes films.

1387
01:10:04,880 --> 01:10:06,200
Speaker 1: I'm this could be it.

1388
01:10:06,360 --> 01:10:08,840
Speaker 2: I've been looking for it for starters, like I'm mad

1389
01:10:08,880 --> 01:10:12,280
Speaker 2: that with the exception of Malcolm X, like most of

1390
01:10:12,320 --> 01:10:17,320
Speaker 2: your Spike scores are not available. What is the name

1391
01:10:17,560 --> 01:10:20,080
Speaker 2: of the song that is do the Right Thing?

1392
01:10:20,160 --> 01:10:23,080
Speaker 1: It's in Mo Better.

1393
01:10:23,600 --> 01:10:26,599
Speaker 2: It's also in Malcolm X. But I can never find anywhere.

1394
01:10:26,640 --> 01:10:38,519
Speaker 2: But it's like, uh, It's like Spike has used this

1395
01:10:38,880 --> 01:10:44,040
Speaker 2: at least in ten music cues Malcolm X. But how

1396
01:10:44,040 --> 01:10:49,400
Speaker 2: come that is not it's not anywhere that's available.

1397
01:10:49,640 --> 01:10:52,240
Speaker 7: Yeah, but what you're probably singing is the jazz version.

1398
01:10:52,560 --> 01:10:54,719
Speaker 7: There's another, there's some other versions of it.

1399
01:10:54,800 --> 01:10:58,200
Speaker 2: And I've heard it as instrumental, I've heard as strings.

1400
01:10:58,200 --> 01:10:58,720
Speaker 1: I've heard it.

1401
01:10:58,680 --> 01:11:02,559
Speaker 7: As yeah, that stuff that You're right, that stuff listen

1402
01:11:02,880 --> 01:11:05,280
Speaker 7: that that's that's a big thing.

1403
01:11:05,400 --> 01:11:05,559
Speaker 1: You know.

1404
01:11:05,600 --> 01:11:07,640
Speaker 7: I've been you know, I was talking to a publisher

1405
01:11:07,680 --> 01:11:11,200
Speaker 7: about about that recently as a matter of fact, about

1406
01:11:11,240 --> 01:11:13,760
Speaker 7: trying to do something to you, because people have been

1407
01:11:13,800 --> 01:11:17,120
Speaker 7: asking me about that. You know, Yeah, when you start

1408
01:11:17,160 --> 01:11:19,320
Speaker 7: to think about your legacy for your kids and everything

1409
01:11:19,400 --> 01:11:22,040
Speaker 7: like that, and you know now that we've reached this

1410
01:11:22,200 --> 01:11:25,760
Speaker 7: benchmark working together for thirty years, which is something you

1411
01:11:25,760 --> 01:11:26,840
Speaker 7: didn't realize.

1412
01:11:29,600 --> 01:11:29,680
Speaker 2: No.

1413
01:11:29,800 --> 01:11:30,719
Speaker 1: A couple of years ago.

1414
01:11:30,600 --> 01:11:34,400
Speaker 7: When we now, a journalist asked us a question, how

1415
01:11:34,400 --> 01:11:36,040
Speaker 7: does it feel to be working together for thirty years?

1416
01:11:36,040 --> 01:11:37,639
Speaker 2: We're like, thirty years?

1417
01:11:37,960 --> 01:11:39,080
Speaker 1: Has it? Has it been that long?

1418
01:11:40,680 --> 01:11:43,280
Speaker 7: But you know, I was thinking about exactly that, bro

1419
01:11:43,600 --> 01:11:45,280
Speaker 7: about trying to.

1420
01:11:45,200 --> 01:11:47,360
Speaker 2: I need I need a box set. I need a

1421
01:11:47,400 --> 01:11:51,799
Speaker 2: box set for real, your entire history, every music cue

1422
01:11:52,760 --> 01:11:55,960
Speaker 2: with with with Spike or at least just your your

1423
01:11:56,120 --> 01:11:59,439
Speaker 2: entire story, because even the non Spike stuff you've done.

1424
01:11:59,520 --> 01:12:00,599
Speaker 4: But can we can I.

1425
01:12:00,560 --> 01:12:03,760
Speaker 5: Ask you, though you and Spike, can you just tell

1426
01:12:03,840 --> 01:12:05,880
Speaker 5: us the quick quickness of that story and how y'all

1427
01:12:05,920 --> 01:12:06,559
Speaker 5: even connected?

1428
01:12:06,600 --> 01:12:10,639
Speaker 7: Because well, you know, we connected just because there was

1429
01:12:10,720 --> 01:12:13,559
Speaker 7: a musician named Harold vic jazz musician. He was friends

1430
01:12:13,560 --> 01:12:18,920
Speaker 7: with his father, and he wanted to put together a

1431
01:12:18,960 --> 01:12:23,160
Speaker 7: group of musicians that were young and old for these

1432
01:12:23,200 --> 01:12:25,240
Speaker 7: sessions to do the right thing in school days and

1433
01:12:25,280 --> 01:12:29,320
Speaker 7: all of that stuff. So I think it was school days.

1434
01:12:29,680 --> 01:12:31,519
Speaker 7: So he hired a bunch of us, you know, to

1435
01:12:31,520 --> 01:12:34,280
Speaker 7: play on it. And as a matter of fact, there's

1436
01:12:34,320 --> 01:12:37,959
Speaker 7: a video man that's floating around of one of the sessions.

1437
01:12:38,000 --> 01:12:40,120
Speaker 7: It's like who's who in jazz at the time in

1438
01:12:40,160 --> 01:12:43,439
Speaker 7: New York City. It's pretty crazy and I'll never forget it.

1439
01:12:43,520 --> 01:12:45,240
Speaker 4: Did who was there? Tell us about it?

1440
01:12:45,439 --> 01:12:45,599
Speaker 5: Was there?

1441
01:12:45,720 --> 01:12:45,800
Speaker 3: Oh?

1442
01:12:45,920 --> 01:12:47,600
Speaker 7: Just a lot of local guys, you know, you know,

1443
01:12:47,760 --> 01:12:50,479
Speaker 7: Branfa was there, John Faddis was there. You know, a

1444
01:12:51,040 --> 01:12:53,080
Speaker 7: bunch of folks. But I remember, man, I was a

1445
01:12:53,120 --> 01:12:55,640
Speaker 7: big Lakers fan, right, so, and man, it had just

1446
01:12:55,640 --> 01:12:59,320
Speaker 7: beat the Celtics burn. So I walk into the first session,

1447
01:12:59,320 --> 01:13:03,400
Speaker 7: but I got had, I got my teacher, I got

1448
01:13:03,439 --> 01:13:09,200
Speaker 7: my purple gold converse on, and I don't really know Spike,

1449
01:13:09,320 --> 01:13:12,360
Speaker 7: oh God at all, you know. So I walk in

1450
01:13:12,400 --> 01:13:14,080
Speaker 7: and he just looked me up and down and goes

1451
01:13:14,840 --> 01:13:15,439
Speaker 7: Vaker's fan.

1452
01:13:15,560 --> 01:13:22,679
Speaker 1: Huh uh boy.

1453
01:13:22,840 --> 01:13:25,280
Speaker 7: It's up man, you know, come on the next thing,

1454
01:13:25,280 --> 01:13:27,040
Speaker 7: you know, man, he had me how take him back?

1455
01:13:27,760 --> 01:13:27,960
Speaker 7: You know?

1456
01:13:29,520 --> 01:13:32,000
Speaker 4: So how did how did that narrow down though, Terrence?

1457
01:13:32,040 --> 01:13:34,200
Speaker 5: Because you said it was a room full of musicians,

1458
01:13:34,240 --> 01:13:38,479
Speaker 5: dope musicians, local musicians, mister Lee, but somehow it narrowed

1459
01:13:38,479 --> 01:13:40,240
Speaker 5: down to just Spike in Terrence.

1460
01:13:40,760 --> 01:13:43,000
Speaker 7: Well, that happened when we started to do well was

1461
01:13:43,040 --> 01:13:44,280
Speaker 7: a couple of things that happened.

1462
01:13:44,320 --> 01:13:44,479
Speaker 1: You know.

1463
01:13:45,360 --> 01:13:48,760
Speaker 7: Lenny White had he was he had this all girl band.

1464
01:13:48,800 --> 01:13:50,439
Speaker 7: I forgot the name of the group, and he wanted

1465
01:13:50,439 --> 01:13:52,960
Speaker 7: myles to play on this track. He couldn't get my house,

1466
01:13:53,040 --> 01:13:55,240
Speaker 7: so he asked me to play me the thing on it,

1467
01:13:55,800 --> 01:13:59,040
Speaker 7: and Spike used it in the in the song. So

1468
01:13:59,120 --> 01:14:01,599
Speaker 7: Spike found out that that was me that played the soul.

1469
01:14:01,760 --> 01:14:04,200
Speaker 7: So then we kind of connected on that. And then

1470
01:14:04,200 --> 01:14:06,040
Speaker 7: when it came time to do the right thing. We

1471
01:14:06,120 --> 01:14:08,080
Speaker 7: kind of just connected a little bit together, but it

1472
01:14:08,120 --> 01:14:10,639
Speaker 7: really happened on a moleit of blues when we were

1473
01:14:10,640 --> 01:14:13,160
Speaker 7: doing those pre records. You know, we started doing pre

1474
01:14:13,280 --> 01:14:16,519
Speaker 7: records and hearing me playing the piano, That's when everything

1475
01:14:16,560 --> 01:14:19,240
Speaker 7: started to turn around, you know. And it's been an

1476
01:14:19,240 --> 01:14:23,320
Speaker 7: interesting journey with my brother Man. You know he is.

1477
01:14:23,520 --> 01:14:27,720
Speaker 7: He's brilliant, man beyond belief. He's loyal beyond belief. And

1478
01:14:27,960 --> 01:14:29,840
Speaker 7: one of the things I got to tell you, guys, Man,

1479
01:14:29,880 --> 01:14:33,000
Speaker 7: a lot of people don't really notice Man, but fights

1480
01:14:33,040 --> 01:14:38,120
Speaker 7: for people. He fights for people, Man, and I've never

1481
01:14:38,160 --> 01:14:43,000
Speaker 7: seen him miss an opportunity to to to to fight

1482
01:14:43,080 --> 01:14:47,200
Speaker 7: for African American artists or like when we were in London, Man,

1483
01:14:47,520 --> 01:14:51,479
Speaker 7: you know, we were at the Baptist and I'm drawing

1484
01:14:51,479 --> 01:14:52,800
Speaker 7: a blank on my man's name.

1485
01:14:54,880 --> 01:14:55,880
Speaker 1: They did the movie.

1486
01:14:57,120 --> 01:15:05,720
Speaker 7: About the rock and roll singer. Yeah, what was the

1487
01:15:05,720 --> 01:15:07,120
Speaker 7: guy who played played the character?

1488
01:15:09,320 --> 01:15:10,360
Speaker 1: Yeah?

1489
01:15:10,840 --> 01:15:16,719
Speaker 7: When Rommy won Best Actor at the Bafts, you would

1490
01:15:16,720 --> 01:15:21,080
Speaker 7: have thought Spike One. He jumped up and he was

1491
01:15:21,160 --> 01:15:24,919
Speaker 7: so happy for Rommi, you know what I mean, Because

1492
01:15:25,080 --> 01:15:27,479
Speaker 7: you know, we're just trying to break down these barriers, Man,

1493
01:15:27,520 --> 01:15:31,280
Speaker 7: and create equal opportunities for a lot of people, you know,

1494
01:15:31,600 --> 01:15:35,479
Speaker 7: we Man, We'd being interviews together and people would ask

1495
01:15:35,520 --> 01:15:38,080
Speaker 7: me a controversial question in l A and he would

1496
01:15:38,120 --> 01:15:40,080
Speaker 7: grab me and he goes, don't answer that. He said,

1497
01:15:40,160 --> 01:15:41,600
Speaker 7: let me answer that, because you got to work in

1498
01:15:41,600 --> 01:15:46,680
Speaker 7: this town. He's always doing stuff like that. A lot

1499
01:15:46,720 --> 01:15:50,800
Speaker 7: of people don't really realize that. And he's Listen. I've

1500
01:15:50,840 --> 01:15:54,120
Speaker 7: met people who have come to me and said, man,

1501
01:15:54,240 --> 01:15:56,760
Speaker 7: Spike is your biggest advocate. He's been fighting for you

1502
01:15:56,880 --> 01:15:58,519
Speaker 7: to get these nominations for me.

1503
01:16:00,240 --> 01:16:02,519
Speaker 1: So so dope, Man, Yeah, I voted for you.

1504
01:16:02,280 --> 01:16:04,040
Speaker 7: You do, thank you, thank you.

1505
01:16:04,080 --> 01:16:09,479
Speaker 2: I voted. Hey, I have two uh better questions for you.

1506
01:16:10,120 --> 01:16:15,599
Speaker 2: One were you Denzel's teacher as far as the fingering

1507
01:16:15,680 --> 01:16:17,560
Speaker 2: all that stuff? How how long did that take? What

1508
01:16:17,720 --> 01:16:19,800
Speaker 2: was the process like? And now fast man?

1509
01:16:19,840 --> 01:16:22,120
Speaker 7: You know, we had to learn because at first, I

1510
01:16:22,120 --> 01:16:23,880
Speaker 7: mean I had never done that before. So at first

1511
01:16:23,920 --> 01:16:25,760
Speaker 7: I started making like little videos for him and I

1512
01:16:25,760 --> 01:16:27,960
Speaker 7: would send him to him out of LA and that

1513
01:16:28,120 --> 01:16:30,519
Speaker 7: was kind of helpful. But we got him a teacher

1514
01:16:30,520 --> 01:16:32,519
Speaker 7: out in LA just to show him how to buzz.

1515
01:16:33,160 --> 01:16:35,719
Speaker 7: And then when we when he came to New York,

1516
01:16:36,120 --> 01:16:40,360
Speaker 7: New York, what I figured out was you know, hey, man,

1517
01:16:40,479 --> 01:16:42,680
Speaker 7: I need to write out the fingerings just on a

1518
01:16:42,720 --> 01:16:45,720
Speaker 7: piece of paper. So for all of the tunes, he

1519
01:16:45,840 --> 01:16:48,280
Speaker 7: had like sheets of paper with just the fingers. So

1520
01:16:48,360 --> 01:16:50,759
Speaker 7: between running how the buzz and the fingers, he actually

1521
01:16:50,800 --> 01:16:52,600
Speaker 7: kind of learned how to play all the melodies.

1522
01:16:53,000 --> 01:16:57,720
Speaker 1: You know. So really, what's buzzing just when you take

1523
01:16:57,920 --> 01:16:58,920
Speaker 1: the mouthpiece.

1524
01:17:01,760 --> 01:17:03,559
Speaker 7: Trying to get a sound on. That's how you get

1525
01:17:03,560 --> 01:17:04,559
Speaker 7: a sound out of producing.

1526
01:17:04,800 --> 01:17:06,720
Speaker 2: So is that him playing one again? Never?

1527
01:17:13,560 --> 01:17:14,200
Speaker 7: You know what that is?

1528
01:17:14,520 --> 01:17:15,719
Speaker 2: That's my worst nightmare.

1529
01:17:15,880 --> 01:17:16,960
Speaker 7: You know what that is?

1530
01:17:16,960 --> 01:17:17,160
Speaker 1: What?

1531
01:17:17,479 --> 01:17:19,760
Speaker 7: First of all, you had to be there. It was

1532
01:17:19,840 --> 01:17:23,080
Speaker 7: hilarious because we started when we started doing takes, Spike

1533
01:17:23,160 --> 01:17:25,120
Speaker 7: up saying it's not messed up enough, man, it's not

1534
01:17:28,640 --> 01:17:30,479
Speaker 7: right in front of me, man. And what I started

1535
01:17:30,479 --> 01:17:32,760
Speaker 7: to do was I started to move to trumpet off

1536
01:17:32,800 --> 01:17:35,280
Speaker 7: to the side of my left where I could never

1537
01:17:35,360 --> 01:17:38,400
Speaker 7: really play right, really tried to play right.

1538
01:17:38,640 --> 01:17:39,320
Speaker 1: So that's what you.

1539
01:17:39,320 --> 01:17:46,879
Speaker 2: Hear, man, I'm telling you. In the history of cinema,

1540
01:17:48,080 --> 01:17:53,400
Speaker 2: short of maybe like a Sault film or or any

1541
01:17:53,439 --> 01:18:01,280
Speaker 2: of those like extreme worry, violent like in the movie,

1542
01:18:01,400 --> 01:18:05,559
Speaker 2: that is my worst in.

1543
01:18:05,520 --> 01:18:07,479
Speaker 4: Your mouth with your own instrument, that's not.

1544
01:18:08,439 --> 01:18:10,280
Speaker 2: That that leads to it. I'm gonna get you at

1545
01:18:10,280 --> 01:18:14,120
Speaker 2: the drune that that leads to it. Yes, But my

1546
01:18:14,160 --> 01:18:16,440
Speaker 2: second question, my second.

1547
01:18:16,200 --> 01:18:19,160
Speaker 7: We need for that movie. What what the lobby spike

1548
01:18:19,640 --> 01:18:23,360
Speaker 7: because I know it's sitting around somewhere. We need to

1549
01:18:23,400 --> 01:18:25,759
Speaker 7: have him find the outtakes of Robin Hacke.

1550
01:18:26,120 --> 01:18:28,400
Speaker 6: Yes, I was gonna ask you, man, I was gonna

1551
01:18:28,400 --> 01:18:30,360
Speaker 6: ask you, did you have any interaction with Robin while

1552
01:18:30,360 --> 01:18:30,880
Speaker 6: you on the set?

1553
01:18:30,960 --> 01:18:32,840
Speaker 7: He was, He was a sweetheart, He was a nice guy.

1554
01:18:32,880 --> 01:18:35,719
Speaker 7: But let me just tell you this. Everybody would shoot

1555
01:18:35,720 --> 01:18:38,479
Speaker 7: that scenes and other dudes are being at trailers. Robin

1556
01:18:38,520 --> 01:18:39,800
Speaker 7: Hans would shoot his scene.

1557
01:18:40,479 --> 01:18:40,919
Speaker 1: Everybody.

1558
01:18:40,920 --> 01:18:46,280
Speaker 7: Everybody was on set. Everybody every single time was on set.

1559
01:18:47,880 --> 01:18:49,080
Speaker 5: Hurry up and ask you a question to me. I

1560
01:18:49,080 --> 01:18:50,760
Speaker 5: want to ask Hm about that after party scene. Come on,

1561
01:18:50,800 --> 01:18:51,240
Speaker 5: can we come on?

1562
01:18:52,200 --> 01:18:56,400
Speaker 2: Okay, Well, I have a question. I asked Brand for

1563
01:18:56,479 --> 01:18:59,920
Speaker 2: this on his episode, but his answer didn't satisfy me

1564
01:19:00,080 --> 01:19:02,880
Speaker 2: enough because I want to know the science of the scene.

1565
01:19:03,400 --> 01:19:08,439
Speaker 2: So at the very beginning, when they're doing say hey, yeah,

1566
01:19:08,920 --> 01:19:12,800
Speaker 2: there's there's a really genius point, you know, where shadows

1567
01:19:12,800 --> 01:19:16,479
Speaker 2: sort of interjects and and takes over. The song keeps

1568
01:19:17,360 --> 01:19:21,960
Speaker 2: or no, no, no, where Denzel's character prevents Wesley Snipe's

1569
01:19:22,040 --> 01:19:26,479
Speaker 2: character from hogging up the solo spot. And but to me,

1570
01:19:27,560 --> 01:19:31,000
Speaker 2: that moment of interruption was so authentic, and you guys

1571
01:19:31,080 --> 01:19:33,599
Speaker 2: kept it on the soundtrack sort of the messed up

1572
01:19:35,000 --> 01:19:39,759
Speaker 2: and that part where how how was that choreograph because

1573
01:19:40,360 --> 01:19:42,760
Speaker 2: it wasn't like they had to shoot that scene first

1574
01:19:42,760 --> 01:19:46,200
Speaker 2: and you guys are in post following them so like,

1575
01:19:47,280 --> 01:19:48,920
Speaker 2: but it's so spot on, imperfect.

1576
01:19:49,080 --> 01:19:49,280
Speaker 8: Yeah.

1577
01:19:49,360 --> 01:19:51,519
Speaker 7: No, we just did it in the studio, man, I remember,

1578
01:19:51,760 --> 01:19:54,479
Speaker 7: you know, we did a couple of takes of it,

1579
01:19:54,560 --> 01:19:56,880
Speaker 7: you know where Brianford would just play then all of

1580
01:19:56,920 --> 01:19:59,080
Speaker 7: a sudden, I would just interrupted.

1581
01:19:59,640 --> 01:20:01,880
Speaker 2: And it's the idea was that to make sure that

1582
01:20:01,880 --> 01:20:04,360
Speaker 2: it happens on the soundtrack, of all things?

1583
01:20:04,760 --> 01:20:06,519
Speaker 7: Oh, on the soundtrack, you know what that's that's a

1584
01:20:06,520 --> 01:20:09,559
Speaker 7: good question. Yeah, well back then we were trying to

1585
01:20:09,600 --> 01:20:11,639
Speaker 7: just make sure that whatever we put on a soundtrack

1586
01:20:11,760 --> 01:20:14,840
Speaker 7: was kind of authentic and true to what people saw

1587
01:20:14,920 --> 01:20:17,000
Speaker 7: on the screen. I know a lot of times people

1588
01:20:17,400 --> 01:20:20,519
Speaker 7: take alternate takes and put on the soundtracks, but you know,

1589
01:20:20,600 --> 01:20:23,000
Speaker 7: Spike wanted people to experience to see.

1590
01:20:23,479 --> 01:20:25,839
Speaker 2: And I thought that was such a bold move because

1591
01:20:26,000 --> 01:20:29,439
Speaker 2: it's like, even without context, I always wondered like people

1592
01:20:29,960 --> 01:20:32,719
Speaker 2: for the few people that like just had the soundtrack

1593
01:20:32,760 --> 01:20:35,360
Speaker 2: or heard the soundtrack without knowing the context for which

1594
01:20:36,080 --> 01:20:40,960
Speaker 2: that occurred. But for me, hearing that mistake on there

1595
01:20:41,120 --> 01:20:43,920
Speaker 2: was definitely like one of the key moments where like,

1596
01:20:44,400 --> 01:20:47,720
Speaker 2: you know a lot of my my trademarks of what

1597
01:20:47,840 --> 01:20:51,160
Speaker 2: I do musically is quote sounding messed up.

1598
01:20:52,479 --> 01:20:54,960
Speaker 1: But for me, hearing that.

1599
01:20:54,920 --> 01:20:57,599
Speaker 2: Was just like such a come to Jesus moment, like,

1600
01:20:57,640 --> 01:21:00,479
Speaker 2: oh you can. You could purposely fuck up the record

1601
01:21:00,520 --> 01:21:01,000
Speaker 2: and it'd be.

1602
01:21:01,000 --> 01:21:04,000
Speaker 7: Cool, Like I don't you know what I break? You

1603
01:21:04,040 --> 01:21:05,800
Speaker 7: used to say, Man, I breaks to say. I try

1604
01:21:05,840 --> 01:21:08,200
Speaker 7: to make my drum sauce sound like I said of

1605
01:21:08,280 --> 01:21:09,960
Speaker 7: drums falling down the flight of stairs.

1606
01:21:11,600 --> 01:21:18,360
Speaker 2: Wow. Wow Wow. So with ask your uh uh at

1607
01:21:18,360 --> 01:21:20,519
Speaker 2: the party because I want to ask another scoring.

1608
01:21:20,760 --> 01:21:22,599
Speaker 5: I just wanted to have how many moments you had

1609
01:21:22,640 --> 01:21:25,360
Speaker 5: where they were like so in the after party moment,

1610
01:21:26,240 --> 01:21:28,280
Speaker 5: one of the famous scenes about you know, get the

1611
01:21:28,280 --> 01:21:28,920
Speaker 5: people what they want.

1612
01:21:28,920 --> 01:21:31,120
Speaker 4: If you play to people like people to our people

1613
01:21:31,120 --> 01:21:33,920
Speaker 4: will come, The people will come. Who is who is

1614
01:21:34,040 --> 01:21:35,880
Speaker 4: Trece Blanchard in that conversation?

1615
01:21:36,600 --> 01:21:41,200
Speaker 7: Huh? That's interesting? Well, I'm I'm definitely not totally in

1616
01:21:41,240 --> 01:21:44,559
Speaker 7: that direction. But just one thing I will say, and

1617
01:21:44,600 --> 01:21:46,360
Speaker 7: I got this from all Blak, and he said, never

1618
01:21:46,400 --> 01:21:48,920
Speaker 7: play above your audience, never played beneath him, just play

1619
01:21:48,960 --> 01:21:49,719
Speaker 7: straight to him.

1620
01:21:50,000 --> 01:21:50,240
Speaker 1: You know.

1621
01:21:50,800 --> 01:21:52,960
Speaker 7: And that's what I firmly believe. I think there has

1622
01:21:53,000 --> 01:21:54,839
Speaker 7: to be a combination of both things.

1623
01:21:55,080 --> 01:21:55,320
Speaker 1: You know.

1624
01:21:55,880 --> 01:21:57,760
Speaker 7: I don't want to be that jazz musician who so

1625
01:21:58,040 --> 01:22:00,000
Speaker 7: aricant to always think that people have to come up

1626
01:22:00,160 --> 01:22:02,080
Speaker 7: to my level to experience what it.

1627
01:22:02,080 --> 01:22:04,280
Speaker 1: Is that I do. No, they want to need them

1628
01:22:04,320 --> 01:22:05,160
Speaker 1: where they are right.

1629
01:22:05,200 --> 01:22:07,920
Speaker 7: That makes no sense, you know. So for me, I

1630
01:22:08,000 --> 01:22:11,679
Speaker 7: try to create music that helps heal souls and helps

1631
01:22:11,680 --> 01:22:13,960
Speaker 7: to kind of change some hearts and minds about it's

1632
01:22:13,960 --> 01:22:15,479
Speaker 7: a ission. So if I got to come to you,

1633
01:22:15,520 --> 01:22:16,400
Speaker 7: that's what I'm going to do.

1634
01:22:17,640 --> 01:22:19,639
Speaker 4: And what's pop top forty fun to make?

1635
01:22:20,200 --> 01:22:22,920
Speaker 7: Oh it man, We've been We've We've done these shows

1636
01:22:22,960 --> 01:22:26,720
Speaker 7: around the world and a lot of different countries with orchestras,

1637
01:22:27,280 --> 01:22:31,200
Speaker 7: and the shows of the shows are the music of

1638
01:22:31,280 --> 01:22:34,200
Speaker 7: Spike me and we have visuals and we'll bring we'll

1639
01:22:34,200 --> 01:22:36,759
Speaker 7: bring vocalists out and sing all of the songs and stuff.

1640
01:22:37,320 --> 01:22:39,679
Speaker 4: And they're very hard to get into terrence.

1641
01:22:39,800 --> 01:22:43,240
Speaker 7: Yes, that's one of the hits people, booty booty, booty

1642
01:22:43,280 --> 01:22:43,840
Speaker 7: titty titty.

1643
01:22:46,680 --> 01:22:54,160
Speaker 2: But how sorry, how how when you're presented with uh,

1644
01:22:54,680 --> 01:22:59,200
Speaker 2: a new challenge, a new project, how how long does

1645
01:22:59,240 --> 01:23:05,680
Speaker 2: it take you to even begin to craft? What is

1646
01:23:05,720 --> 01:23:08,920
Speaker 2: it going to be? Or is it so shotgun where

1647
01:23:08,920 --> 01:23:11,240
Speaker 2: it's like a gun to your head. You're giving it

1648
01:23:11,360 --> 01:23:13,439
Speaker 2: daily and in three weeks you got to come up

1649
01:23:13,479 --> 01:23:14,160
Speaker 2: with something.

1650
01:23:15,080 --> 01:23:18,080
Speaker 7: You know, man, you know what it's brouh. It's gotten

1651
01:23:18,120 --> 01:23:20,840
Speaker 7: to the point now where I just tell myself just start,

1652
01:23:21,360 --> 01:23:23,200
Speaker 7: just start, you know what I mean? Because I used

1653
01:23:23,240 --> 01:23:26,040
Speaker 7: to freak out and try to overthink things a lot

1654
01:23:26,080 --> 01:23:28,479
Speaker 7: of times. Man, And when you sit down thinking too much,

1655
01:23:28,720 --> 01:23:33,000
Speaker 7: you're not really accomplishing anything. That's why when I'm not working,

1656
01:23:33,080 --> 01:23:36,200
Speaker 7: when i'm in between like projects, bruh, that's when I'm

1657
01:23:36,200 --> 01:23:38,960
Speaker 7: doing my homework on my plugins, on my sound design,

1658
01:23:39,560 --> 01:23:41,559
Speaker 7: on everything that I need to do. So when it's

1659
01:23:41,600 --> 01:23:43,559
Speaker 7: time for me to work, I could just go ahead

1660
01:23:43,560 --> 01:23:45,960
Speaker 7: and do certain things, you know what I mean. So

1661
01:23:46,200 --> 01:23:49,800
Speaker 7: for example, you know, I'm working on a project and

1662
01:23:50,000 --> 01:23:53,280
Speaker 7: I needed to craft a certain type of thing sound

1663
01:23:53,320 --> 01:23:57,080
Speaker 7: for the show, and the first start in my mind was, Oh,

1664
01:23:57,120 --> 01:23:58,720
Speaker 7: I need these types of drums. Let me get these

1665
01:23:58,760 --> 01:24:01,120
Speaker 7: drums up boom when we start play some rhythms, and

1666
01:24:01,160 --> 01:24:03,360
Speaker 7: once I start putting these rhythms in the next thing,

1667
01:24:03,400 --> 01:24:05,920
Speaker 7: you know, that's the sparkling idea of like, oh, I

1668
01:24:05,920 --> 01:24:08,240
Speaker 7: need to create this sequence baseline, so let me get

1669
01:24:08,240 --> 01:24:10,720
Speaker 7: in here and start messing around with the sequencer and

1670
01:24:10,760 --> 01:24:14,000
Speaker 7: the thing and put that together, and I need to

1671
01:24:14,040 --> 01:24:17,360
Speaker 7: have something in the middle. So it's almost like it's

1672
01:24:17,439 --> 01:24:20,719
Speaker 7: like putting together a puzzle, you know, but the puzzle

1673
01:24:20,800 --> 01:24:26,719
Speaker 7: is like specifically designed for whatever project that you're working

1674
01:24:26,760 --> 01:24:29,479
Speaker 7: on at the time. Because all of the inspirations and

1675
01:24:29,520 --> 01:24:31,080
Speaker 7: this is the thing, man, this is one of the

1676
01:24:31,080 --> 01:24:32,760
Speaker 7: things I always tell my kids. I said, look, man,

1677
01:24:32,760 --> 01:24:35,559
Speaker 7: look at your craft, because you never know where inspiration

1678
01:24:35,640 --> 01:24:38,839
Speaker 7: is gonna come from. Sometimes it's rhythm, sometimes it's a melody.

1679
01:24:38,960 --> 01:24:42,960
Speaker 7: Sometimes it's just a sound. Sometimes it's a group of harmony,

1680
01:24:43,479 --> 01:24:46,519
Speaker 7: harmonic progressions. It could be a lot of different things,

1681
01:24:46,680 --> 01:24:49,479
Speaker 7: you know, but if you have your tools together, whatever

1682
01:24:49,520 --> 01:24:52,160
Speaker 7: it is, you'll be able to take it further and

1683
01:24:52,320 --> 01:24:57,000
Speaker 7: find what's fine. You'll be able to flush the idea out.

1684
01:24:57,080 --> 01:24:59,400
Speaker 7: That's the thing that I always used to say. My

1685
01:25:00,320 --> 01:25:02,000
Speaker 7: my teacher used to tell me all the time, it's

1686
01:25:02,000 --> 01:25:04,280
Speaker 7: like whidbling, you know, just chipping away at it.

1687
01:25:05,080 --> 01:25:09,960
Speaker 2: Okay, Spike Aside and our audience should know that you've

1688
01:25:10,000 --> 01:25:14,400
Speaker 2: done many a classic film. You've done sugar Hill, the Ink,

1689
01:25:14,439 --> 01:25:19,600
Speaker 2: Well Eves by You, You've done Uh, you did you

1690
01:25:20,280 --> 01:25:22,920
Speaker 2: with uh what's your name?

1691
01:25:23,840 --> 01:25:26,880
Speaker 1: Yeah, Angelina?

1692
01:25:29,920 --> 01:25:33,160
Speaker 2: I remember I believe that you did Friday or Next

1693
01:25:33,160 --> 01:25:39,360
Speaker 2: Friday with you? What what non Spike associated project was

1694
01:25:40,400 --> 01:25:41,519
Speaker 2: enjoyable to you?

1695
01:25:42,320 --> 01:25:42,840
Speaker 7: All of them?

1696
01:25:43,360 --> 01:25:44,200
Speaker 1: Man? Are you kidding?

1697
01:25:45,000 --> 01:25:48,080
Speaker 7: All of them? The Friday series was hilarious, you know

1698
01:25:48,120 --> 01:25:48,519
Speaker 7: what I mean?

1699
01:25:48,920 --> 01:25:49,040
Speaker 1: Right?

1700
01:25:49,360 --> 01:25:52,559
Speaker 7: I mean, you know, watching Mike Man in those scenes

1701
01:25:52,560 --> 01:25:53,439
Speaker 7: that dude, it's funny.

1702
01:25:53,439 --> 01:25:53,559
Speaker 10: Bro.

1703
01:25:55,520 --> 01:25:56,280
Speaker 7: Those were fun.

1704
01:25:56,560 --> 01:25:56,760
Speaker 1: You know.

1705
01:25:56,880 --> 01:25:59,560
Speaker 7: Working with George Lucas on Redtails was fun.

1706
01:26:00,040 --> 01:26:00,320
Speaker 2: All right.

1707
01:26:01,400 --> 01:26:03,920
Speaker 7: I mean you know it's it's about working with Casey

1708
01:26:04,000 --> 01:26:06,599
Speaker 7: Lemons on Harriet. You know, we worked on some other

1709
01:26:06,680 --> 01:26:09,720
Speaker 7: things together, a bunch of movies together. The guy that

1710
01:26:09,760 --> 01:26:13,000
Speaker 7: I did Geo with is actually the guy that wrote

1711
01:26:13,040 --> 01:26:16,680
Speaker 7: the libretto for my first opera, Michael Christoffer. You know,

1712
01:26:17,320 --> 01:26:19,760
Speaker 7: doing Love and Basketball that was like really a lot

1713
01:26:19,800 --> 01:26:22,639
Speaker 7: of fun. I had a great time doing that because

1714
01:26:22,720 --> 01:26:24,800
Speaker 7: for me, man, It's like it goes back to the

1715
01:26:24,880 --> 01:26:27,000
Speaker 7: thing I was telling you about earlier. It's about learning

1716
01:26:27,040 --> 01:26:31,040
Speaker 7: and expanding. You know, all of those all of those

1717
01:26:31,160 --> 01:26:34,120
Speaker 7: projects helped me to grow in a lot of different ways.

1718
01:26:34,160 --> 01:26:37,360
Speaker 7: You know, I'm not the guy that ever think that

1719
01:26:37,400 --> 01:26:40,559
Speaker 7: I have it together. You know, I'm always trying to

1720
01:26:40,640 --> 01:26:45,360
Speaker 7: acquire knowledge and experiences, you know, and I look at

1721
01:26:45,400 --> 01:26:47,200
Speaker 7: all of those things. What was the TV show that

1722
01:26:47,240 --> 01:26:49,960
Speaker 7: I did with Halle Barry Their eyes were watching God?

1723
01:26:50,400 --> 01:26:50,920
Speaker 1: Oh wow?

1724
01:26:51,040 --> 01:26:55,840
Speaker 5: Yeah, Michael, yeah, yeah. You know, No, you don't do

1725
01:26:55,920 --> 01:26:58,520
Speaker 5: projects unless you really feel I'm on terrence.

1726
01:26:59,600 --> 01:27:01,720
Speaker 7: Just sense of doing it as a matter of fact.

1727
01:27:01,800 --> 01:27:01,960
Speaker 5: You know.

1728
01:27:01,960 --> 01:27:04,519
Speaker 7: What's interesting about that, and it was when I first

1729
01:27:04,520 --> 01:27:06,559
Speaker 7: got in the business, man, I had to turn down

1730
01:27:06,560 --> 01:27:10,680
Speaker 7: eleven scripts, you know, and I hated doing it, but

1731
01:27:10,760 --> 01:27:13,400
Speaker 7: I had to do it for a reason because you know,

1732
01:27:13,600 --> 01:27:18,479
Speaker 7: all of the leven scripts were black films, you know,

1733
01:27:18,720 --> 01:27:20,519
Speaker 7: and one of the things that I tried to do

1734
01:27:20,760 --> 01:27:23,840
Speaker 7: was and they weren't you know, like Harriet Clublin or

1735
01:27:23,880 --> 01:27:24,719
Speaker 7: anything like that.

1736
01:27:24,840 --> 01:27:25,120
Speaker 1: You know.

1737
01:27:25,600 --> 01:27:27,080
Speaker 7: One of the things that I was trying to make

1738
01:27:27,120 --> 01:27:29,479
Speaker 7: a point to my agent at the time. It's a

1739
01:27:29,520 --> 01:27:31,920
Speaker 7: different age. I have a different agent now, was I

1740
01:27:31,920 --> 01:27:34,280
Speaker 7: don't want you to see me that way. You know,

1741
01:27:34,560 --> 01:27:36,920
Speaker 7: I don't mind doing those films. I don't have a

1742
01:27:36,960 --> 01:27:41,040
Speaker 7: problem doing those pictures, but I'm turning them down because

1743
01:27:41,080 --> 01:27:44,040
Speaker 7: that's all you're bringing to me, you know what I mean.

1744
01:27:44,640 --> 01:27:46,439
Speaker 7: And you need to see me in such a way

1745
01:27:46,479 --> 01:27:49,840
Speaker 7: where anything should be on my table, not just that,

1746
01:27:50,680 --> 01:27:52,840
Speaker 7: you know. And I paid a price for it. I

1747
01:27:52,880 --> 01:27:55,680
Speaker 7: didn't work for for a long time, you know what

1748
01:27:55,720 --> 01:27:59,599
Speaker 7: I mean. But I just felt like if I didn't

1749
01:27:59,600 --> 01:28:02,360
Speaker 7: take a stand, they will just see me as one thing.

1750
01:28:02,760 --> 01:28:03,880
Speaker 1: They would typecast you.

1751
01:28:05,040 --> 01:28:07,680
Speaker 7: And I hated it because I wasn't trying to make

1752
01:28:07,680 --> 01:28:11,400
Speaker 7: an indictment on the films, you know, you see what

1753
01:28:11,400 --> 01:28:13,280
Speaker 7: I mean. It wasn't that I wasn't trying to make

1754
01:28:13,280 --> 01:28:15,719
Speaker 7: an indictment on the films. What I was saying about

1755
01:28:16,400 --> 01:28:18,920
Speaker 7: was to my agent, It's like, yo, dude, really, I mean,

1756
01:28:18,920 --> 01:28:21,080
Speaker 7: because I have a certain part. It became comical. I'm like,

1757
01:28:21,160 --> 01:28:24,560
Speaker 7: eleven scripts, dude, really really eleven.

1758
01:28:25,680 --> 01:28:28,720
Speaker 2: Any notable films that you had to turn down or

1759
01:28:28,760 --> 01:28:31,600
Speaker 2: that you've turned down that were like a damn. I

1760
01:28:31,640 --> 01:28:33,479
Speaker 2: didn't know that Avatar was going to be.

1761
01:28:36,720 --> 01:28:38,439
Speaker 1: I really wanted to do the Miles movie.

1762
01:28:38,680 --> 01:28:43,519
Speaker 2: You know, I was going to ask you you.

1763
01:28:45,760 --> 01:28:47,640
Speaker 4: Died you? No?

1764
01:28:47,840 --> 01:28:47,920
Speaker 5: You?

1765
01:28:48,080 --> 01:28:50,000
Speaker 1: Yeah. I think it was good to see.

1766
01:28:50,240 --> 01:28:52,439
Speaker 7: When they were talking about doing it. You know, Miles listen,

1767
01:28:52,520 --> 01:28:54,920
Speaker 7: that's my hero, so right, you know, I wanted to

1768
01:28:54,960 --> 01:28:56,719
Speaker 7: be a part of it.

1769
01:28:56,920 --> 01:28:59,840
Speaker 6: Although I did like i'd been like what Glasser did

1770
01:28:59,880 --> 01:29:01,439
Speaker 6: for I mean, I didn't have no problems with the

1771
01:29:01,520 --> 01:29:03,920
Speaker 6: music I thought the movie was in, but I really

1772
01:29:03,920 --> 01:29:05,479
Speaker 6: did like what glass did for that stuff.

1773
01:29:05,720 --> 01:29:15,240
Speaker 2: Yeah, okay, so scoring I'm not. I'm not a full

1774
01:29:15,280 --> 01:29:19,320
Speaker 2: time scorer, so I'm not that deep in the poem,

1775
01:29:19,320 --> 01:29:22,519
Speaker 2: still in the shallow end of it. And shout out

1776
01:29:22,560 --> 01:29:24,960
Speaker 2: to Spike who got me my first scoring thing with

1777
01:29:25,000 --> 01:29:29,639
Speaker 2: the commercial. But what I what I do notice is

1778
01:29:29,680 --> 01:29:32,280
Speaker 2: that I'm used to it now. But in the very

1779
01:29:32,320 --> 01:29:35,320
Speaker 2: beginning I used to be frustrated because oftentimes you're having

1780
01:29:36,000 --> 01:29:42,440
Speaker 2: sort of creative direction conversations with people who aren't necessarily.

1781
01:29:43,479 --> 01:29:46,880
Speaker 1: They don't speak the language. It's very frustrating.

1782
01:29:47,520 --> 01:29:49,439
Speaker 2: So but the thing is is that how do you

1783
01:29:49,520 --> 01:29:52,679
Speaker 2: handle Like I learned early, and it's hard, especially hard

1784
01:29:52,680 --> 01:29:56,200
Speaker 2: for me because I learned early in scoring that drums

1785
01:29:56,200 --> 01:30:00,720
Speaker 2: get in the way. So I took drums. You know,

1786
01:30:00,800 --> 01:30:02,840
Speaker 2: if you're asking a drummer to score a film and

1787
01:30:02,880 --> 01:30:05,880
Speaker 2: then I take drums out of it. I've learned like

1788
01:30:05,920 --> 01:30:08,200
Speaker 2: to stay out of the dialogue's way and all those things.

1789
01:30:08,240 --> 01:30:11,479
Speaker 2: But now I kind of have a new system where,

1790
01:30:12,760 --> 01:30:15,920
Speaker 2: you know, I've dealt so much with with people with

1791
01:30:16,080 --> 01:30:18,400
Speaker 2: people like knowing what they don't want as opposed to

1792
01:30:18,400 --> 01:30:21,920
Speaker 2: what they do want, whereas I'll just ask them, Okay,

1793
01:30:22,240 --> 01:30:26,479
Speaker 2: you obviously have like something in your head five songs,

1794
01:30:27,000 --> 01:30:29,200
Speaker 2: Give me five songs in your head that you think

1795
01:30:29,240 --> 01:30:31,200
Speaker 2: fits the scene, and then I can craft around that

1796
01:30:32,479 --> 01:30:34,240
Speaker 2: and it makes it easy. But what's your what's your

1797
01:30:34,280 --> 01:30:38,320
Speaker 2: process in dealing with someone that doesn't speak the language

1798
01:30:38,479 --> 01:30:41,880
Speaker 2: and kind of makes you go back, like what was

1799
01:30:41,920 --> 01:30:44,840
Speaker 2: your hardest task as a filmmaker If you're not.

1800
01:30:44,840 --> 01:30:46,360
Speaker 7: Gonna, we're not gonna, We're not gonna go.

1801
01:30:46,400 --> 01:30:52,360
Speaker 2: There, you know, that's hold down to them.

1802
01:30:53,479 --> 01:30:55,519
Speaker 1: Where you have to go back and do something over

1803
01:30:55,560 --> 01:30:56,720
Speaker 1: again and over and over.

1804
01:30:57,040 --> 01:31:00,760
Speaker 7: No, No, I've never had to had had that. It's

1805
01:31:00,920 --> 01:31:04,000
Speaker 7: more along the lines of just trying to find a

1806
01:31:04,040 --> 01:31:07,960
Speaker 7: baseline of communication, you know what I mean. Miles, who

1807
01:31:08,040 --> 01:31:11,120
Speaker 7: was my mentor in this business. That was one thing

1808
01:31:11,160 --> 01:31:12,760
Speaker 7: that he told me. He said, that's what you're really

1809
01:31:12,760 --> 01:31:15,519
Speaker 7: being paid for. He said, listen, man, we all can

1810
01:31:15,520 --> 01:31:16,759
Speaker 7: write music for film.

1811
01:31:17,000 --> 01:31:17,599
Speaker 1: You know what I mean.

1812
01:31:17,920 --> 01:31:20,760
Speaker 7: You know it's it's it's really about following the story

1813
01:31:20,560 --> 01:31:22,840
Speaker 7: and becoming a storyteller with your music.

1814
01:31:22,880 --> 01:31:23,160
Speaker 1: He said.

1815
01:31:23,160 --> 01:31:25,400
Speaker 7: The hard part is just trying to figure out which

1816
01:31:25,439 --> 01:31:27,240
Speaker 7: way to go with that because a lot of times

1817
01:31:27,240 --> 01:31:29,960
Speaker 7: there's so many ways to deal with it. You know,

1818
01:31:30,040 --> 01:31:32,400
Speaker 7: you have to find that common ground with the person

1819
01:31:32,400 --> 01:31:35,640
Speaker 7: who's producing the project. And that's where you know, a

1820
01:31:35,720 --> 01:31:37,880
Speaker 7: good friend of mine, Mike Post, you know, he's a

1821
01:31:37,880 --> 01:31:42,639
Speaker 7: great TV Yeah. Yeah, Mike told me one time he said, listen, man.

1822
01:31:43,040 --> 01:31:46,639
Speaker 7: He had a project and he said he was having

1823
01:31:46,680 --> 01:31:49,960
Speaker 7: an issue talking to a director, and I thought this

1824
01:31:50,120 --> 01:31:52,360
Speaker 7: was brilliant man. He said, man, why don't you come

1825
01:31:52,360 --> 01:31:55,400
Speaker 7: over to my studio. And Mike would just sit down

1826
01:31:55,400 --> 01:31:57,040
Speaker 7: and play a chord and say, all right, tell me

1827
01:31:57,080 --> 01:31:59,640
Speaker 7: what you feel, and then he would write it down

1828
01:32:00,080 --> 01:32:02,120
Speaker 7: other coordins, they tell me what you feel, And he

1829
01:32:02,240 --> 01:32:06,639
Speaker 7: created a baseline of communication. From that point of view,

1830
01:32:07,160 --> 01:32:08,880
Speaker 7: I try to do more of what you what you

1831
01:32:08,960 --> 01:32:11,519
Speaker 7: were just talking about. I mean, you know when I

1832
01:32:11,720 --> 01:32:15,479
Speaker 7: when I said, listen, tell me what it is, that

1833
01:32:15,520 --> 01:32:18,680
Speaker 7: you're hearing. If you have a playlist, send me the playlist.

1834
01:32:18,800 --> 01:32:19,360
Speaker 1: You know what I mean.

1835
01:32:21,400 --> 01:32:25,200
Speaker 7: And and you're always trying to get at the core.

1836
01:32:25,560 --> 01:32:28,040
Speaker 7: But here's here's the here's the thing about it, though.

1837
01:32:28,439 --> 01:32:31,519
Speaker 7: You know, the people who are coming to you have

1838
01:32:31,720 --> 01:32:33,839
Speaker 7: to be open to stuff too.

1839
01:32:34,160 --> 01:32:35,400
Speaker 1: And they have to trust you.

1840
01:32:35,720 --> 01:32:38,880
Speaker 7: They have to trust you. And when and when and

1841
01:32:38,920 --> 01:32:41,439
Speaker 7: when there isn't that trust, it can be rough.

1842
01:32:41,680 --> 01:32:41,880
Speaker 1: You know.

1843
01:32:42,200 --> 01:32:45,600
Speaker 7: Look but look, man, but sometimes as a musician, you

1844
01:32:45,720 --> 01:32:48,400
Speaker 7: gotta you gotta open up your eyes to listen. I

1845
01:32:48,520 --> 01:32:49,960
Speaker 7: just worked with Regina.

1846
01:32:49,560 --> 01:32:52,680
Speaker 1: King on Miami.

1847
01:32:52,560 --> 01:32:56,200
Speaker 7: In Miami, and you know, when we first started talking

1848
01:32:56,240 --> 01:32:58,400
Speaker 7: about the score, you know, I had pitched a lot

1849
01:32:58,439 --> 01:33:02,040
Speaker 7: of different ideas to and I sentiment she said, well no,

1850
01:33:02,080 --> 01:33:04,040
Speaker 7: I kept thinking, she said, I think it should be

1851
01:33:04,080 --> 01:33:07,160
Speaker 7: just like one instrument. I kept pitching these other ideas

1852
01:33:07,200 --> 01:33:09,519
Speaker 7: to her, and she and looked to her credit, she

1853
01:33:10,720 --> 01:33:12,960
Speaker 7: checked it all out, listened to everything, you know, and

1854
01:33:13,000 --> 01:33:15,080
Speaker 7: then she said, you know, because you know it was

1855
01:33:15,080 --> 01:33:17,840
Speaker 7: the first time doing it, you know, first time reco there.

1856
01:33:18,240 --> 01:33:20,200
Speaker 7: So she went through the process and she said, yeah,

1857
01:33:20,200 --> 01:33:23,120
Speaker 7: but I'm still feeling this other thing. So we went

1858
01:33:23,200 --> 01:33:26,360
Speaker 7: that direction and we just decided to just do piano,

1859
01:33:26,439 --> 01:33:28,400
Speaker 7: and it wound up being beautiful and wound up being

1860
01:33:28,400 --> 01:33:31,600
Speaker 7: a very unique thing. Everybody's talking about the music for

1861
01:33:31,720 --> 01:33:34,760
Speaker 7: the film, you know, and that's just where me as

1862
01:33:34,760 --> 01:33:37,439
Speaker 7: a film composer, you know, I came at it with

1863
01:33:37,520 --> 01:33:40,439
Speaker 7: a certain thing, but I had to sit back and go, Okay, I'll.

1864
01:33:40,360 --> 01:33:41,320
Speaker 1: See where she's coming from.

1865
01:33:41,439 --> 01:33:44,800
Speaker 7: I went to them, you know, with another director too,

1866
01:33:44,880 --> 01:33:47,880
Speaker 7: similar kind of situation, so both people have to be

1867
01:33:48,040 --> 01:33:51,120
Speaker 7: open on both sides. And when you run into that

1868
01:33:51,160 --> 01:33:55,080
Speaker 7: situation where you don't have that, it's just difficult. It's

1869
01:33:55,240 --> 01:33:57,160
Speaker 7: I mean, there's no other way around it, because the

1870
01:33:57,200 --> 01:34:01,040
Speaker 7: word is collaboration, you know, not the hattership, you know

1871
01:34:01,040 --> 01:34:05,040
Speaker 7: what I'm saying. So that's that's where for me, I've

1872
01:34:05,040 --> 01:34:07,720
Speaker 7: been blessed, you know, because most of the people that

1873
01:34:07,760 --> 01:34:10,560
Speaker 7: I've been working with are true collaborators.

1874
01:34:10,800 --> 01:34:11,000
Speaker 1: You know.

1875
01:34:12,400 --> 01:34:15,439
Speaker 7: I've had people tell me sometimes, damn, bro, you gave

1876
01:34:15,479 --> 01:34:17,479
Speaker 7: me some insight into my film that I didn't see,

1877
01:34:17,520 --> 01:34:18,880
Speaker 7: which is a compliment. You know.

1878
01:34:19,840 --> 01:34:21,519
Speaker 1: Then I've had people, you know.

1879
01:34:21,600 --> 01:34:24,720
Speaker 7: Who expand my horizons by getting me to see a

1880
01:34:24,760 --> 01:34:27,800
Speaker 7: bigger picture about how to tell stories, you know. So

1881
01:34:28,120 --> 01:34:29,439
Speaker 7: it's the reason why I love doing this.

1882
01:34:30,120 --> 01:34:33,000
Speaker 6: Have you learned or have it hasn't been your experience

1883
01:34:33,120 --> 01:34:38,400
Speaker 6: that doing film composing for film and TV and stuff

1884
01:34:39,000 --> 01:34:41,439
Speaker 6: has been your experience that that has helped you in

1885
01:34:41,560 --> 01:34:46,360
Speaker 6: your regular quote unquote recording career, because you know, because

1886
01:34:46,400 --> 01:34:49,920
Speaker 6: for me, man like that, you know, as a young man,

1887
01:34:49,920 --> 01:34:52,599
Speaker 6: when I was younger, I would take rejection like really personally,

1888
01:34:52,640 --> 01:34:54,160
Speaker 6: like you know a lot of us do. But then

1889
01:34:54,200 --> 01:34:56,599
Speaker 6: when I started doing stuff for TV and music and

1890
01:34:56,680 --> 01:35:00,599
Speaker 6: you know, TV and movies whatever, it's just like, hey,

1891
01:35:00,640 --> 01:35:02,120
Speaker 6: if a song don't work, it just don't work.

1892
01:35:02,240 --> 01:35:03,040
Speaker 1: Just do another song.

1893
01:35:03,360 --> 01:35:05,960
Speaker 6: You don't think about it, you know, you don't take

1894
01:35:06,000 --> 01:35:08,240
Speaker 6: it personally. It's just like, don't mean all right, I'm

1895
01:35:08,280 --> 01:35:10,040
Speaker 6: the worst songwriting the words. It's like, Yo, this shit

1896
01:35:10,080 --> 01:35:10,479
Speaker 6: didn't work.

1897
01:35:10,520 --> 01:35:12,320
Speaker 7: Just do another one, right, and that's it. And that's

1898
01:35:12,360 --> 01:35:14,800
Speaker 7: you're out, man, Because then it's not an indictment.

1899
01:35:14,400 --> 01:35:15,760
Speaker 1: On you, you know what I mean.

1900
01:35:15,960 --> 01:35:18,120
Speaker 7: That's the thing. When you realize that, it kind of

1901
01:35:18,120 --> 01:35:20,040
Speaker 7: frees you up from all of that other stuff that

1902
01:35:20,280 --> 01:35:23,160
Speaker 7: comes along with that. You know, when you realize, like, man,

1903
01:35:23,200 --> 01:35:26,200
Speaker 7: look it's still in you. Just go try something else,

1904
01:35:26,360 --> 01:35:28,880
Speaker 7: you know what I mean? And I go and listen.

1905
01:35:28,920 --> 01:35:29,000
Speaker 5: Bro.

1906
01:35:29,560 --> 01:35:32,600
Speaker 7: Sometimes I go through that before it gets to the director.

1907
01:35:34,880 --> 01:35:38,080
Speaker 7: I'm saying, I'll work on some stuff. And while I'm

1908
01:35:38,200 --> 01:35:40,679
Speaker 7: doing it, Bro, I'm sitting there going what it's missing something?

1909
01:35:40,720 --> 01:35:42,360
Speaker 7: It's missing something. Let me go ahead and work on that,

1910
01:35:42,400 --> 01:35:44,760
Speaker 7: boom and I'll do that for a day or two, bro,

1911
01:35:44,920 --> 01:35:46,519
Speaker 7: and then come back and I go, you know what

1912
01:35:46,680 --> 01:35:52,920
Speaker 7: is missing the real que? So let me this away

1913
01:35:53,200 --> 01:35:56,599
Speaker 7: and start over from scratch. How has that helped you

1914
01:35:56,760 --> 01:35:58,880
Speaker 7: in your hold the live performance?

1915
01:35:59,320 --> 01:36:01,799
Speaker 6: Yeah, just a live performance, and also when recording your records,

1916
01:36:01,800 --> 01:36:04,080
Speaker 6: house film composition helps you in that area.

1917
01:36:03,960 --> 01:36:06,840
Speaker 7: Oh man. Look, eventually it opened my eyes up to

1918
01:36:06,840 --> 01:36:09,760
Speaker 7: about using different colors on the band stand. Even when

1919
01:36:09,760 --> 01:36:13,000
Speaker 7: I had my jazz band, I was still putting using

1920
01:36:13,040 --> 01:36:16,479
Speaker 7: the pedals and stuff on my horn, you know, effects

1921
01:36:16,520 --> 01:36:20,160
Speaker 7: on my horn, and which eventually let me into the ecollective.

1922
01:36:20,280 --> 01:36:24,120
Speaker 7: You know what I mean, Because for me, like I

1923
01:36:24,160 --> 01:36:27,200
Speaker 7: told you earlier, it's about utilizing these tools to tell

1924
01:36:27,240 --> 01:36:30,439
Speaker 7: a story. Bro, you know what I mean. And it's

1925
01:36:30,520 --> 01:36:34,080
Speaker 7: kind of funny, you know, It's like everybody there was

1926
01:36:34,120 --> 01:36:36,640
Speaker 7: this great guitarist, man, I guess you got to know

1927
01:36:36,760 --> 01:36:38,360
Speaker 7: Leonella Wake and played with Herbie.

1928
01:36:38,520 --> 01:36:40,439
Speaker 1: Yeah, I was going to ask this man, I love him. Man,

1929
01:36:40,439 --> 01:36:40,840
Speaker 1: he's dope.

1930
01:36:41,400 --> 01:36:43,559
Speaker 7: So you know when Leone was in my band, Man,

1931
01:36:43,600 --> 01:36:45,680
Speaker 7: we do these shows and Leonete would be playing and

1932
01:36:46,040 --> 01:36:48,200
Speaker 7: have these loops going and all of this stuff going on,

1933
01:36:49,080 --> 01:36:51,080
Speaker 7: and everybody would always come up after the show and

1934
01:36:51,160 --> 01:36:52,880
Speaker 7: want to look at the pedals, you know, and they

1935
01:36:52,920 --> 01:36:57,479
Speaker 7: wanted to so it said, bro, Okay, he's got the pedals,

1936
01:36:57,479 --> 01:37:01,080
Speaker 7: but the pedals are tools. It really here, you know

1937
01:37:01,120 --> 01:37:04,400
Speaker 7: what I mean, It's not my mind. So that's the

1938
01:37:04,479 --> 01:37:07,120
Speaker 7: thing that film helped me to realize. It's like, you know,

1939
01:37:08,040 --> 01:37:10,759
Speaker 7: are you still trying to tell the story the same

1940
01:37:10,840 --> 01:37:14,360
Speaker 7: way that Miles told the story? And he's not even

1941
01:37:14,400 --> 01:37:17,720
Speaker 7: doing it that way anymore. So and look, I got

1942
01:37:17,720 --> 01:37:20,000
Speaker 7: to tell you this story. This was this was man,

1943
01:37:20,040 --> 01:37:22,680
Speaker 7: this was funny. Uh but it was a wake up

1944
01:37:22,680 --> 01:37:25,400
Speaker 7: call for me. So I'm on tour with Herbie Hancock.

1945
01:37:25,800 --> 01:37:30,360
Speaker 7: This was right before Barack Obama was elected the first time,

1946
01:37:31,200 --> 01:37:34,559
Speaker 7: and we were on tour in Europe and we were

1947
01:37:34,560 --> 01:37:38,400
Speaker 7: playing some some of the Herbie's classic tunes, but he

1948
01:37:38,479 --> 01:37:41,519
Speaker 7: had put these new arrangements on them, so we had

1949
01:37:41,520 --> 01:37:43,600
Speaker 7: to speak like a child, and he had put a

1950
01:37:43,640 --> 01:37:46,080
Speaker 7: lot meter in it and did some other stuff to it.

1951
01:37:46,720 --> 01:37:49,880
Speaker 7: And then one day at soundcheck, man he started playing

1952
01:37:49,880 --> 01:37:52,640
Speaker 7: a straight ahead version to speak like a child. So

1953
01:37:52,800 --> 01:37:55,320
Speaker 7: Kendrick Scott, the drummer, he dumped up and started playing,

1954
01:37:55,840 --> 01:37:58,439
Speaker 7: and James Jenis was playing base and he started walking

1955
01:37:58,880 --> 01:38:01,439
Speaker 7: and Herbie started playing and we were just sitting there going,

1956
01:38:03,000 --> 01:38:05,479
Speaker 7: that's killing, you know what I mean, And because they

1957
01:38:05,479 --> 01:38:08,840
Speaker 7: sounded like old Herbie from the Blue Note Manday, Yeah,

1958
01:38:09,080 --> 01:38:11,880
Speaker 7: that was killing and Herbie, you know, we were trying

1959
01:38:11,880 --> 01:38:13,479
Speaker 7: not to maken use because we didn't want Herbie to

1960
01:38:13,520 --> 01:38:16,599
Speaker 7: see how we were reacting to what he was doing. Man,

1961
01:38:16,720 --> 01:38:19,559
Speaker 7: Herbie stood up and he goes, that just sounds so

1962
01:38:19,640 --> 01:38:20,160
Speaker 7: old to me.

1963
01:38:21,160 --> 01:38:23,439
Speaker 1: Wow, And we were like.

1964
01:38:24,479 --> 01:38:27,880
Speaker 2: Yeah, trying to play it off.

1965
01:38:28,120 --> 01:38:32,240
Speaker 7: Yeah right, okay, all right, all right, yeah, yeah, that's

1966
01:38:32,280 --> 01:38:32,719
Speaker 7: an ulster.

1967
01:38:33,280 --> 01:38:35,160
Speaker 2: How do you how do you stop from being in

1968
01:38:35,439 --> 01:38:37,120
Speaker 2: but how do you stop from being in your head?

1969
01:38:37,120 --> 01:38:41,000
Speaker 2: Because I think oftentimes, I know many are artists that

1970
01:38:41,160 --> 01:38:44,759
Speaker 2: will make all these new arrangements of their same songs

1971
01:38:44,760 --> 01:38:48,720
Speaker 2: because they think that the audience has been there at

1972
01:38:48,760 --> 01:38:54,040
Speaker 2: all nine thousand shows of their entire career. Yeah, and oftentimes, yes,

1973
01:38:54,360 --> 01:38:58,000
Speaker 2: the audience wants the meat and potatoes version of the

1974
01:38:58,040 --> 01:39:00,280
Speaker 2: song that would served to them as they were it

1975
01:39:00,320 --> 01:39:03,120
Speaker 2: because you're there to serve their memory, or at least

1976
01:39:03,120 --> 01:39:05,320
Speaker 2: the audience thinks that you're there to serve their memory.

1977
01:39:05,360 --> 01:39:09,759
Speaker 2: But how do you how do you stop from going

1978
01:39:09,800 --> 01:39:14,000
Speaker 2: down that that rabbit hole of reinvention to the point

1979
01:39:14,000 --> 01:39:17,000
Speaker 2: where you lose the original script.

1980
01:39:17,360 --> 01:39:19,519
Speaker 7: I just don't do the reinvention part, you know what

1981
01:39:19,560 --> 01:39:21,679
Speaker 7: I mean, because I know what you're talking about, because

1982
01:39:21,720 --> 01:39:25,080
Speaker 7: and I've seen it do exactly that. So I try

1983
01:39:25,120 --> 01:39:27,080
Speaker 7: to stay away from it a little bit. I mean,

1984
01:39:27,360 --> 01:39:31,280
Speaker 7: you know, every nine and then we might do something.

1985
01:39:31,360 --> 01:39:34,719
Speaker 7: But the stuff that happens with us, it happens naturally.

1986
01:39:34,840 --> 01:39:36,960
Speaker 7: It may just happen over the course of us playing

1987
01:39:37,560 --> 01:39:39,760
Speaker 7: every night. Guys may throw a little something in it

1988
01:39:40,160 --> 01:39:45,880
Speaker 7: all a sarther room. But I try to go that road,

1989
01:39:46,680 --> 01:39:49,040
Speaker 7: you know, because what we try to do is we

1990
01:39:49,160 --> 01:39:53,040
Speaker 7: try to just keep moving forward, you know, excuse me.

1991
01:39:53,360 --> 01:39:58,240
Speaker 7: So for us, you know, we have an object and

1992
01:39:58,320 --> 01:40:02,080
Speaker 7: that that's in can Now. I still have to to

1993
01:40:02,160 --> 01:40:05,200
Speaker 7: finish where we did the music of Wayne Shorter with

1994
01:40:05,360 --> 01:40:09,240
Speaker 7: the Turtle out and string quartet, you know, and it's

1995
01:40:09,280 --> 01:40:13,000
Speaker 7: a really cool album, and uh, you know, we got

1996
01:40:13,120 --> 01:40:15,280
Speaker 7: to we're gonna once we put that out, we'll probably

1997
01:40:15,280 --> 01:40:16,200
Speaker 7: be turning out music.

1998
01:40:17,360 --> 01:40:20,439
Speaker 2: I got to ask before we wrap up about what

1999
01:40:20,600 --> 01:40:23,720
Speaker 2: made you want to create? First of all, how does

2000
01:40:23,760 --> 01:40:26,280
Speaker 2: one create an opera?

2001
01:40:26,680 --> 01:40:27,000
Speaker 1: Yes?

2002
01:40:27,840 --> 01:40:31,240
Speaker 2: I even reading that, like, I don't know, I had

2003
01:40:31,280 --> 01:40:36,160
Speaker 2: the hiccups, Like obviously I felt I felt very overwhelmed,

2004
01:40:36,240 --> 01:40:38,240
Speaker 2: Like wait a minute, how does one it even begin

2005
01:40:38,320 --> 01:40:44,080
Speaker 2: to craft an opera? Like, so walk us through, uh

2006
01:40:44,760 --> 01:40:47,080
Speaker 2: in creating operas? And how how does it start?

2007
01:40:48,640 --> 01:40:52,040
Speaker 7: Okay, it starts by somebody coming up to you and saying, man,

2008
01:40:52,040 --> 01:40:54,160
Speaker 7: we want you to write an opera, and me bending

2009
01:40:54,160 --> 01:40:56,120
Speaker 7: over the table trying to smell their breath to make

2010
01:40:56,160 --> 01:41:01,400
Speaker 7: sure they weren't drunk. Do you have the right, dude,

2011
01:41:01,920 --> 01:41:03,800
Speaker 7: me write an opera? And they say, ye know. And

2012
01:41:03,880 --> 01:41:06,599
Speaker 7: you know the guy Jim Robinson, who's become a really

2013
01:41:06,640 --> 01:41:09,120
Speaker 7: good friend of mine, he was like yeah, he said,

2014
01:41:09,120 --> 01:41:11,479
Speaker 7: I love the album The Tale of God's Will. And

2015
01:41:11,520 --> 01:41:15,640
Speaker 7: they were trying to find some diversity and you know

2016
01:41:16,240 --> 01:41:18,759
Speaker 7: what they were doing and creating new operas in Saint Louis.

2017
01:41:19,240 --> 01:41:22,920
Speaker 7: So once they hired me, they listen, man, they were

2018
01:41:22,960 --> 01:41:25,360
Speaker 7: smart about how they did it. So once they signed

2019
01:41:25,439 --> 01:41:28,960
Speaker 7: me up, commission me to do this, they brought me

2020
01:41:29,040 --> 01:41:33,439
Speaker 7: to see their season and I actually just sat there

2021
01:41:33,680 --> 01:41:37,160
Speaker 7: and went to a bunch of operas in Saint Louis, right.

2022
01:41:37,400 --> 01:41:38,280
Speaker 4: Yes, St. Louis.

2023
01:41:38,760 --> 01:41:41,559
Speaker 7: Yeah. And then and then once I once I did that,

2024
01:41:42,000 --> 01:41:43,880
Speaker 7: then you know, they paired me.

2025
01:41:44,920 --> 01:41:45,559
Speaker 1: You know, I.

2026
01:41:45,520 --> 01:41:50,680
Speaker 7: Started writing some sketches out and look, bro it it

2027
01:41:50,800 --> 01:41:54,519
Speaker 7: is a daunting task. And the first time I did it,

2028
01:41:54,920 --> 01:41:56,800
Speaker 7: I was so freaked out about it. They had to

2029
01:41:56,800 --> 01:41:59,320
Speaker 7: reschedule my premier, you know what I mean. I was

2030
01:41:59,320 --> 01:42:02,679
Speaker 7: supposed to open one year and I said, no, no, no, no, no,

2031
01:42:02,720 --> 01:42:04,559
Speaker 7: he ain't ready. Let's do another year. Because I was

2032
01:42:04,800 --> 01:42:07,080
Speaker 7: the one, you know, because I was just trying to

2033
01:42:07,120 --> 01:42:09,480
Speaker 7: do so much research and I was just like overwhelmed

2034
01:42:09,479 --> 01:42:13,320
Speaker 7: with the whole idea. But it was my composition teacher again, Roger.

2035
01:42:13,400 --> 01:42:15,439
Speaker 7: He said, man, stop trying to write an opera. Just

2036
01:42:15,479 --> 01:42:19,200
Speaker 7: tell a story, you know. And when once he did that,

2037
01:42:19,200 --> 01:42:21,320
Speaker 7: that kind of freed me up. And then I thought

2038
01:42:21,360 --> 01:42:23,559
Speaker 7: about something a friend of mine was saying. You know,

2039
01:42:23,640 --> 01:42:26,840
Speaker 7: he said, listen, bro, look go ahead and just write

2040
01:42:26,880 --> 01:42:29,360
Speaker 7: your stuff, write your oper and tell your story. He said,

2041
01:42:29,360 --> 01:42:31,040
Speaker 7: if it doesn't work. You can just say that just

2042
01:42:31,080 --> 01:42:32,880
Speaker 7: ain't my ship, you know what I mean. I tried

2043
01:42:32,920 --> 01:42:36,280
Speaker 7: it my thing, and I did, and I just tried

2044
01:42:36,280 --> 01:42:38,920
Speaker 7: to be as honest as I could. But here's the thing.

2045
01:42:39,120 --> 01:42:42,080
Speaker 7: My father wanted to be an opera singer. My father

2046
01:42:42,160 --> 01:42:44,479
Speaker 7: was a bartrone. So I used to hear operatic music

2047
01:42:44,520 --> 01:42:46,639
Speaker 7: in the house all the time, you know what I mean,

2048
01:42:47,360 --> 01:42:49,920
Speaker 7: And all of that, all of those tones, all of

2049
01:42:49,960 --> 01:42:54,439
Speaker 7: those those lines, and all of that development of how

2050
01:42:54,479 --> 01:42:57,400
Speaker 7: an orchestra can have a rush of energy, all of

2051
01:42:57,439 --> 01:43:00,360
Speaker 7: that was in my system. You know. I didn't really

2052
01:43:00,400 --> 01:43:05,840
Speaker 7: realize that. Yeah, And then when I started, when I

2053
01:43:05,880 --> 01:43:09,639
Speaker 7: had the first draft of the melodic lines, man, we said,

2054
01:43:09,760 --> 01:43:12,320
Speaker 7: actually before then, you know what they did, which was beautiful.

2055
01:43:12,320 --> 01:43:14,759
Speaker 7: And then, man, if anybody wants to write an operation

2056
01:43:14,800 --> 01:43:17,880
Speaker 7: to do this, what they did was they had a

2057
01:43:17,920 --> 01:43:21,759
Speaker 7: group of actors just read the libretto like a play,

2058
01:43:22,040 --> 01:43:26,559
Speaker 7: and I recorded it right because then I could hear

2059
01:43:26,640 --> 01:43:28,599
Speaker 7: the story, you know what I mean, I could hear

2060
01:43:28,640 --> 01:43:31,040
Speaker 7: it unfold. I could hear the inflections and the voices

2061
01:43:31,080 --> 01:43:33,360
Speaker 7: and all of that stuff. So once I got the

2062
01:43:33,400 --> 01:43:36,519
Speaker 7: melodic line down, then we just started having workshops with singers.

2063
01:43:36,520 --> 01:43:38,880
Speaker 7: Man and I started learning about how to write for voice,

2064
01:43:38,920 --> 01:43:41,559
Speaker 7: because come on, writing for an instrument, bro, I'm writing

2065
01:43:41,560 --> 01:43:44,000
Speaker 7: for cello. The cello's rangers from here to here, you know,

2066
01:43:44,040 --> 01:43:46,880
Speaker 7: I know what it is, you know, But every baritone

2067
01:43:46,920 --> 01:43:48,840
Speaker 7: is different, you know what I mean. So some people

2068
01:43:48,880 --> 01:43:51,839
Speaker 7: call themselves baritone, and then more of a bass baritone

2069
01:43:51,840 --> 01:43:55,360
Speaker 7: they could produce more lowtones, and some other guys are

2070
01:43:55,360 --> 01:43:58,640
Speaker 7: more like in the tenor range. So I had to

2071
01:43:58,680 --> 01:44:01,519
Speaker 7: go through all of that. But the main thing about

2072
01:44:01,560 --> 01:44:04,120
Speaker 7: it all is that they basically just kind of like

2073
01:44:04,360 --> 01:44:06,679
Speaker 7: ushered me through every step of it. And then once

2074
01:44:06,680 --> 01:44:08,439
Speaker 7: I got through it, man, when it came time to

2075
01:44:08,479 --> 01:44:10,920
Speaker 7: do the second one, I just had so I had

2076
01:44:10,960 --> 01:44:14,080
Speaker 7: more experience and I just felt more comfortable with what

2077
01:44:14,120 --> 01:44:16,599
Speaker 7: it is that I wanted to do. And I got

2078
01:44:16,600 --> 01:44:19,160
Speaker 7: to tell you, it's so rewarding, man, because you sit

2079
01:44:19,240 --> 01:44:22,280
Speaker 7: in a room all day writing these lines. But man,

2080
01:44:22,320 --> 01:44:24,920
Speaker 7: when these guys start to move around stage singing these

2081
01:44:25,400 --> 01:44:29,160
Speaker 7: lines and these words and they bring in the lighting

2082
01:44:29,200 --> 01:44:31,400
Speaker 7: and the boardrobe and all of this stuff, it's a

2083
01:44:31,479 --> 01:44:34,719
Speaker 7: really powerful thing. And I tell people it's the highest

2084
01:44:34,800 --> 01:44:39,160
Speaker 7: form of a musical that your lover ever see. You

2085
01:44:39,200 --> 01:44:43,040
Speaker 7: know what I mean, I think there's room for all

2086
01:44:43,600 --> 01:44:46,840
Speaker 7: different types of people to experience opera, you know. And

2087
01:44:46,920 --> 01:44:47,320
Speaker 7: I'll just.

2088
01:44:47,280 --> 01:44:48,800
Speaker 1: Say this and I'll let it go.

2089
01:44:49,120 --> 01:44:50,280
Speaker 2: Will you do a third.

2090
01:44:50,760 --> 01:44:53,240
Speaker 7: Yeah, as a matter of fact, that there's talks about

2091
01:44:53,280 --> 01:44:56,479
Speaker 7: that now. But you know, when my opera came to

2092
01:44:56,520 --> 01:45:00,280
Speaker 7: New Orleans, man, it was a bit of a controversial thing.

2093
01:45:00,320 --> 01:45:02,040
Speaker 7: That were a lot of people who were seizing ticket

2094
01:45:02,040 --> 01:45:04,439
Speaker 7: holders who wouldn't release their tickets and didn't come to

2095
01:45:04,520 --> 01:45:08,360
Speaker 7: my show, you know. Yeah, but I said that cool. Yeah,

2096
01:45:08,400 --> 01:45:11,040
Speaker 7: that's cool. I mean because the people that did come

2097
01:45:11,200 --> 01:45:11,920
Speaker 7: packed the place.

2098
01:45:12,200 --> 01:45:12,879
Speaker 1: Hell yeah.

2099
01:45:13,520 --> 01:45:15,760
Speaker 7: And when they packed it, I remember this brother man,

2100
01:45:15,800 --> 01:45:17,320
Speaker 7: he came up to me. He must have been like

2101
01:45:17,400 --> 01:45:21,080
Speaker 7: seventy five years old, and one thing he said, he said, Man,

2102
01:45:21,080 --> 01:45:24,760
Speaker 7: if this is opera, I will come right, I said,

2103
01:45:25,280 --> 01:45:28,679
Speaker 7: And that was the best compliment I could have ever gotten,

2104
01:45:28,720 --> 01:45:32,200
Speaker 7: because what it made me feel like was, that's part

2105
01:45:32,200 --> 01:45:34,640
Speaker 7: of what's missing in the opera is our called it.

2106
01:45:35,040 --> 01:45:35,599
Speaker 1: You know what I mean?

2107
01:45:36,280 --> 01:45:39,040
Speaker 6: Those story someone who never would have been got into

2108
01:45:39,080 --> 01:45:40,400
Speaker 6: opera otherwise if not for.

2109
01:45:40,320 --> 01:45:43,120
Speaker 7: You, because he could relate to the story. You know

2110
01:45:43,160 --> 01:45:45,759
Speaker 7: what I mean. The story was Neil Griffith in nineteen

2111
01:45:45,840 --> 01:45:47,719
Speaker 7: sixty five, so he can really relate.

2112
01:45:47,880 --> 01:45:49,559
Speaker 5: And I was going to ask you, why is full

2113
01:45:49,560 --> 01:45:52,240
Speaker 5: circle moment? Like I thought about New Orleans, and I

2114
01:45:52,240 --> 01:45:55,280
Speaker 5: thought about Casey Lemons being like the director of his opera,

2115
01:45:55,360 --> 01:45:58,080
Speaker 5: like out of all the directors.

2116
01:45:57,920 --> 01:46:00,320
Speaker 7: Made me what she did that's the second when she

2117
01:46:00,360 --> 01:46:03,919
Speaker 7: wrote for Okay, my brother for the second one, because

2118
01:46:04,240 --> 01:46:07,639
Speaker 7: you know, I love Casey man, and and uh, when

2119
01:46:07,640 --> 01:46:11,040
Speaker 7: it came time to do Charles Blows book, I had

2120
01:46:11,040 --> 01:46:13,559
Speaker 7: to have her that. What was funny was they flew,

2121
01:46:13,880 --> 01:46:15,760
Speaker 7: they flew d to Saint Louis man to hang out.

2122
01:46:16,320 --> 01:46:20,080
Speaker 7: And man, you know, Casey is like a dog with

2123
01:46:20,120 --> 01:46:20,599
Speaker 7: a bone.

2124
01:46:20,640 --> 01:46:20,840
Speaker 5: Man.

2125
01:46:20,920 --> 01:46:24,639
Speaker 7: So wherever you saw Charles walking with Casey right behind,

2126
01:46:24,800 --> 01:46:28,320
Speaker 7: you know, asking ques like three days. But she she

2127
01:46:28,439 --> 01:46:29,000
Speaker 7: did her thing.

2128
01:46:29,080 --> 01:46:31,040
Speaker 4: She was brilliant.

2129
01:46:31,439 --> 01:46:33,640
Speaker 5: Yeah, I feel like she's a little unsung, but she

2130
01:46:33,800 --> 01:46:34,719
Speaker 5: sung a lot of places.

2131
01:46:35,479 --> 01:46:37,920
Speaker 7: I mean looking man, you know.

2132
01:46:38,320 --> 01:46:38,599
Speaker 1: Yeah.

2133
01:46:39,240 --> 01:46:42,559
Speaker 6: Oh, I was gonna say, man, my favorite score of

2134
01:46:42,600 --> 01:46:44,559
Speaker 6: yours and I think some of just my favorite music

2135
01:46:44,640 --> 01:46:47,719
Speaker 6: of yours. It's from a movie that wasn't that popular,

2136
01:46:47,760 --> 01:46:49,200
Speaker 6: but I love what you did for it.

2137
01:46:49,720 --> 01:46:50,599
Speaker 1: She hate me scoring?

2138
01:46:50,960 --> 01:46:51,599
Speaker 4: Why you do it?

2139
01:46:52,760 --> 01:46:53,719
Speaker 1: Dude? Man?

2140
01:46:53,920 --> 01:46:56,479
Speaker 2: I love that fucking score. That ship is gorgeous. Dude,

2141
01:46:56,600 --> 01:46:59,600
Speaker 2: shn't like I mean, the movie was the movie, but

2142
01:46:59,840 --> 01:47:02,600
Speaker 2: the score, and.

2143
01:47:02,680 --> 01:47:05,400
Speaker 4: We already spike about the movie, so you don't got

2144
01:47:05,400 --> 01:47:06,080
Speaker 4: to hold.

2145
01:47:05,920 --> 01:47:10,120
Speaker 7: Up a lot of people are.

2146
01:47:09,920 --> 01:47:11,000
Speaker 1: Yeah, but the score. Man.

2147
01:47:11,040 --> 01:47:12,760
Speaker 6: I love you know what you did, and like your

2148
01:47:12,800 --> 01:47:16,160
Speaker 6: record with Rob Me don that, Adam and Eve and Eve.

2149
01:47:16,240 --> 01:47:19,920
Speaker 7: You know that dude? Man? You know me playing some

2150
01:47:19,960 --> 01:47:23,439
Speaker 7: of the keyboard lines on that. Yeah, ask your boy

2151
01:47:23,479 --> 01:47:25,080
Speaker 7: Derek is playing based on that? Man?

2152
01:47:25,200 --> 01:47:29,160
Speaker 6: Yep, Yeah, what do you remember recording by because that

2153
01:47:29,160 --> 01:47:33,080
Speaker 6: that melody? Like, I just I love that man.

2154
01:47:33,120 --> 01:47:35,400
Speaker 7: I just remember being in the studio with him and

2155
01:47:35,400 --> 01:47:38,160
Speaker 7: the energy was just like on point from the first

2156
01:47:38,240 --> 01:47:41,800
Speaker 7: take and it just felt like I don't know how

2157
01:47:41,840 --> 01:47:43,840
Speaker 7: to explain it. I guess you guys have gone through this.

2158
01:47:44,360 --> 01:47:44,559
Speaker 1: You know.

2159
01:47:44,600 --> 01:47:47,160
Speaker 7: You start off doing that track and it has that

2160
01:47:47,360 --> 01:47:50,360
Speaker 7: energy and you think that's sitting and somebody adds something

2161
01:47:50,439 --> 01:47:53,479
Speaker 7: and it just keeps you know what I mean, And

2162
01:47:53,520 --> 01:47:56,920
Speaker 7: that's what was happening with that track man. You know, man,

2163
01:47:56,920 --> 01:47:59,240
Speaker 7: we just had so much fun and Raoul was open

2164
01:47:59,280 --> 01:47:59,760
Speaker 7: to it all.

2165
01:48:00,200 --> 01:48:00,880
Speaker 1: You know, you could.

2166
01:48:00,880 --> 01:48:05,599
Speaker 7: I remember there's this there's this little solo keyboard line

2167
01:48:05,640 --> 01:48:08,680
Speaker 7: that I played right going into one of the transitions,

2168
01:48:09,000 --> 01:48:11,760
Speaker 7: and he was he was cool with everything. Man, you know,

2169
01:48:12,240 --> 01:48:14,559
Speaker 7: so we just we were just going for it, having fun.

2170
01:48:15,640 --> 01:48:20,479
Speaker 2: Well I'm I'm predicting, yes, even if it's against my

2171
01:48:20,680 --> 01:48:27,559
Speaker 2: own film. Oh no, only because but the thing is

2172
01:48:27,600 --> 01:48:31,679
Speaker 2: Trend and Atticus are Actually it's it's so weird when

2173
01:48:31,880 --> 01:48:36,360
Speaker 2: the Academy allows a nominee to to come in twice

2174
01:48:36,400 --> 01:48:38,800
Speaker 2: because it's just gonna split. They're in for two films.

2175
01:48:38,800 --> 01:48:39,240
Speaker 2: They're in for.

2176
01:48:39,240 --> 01:48:42,719
Speaker 1: Souls, there for Mink. Yeah.

2177
01:48:43,000 --> 01:48:48,400
Speaker 2: So yeah, so like this this could be a year.

2178
01:48:48,439 --> 01:48:50,439
Speaker 2: But not to gas you up on that, but is

2179
01:48:50,479 --> 01:48:54,760
Speaker 2: that I mean, I know the PC answers. Yes, I

2180
01:48:54,760 --> 01:48:57,040
Speaker 2: don't get caught up in those things. Do it for

2181
01:48:57,080 --> 01:49:02,800
Speaker 2: the love, but you know, it's it has to be

2182
01:49:03,680 --> 01:49:05,040
Speaker 2: an exhilarating honor too.

2183
01:49:05,960 --> 01:49:08,519
Speaker 4: And this day tomorrow is voting day.

2184
01:49:08,800 --> 01:49:11,680
Speaker 7: So just saying no, look, man, no, I ain't got

2185
01:49:11,680 --> 01:49:13,839
Speaker 7: no shame in my game when any of that comes across,

2186
01:49:13,880 --> 01:49:15,439
Speaker 7: you know what I mean. I never thought this would

2187
01:49:15,479 --> 01:49:18,120
Speaker 7: happen to me, Are you kidding? Dude? I thought I

2188
01:49:18,160 --> 01:49:20,320
Speaker 7: was gonna be a dude who had a day job

2189
01:49:20,400 --> 01:49:22,840
Speaker 7: and play jazz because I love playing music, so all

2190
01:49:22,840 --> 01:49:25,080
Speaker 7: of this stuff is grazy gravy, you know what I mean.

2191
01:49:25,120 --> 01:49:27,800
Speaker 7: And then to be recognized in such a way and

2192
01:49:29,680 --> 01:49:33,280
Speaker 7: amongst some of some of the films that some have

2193
01:49:33,360 --> 01:49:35,800
Speaker 7: been some of the greatest films that have been produced. Man,

2194
01:49:35,840 --> 01:49:39,080
Speaker 7: it's a huge honor, you know what I mean. I mean,

2195
01:49:40,120 --> 01:49:42,200
Speaker 7: you're right, it's not it's not the reason that we

2196
01:49:42,360 --> 01:49:44,840
Speaker 7: do this, obviously, you know what I mean. We've had

2197
01:49:44,840 --> 01:49:48,600
Speaker 7: a passion for just being creative, period. But but the

2198
01:49:48,680 --> 01:49:51,960
Speaker 7: honor itself is huge, you know what I mean. It

2199
01:49:52,600 --> 01:49:56,000
Speaker 7: doesn't go past me, you know what I mean. I'm sorry.

2200
01:49:56,000 --> 01:49:58,760
Speaker 7: My father's not around to see that, you know. And

2201
01:49:58,920 --> 01:50:00,800
Speaker 7: probably a good thing because they would have to keep

2202
01:50:00,840 --> 01:50:05,200
Speaker 7: his ass off the stage if you have the show.

2203
01:50:05,240 --> 01:50:09,400
Speaker 7: But you know, it's one of those things that makes

2204
01:50:09,400 --> 01:50:12,120
Speaker 7: you proud for your family, my kids, because they really

2205
01:50:12,120 --> 01:50:13,840
Speaker 7: get a big kick out of it. My wife.

2206
01:50:13,880 --> 01:50:14,080
Speaker 1: Man.

2207
01:50:14,320 --> 01:50:16,800
Speaker 7: Hell yeah, when I got nominated the first time, Man,

2208
01:50:16,800 --> 01:50:19,760
Speaker 7: I was on the road. I came home. Man, it

2209
01:50:19,920 --> 01:50:25,200
Speaker 7: was like ship all over the house everywhere. Man, I couldn't.

2210
01:50:25,200 --> 01:50:28,519
Speaker 7: I was tired. I said, Man, I just want to relax, Man,

2211
01:50:28,560 --> 01:50:30,920
Speaker 7: So you know, I said, I'm going upstairs. One of

2212
01:50:30,920 --> 01:50:32,759
Speaker 7: them says, all over the big.

2213
01:50:32,920 --> 01:50:35,880
Speaker 4: Yeah, because Oscar me escra oh was coming extra zero.

2214
01:50:38,000 --> 01:50:42,720
Speaker 7: All of the events when we went to that was

2215
01:50:42,760 --> 01:50:44,479
Speaker 7: for her. That had nothing to do with me, you

2216
01:50:44,479 --> 01:50:46,920
Speaker 7: know what I mean? I just that was it.

2217
01:50:47,120 --> 01:50:52,000
Speaker 2: Yes, if anyone is on their way to uh An

2218
01:50:52,040 --> 01:50:54,919
Speaker 2: e Got or a ghetto, I definitely feel.

2219
01:50:54,720 --> 01:50:56,360
Speaker 7: To you man and thank you for sir.

2220
01:50:57,800 --> 01:50:59,559
Speaker 5: I was gonna ask, does it mean something that that

2221
01:50:59,640 --> 01:51:01,880
Speaker 5: John teases in the in the category with you in

2222
01:51:01,960 --> 01:51:02,400
Speaker 5: New Orleans?

2223
01:51:02,439 --> 01:51:05,479
Speaker 7: Brothers my brother man. You know I've been doing that, dude,

2224
01:51:05,600 --> 01:51:07,960
Speaker 7: man since she was a little kid. You know. As

2225
01:51:07,960 --> 01:51:09,840
Speaker 7: a matter of fact, one of the Knights that we

2226
01:51:09,960 --> 01:51:12,679
Speaker 7: played at the jazz Fest, we did a night show

2227
01:51:12,720 --> 01:51:15,959
Speaker 7: at the club here a snug Harbor and John Baptiste

2228
01:51:16,080 --> 01:51:18,160
Speaker 7: was that after entertainment when he was a young kid.

2229
01:51:18,240 --> 01:51:21,720
Speaker 7: Man came up before behind her, Herbie Hancock. So when

2230
01:51:21,720 --> 01:51:23,840
Speaker 7: I saw him doing all this stuff he's been doing

2231
01:51:23,840 --> 01:51:25,960
Speaker 7: in New York and we just recently, not too long

2232
01:51:26,120 --> 01:51:29,479
Speaker 7: before the pandemic did a show together at Carnegie Hall, Man,

2233
01:51:29,760 --> 01:51:33,200
Speaker 7: and we texted back and forth. You know the nominations.

2234
01:51:33,520 --> 01:51:35,240
Speaker 5: Can I just say too, because I just realized in

2235
01:51:35,280 --> 01:51:38,400
Speaker 5: this conversation that meanwhile We've had three people who worked

2236
01:51:38,400 --> 01:51:41,200
Speaker 5: with you on the on this show from New Orleans,

2237
01:51:41,240 --> 01:51:44,280
Speaker 5: PJ Moore and of course Tank, of course John Baptiste.

2238
01:51:44,280 --> 01:51:46,240
Speaker 5: But I want to defend us and say, the reason

2239
01:51:46,280 --> 01:51:48,519
Speaker 5: that we waited so long to have you is because

2240
01:51:48,560 --> 01:51:51,000
Speaker 5: in our minds we was coming to New Orleans and

2241
01:51:51,000 --> 01:51:52,120
Speaker 5: we was going to have a real.

2242
01:51:51,960 --> 01:51:52,679
Speaker 4: Show with Terror.

2243
01:51:53,680 --> 01:51:55,920
Speaker 5: That is the only reason that it took us so

2244
01:51:56,040 --> 01:51:57,640
Speaker 5: long to get down that.

2245
01:51:57,640 --> 01:51:59,840
Speaker 7: That's a great look, Tank, Tank. You know, we did

2246
01:51:59,840 --> 01:52:02,280
Speaker 7: a song for one night Miami. I know, I know.

2247
01:52:02,400 --> 01:52:03,360
Speaker 4: It's awesome.

2248
01:52:06,280 --> 01:52:07,960
Speaker 7: And it's funny because it's one of those things where

2249
01:52:08,000 --> 01:52:10,120
Speaker 7: you want to tell your students on him and all.

2250
01:52:10,280 --> 01:52:12,240
Speaker 7: That woman came in here and did two takes and

2251
01:52:12,280 --> 01:52:13,000
Speaker 7: it was done.

2252
01:52:13,520 --> 01:52:14,479
Speaker 2: Yeah right, that.

2253
01:52:14,560 --> 01:52:17,000
Speaker 4: Sound right that girl? And PJ big up to him.

2254
01:52:16,880 --> 01:52:19,360
Speaker 7: Too, Oh, PJ too. He was another man. I remember

2255
01:52:19,360 --> 01:52:21,360
Speaker 7: the first time I met him, he told me he

2256
01:52:21,400 --> 01:52:23,400
Speaker 7: was a musician. He was a young kid. I must

2257
01:52:23,439 --> 01:52:25,680
Speaker 7: have been about twenty and twenty one years old, and

2258
01:52:25,720 --> 01:52:27,840
Speaker 7: I'm like, yeah, okay, man. And then for some reason

2259
01:52:27,920 --> 01:52:32,640
Speaker 7: he sent me something this stuff and I went, wow,

2260
01:52:33,160 --> 01:52:35,120
Speaker 7: what And then I lost track of him, you know

2261
01:52:35,160 --> 01:52:36,720
Speaker 7: what I mean. And then when I found track of

2262
01:52:36,760 --> 01:52:40,240
Speaker 7: him again. He was like PJ. I was like, Okay,

2263
01:52:40,680 --> 01:52:42,400
Speaker 7: that's bound to happen, that's for sure.

2264
01:52:42,760 --> 01:52:43,040
Speaker 1: Sure.

2265
01:52:43,720 --> 01:52:45,000
Speaker 7: Yeah.

2266
01:52:45,160 --> 01:52:48,120
Speaker 6: Oh man, we have to ask like last quot, last

2267
01:52:48,200 --> 01:52:51,760
Speaker 6: last question man, the when the levees broke.

2268
01:52:52,080 --> 01:52:54,480
Speaker 2: Oh oh damn, I totally.

2269
01:52:54,200 --> 01:52:57,920
Speaker 6: Forgot yeah, man, like just to talk about that experience,

2270
01:52:58,080 --> 01:53:00,960
Speaker 6: just you know, the just the emotional joy of scoring that.

2271
01:53:01,439 --> 01:53:03,960
Speaker 7: Well, you know the wild part about that, man. You know,

2272
01:53:04,080 --> 01:53:07,200
Speaker 7: going through that period of in our history, bro was

2273
01:53:07,200 --> 01:53:10,479
Speaker 7: a traumatic thing, you know, because there was something you

2274
01:53:10,520 --> 01:53:13,040
Speaker 7: never thought, whatever really happened in this country, and then

2275
01:53:13,280 --> 01:53:15,720
Speaker 7: the way it went down, the way we were talked

2276
01:53:15,720 --> 01:53:19,240
Speaker 7: about is being refugees. It was so disrespectful to look

2277
01:53:19,320 --> 01:53:21,519
Speaker 7: on the television and see people that look like people

2278
01:53:21,560 --> 01:53:24,360
Speaker 7: in my family and they were being called such things.

2279
01:53:24,479 --> 01:53:27,719
Speaker 7: You know. It was like you couldn't You wanted to scream,

2280
01:53:27,760 --> 01:53:29,479
Speaker 7: but there was no place to go, you know what

2281
01:53:29,560 --> 01:53:33,080
Speaker 7: I'm saying. So we were in the listen. I had

2282
01:53:33,120 --> 01:53:35,599
Speaker 7: to go to la because I had an apartment there.

2283
01:53:36,840 --> 01:53:39,719
Speaker 7: Because we couldn't come back to the warts. I couldn't

2284
01:53:39,720 --> 01:53:43,880
Speaker 7: find my mom for two weeks when I finally found

2285
01:53:44,200 --> 01:53:46,040
Speaker 7: When I finally found my mom and said mom been

2286
01:53:46,040 --> 01:53:47,479
Speaker 7: calling you for two weeks. I said, I heard that

2287
01:53:47,520 --> 01:53:58,120
Speaker 7: thing buzzing in my purse. We were doing the music

2288
01:53:58,160 --> 01:54:04,240
Speaker 7: to Spike lee movie Inside Man. Yeah, and normally he'd

2289
01:54:04,240 --> 01:54:06,000
Speaker 7: fly me to New York, but he said, no, man,

2290
01:54:06,040 --> 01:54:07,920
Speaker 7: you stay with your family in l A. And I'm

2291
01:54:07,920 --> 01:54:10,360
Speaker 7: coming to you. And when he came to my apartment,

2292
01:54:10,400 --> 01:54:11,840
Speaker 7: he made he walked in the door. The first thing

2293
01:54:11,880 --> 01:54:14,240
Speaker 7: he said was he didn't even say hi. He said, Man,

2294
01:54:14,280 --> 01:54:16,840
Speaker 7: I'm doing a documentary on those levees and I'm gonna

2295
01:54:16,840 --> 01:54:19,599
Speaker 7: give those people a chance to tell their story. And

2296
01:54:20,160 --> 01:54:22,000
Speaker 7: you know, my respect for him went through the roof

2297
01:54:22,040 --> 01:54:24,960
Speaker 7: right at that moment, you know. And that's the most

2298
01:54:25,000 --> 01:54:28,240
Speaker 7: comprehensive thing I've ever seen done on all the cultures

2299
01:54:28,240 --> 01:54:32,720
Speaker 7: of New Orleans, you know. And to to watch it,

2300
01:54:33,400 --> 01:54:36,080
Speaker 7: you know, we were actually recording and music the Inside Man.

2301
01:54:36,440 --> 01:54:36,920
Speaker 1: That's how he.

2302
01:54:36,920 --> 01:54:38,960
Speaker 7: Found out that my mom hadn't gone in the house.

2303
01:54:38,960 --> 01:54:42,440
Speaker 7: Ship you know, I was out there. Yeah, I come

2304
01:54:42,480 --> 01:54:44,800
Speaker 7: back in for a playback. And then Spike goes, we're

2305
01:54:44,800 --> 01:54:46,840
Speaker 7: gonna feel mel your mom going in the house. I'm like,

2306
01:54:46,920 --> 01:54:50,400
Speaker 7: what you know? And my mom said, well, people need

2307
01:54:50,400 --> 01:54:52,400
Speaker 7: to see what we're going to you know what I mean.

2308
01:54:52,680 --> 01:54:55,880
Speaker 7: And that was one of the reference things to do

2309
01:54:56,000 --> 01:54:58,080
Speaker 7: with my mom because you know, I'd went to the

2310
01:54:58,080 --> 01:55:01,880
Speaker 7: house the night before. I already knew what was up,

2311
01:55:02,280 --> 01:55:04,600
Speaker 7: what was about to go down, And when she said,

2312
01:55:04,640 --> 01:55:07,320
Speaker 7: I hope my house is fine, it just broke, you know,

2313
01:55:07,400 --> 01:55:09,960
Speaker 7: breaks you up. She had a friend of hers who

2314
01:55:10,040 --> 01:55:14,320
Speaker 7: had come home, got out his car, saw his house,

2315
01:55:14,520 --> 01:55:16,120
Speaker 7: and had a heart attack and died right in front

2316
01:55:16,120 --> 01:55:16,640
Speaker 7: of the house.

2317
01:55:17,240 --> 01:55:18,000
Speaker 1: Shit, you know what I mean.

2318
01:55:18,120 --> 01:55:19,680
Speaker 7: So there were a lot of stories like that that

2319
01:55:19,720 --> 01:55:21,720
Speaker 7: were going on. So when it came time to make

2320
01:55:21,760 --> 01:55:24,920
Speaker 7: the record, man, you know, I kept wondering if I

2321
01:55:25,000 --> 01:55:28,080
Speaker 7: was sounding angry because I was pissed. You know, I

2322
01:55:28,200 --> 01:55:31,520
Speaker 7: was just pissed. I kept being pissed. I'm like, you know,

2323
01:55:32,320 --> 01:55:36,360
Speaker 7: this is America. This shit shouldn't happen. Who designed those levees.

2324
01:55:36,400 --> 01:55:38,080
Speaker 7: If it was one of us, we'd be in jail,

2325
01:55:38,280 --> 01:55:40,920
Speaker 7: you know what I mean. It's just that's simple. You know,

2326
01:55:40,960 --> 01:55:43,600
Speaker 7: it's faulty design. And people lost their lives because of

2327
01:55:43,600 --> 01:55:46,360
Speaker 7: when people lost their homes because of it. So I

2328
01:55:46,800 --> 01:55:49,560
Speaker 7: kept trying to say to myself, don't sound angry, don't

2329
01:55:49,600 --> 01:55:52,040
Speaker 7: sound angry. But all of those stories, all of those

2330
01:55:52,120 --> 01:55:55,360
Speaker 7: arrangements I kind of based off of stories that happened,

2331
01:55:55,480 --> 01:55:59,120
Speaker 7: you know, during that period. And one of the blessed

2332
01:55:59,120 --> 01:56:02,280
Speaker 7: things about it is that once we did it and

2333
01:56:02,480 --> 01:56:06,280
Speaker 7: recorded it, you know, and released it, man, this one

2334
01:56:06,320 --> 01:56:09,160
Speaker 7: guy came to one of our shoulder and he said, Man,

2335
01:56:10,640 --> 01:56:13,120
Speaker 7: he said, I lost my best friend in Katrina. And

2336
01:56:13,160 --> 01:56:16,960
Speaker 7: he said, I wasn't wasn't able to mourn. And he said,

2337
01:56:17,280 --> 01:56:20,280
Speaker 7: and then, you know, they were having a memorial for him,

2338
01:56:20,360 --> 01:56:24,040
Speaker 7: like a year afterwards, and he said, I put your

2339
01:56:24,240 --> 01:56:28,960
Speaker 7: album on and as I was listening to it, he said,

2340
01:56:29,000 --> 01:56:31,800
Speaker 7: as I was pulling up to the church funeral, dirt

2341
01:56:31,920 --> 01:56:35,840
Speaker 7: started to play and he said, I just lost it.

2342
01:56:35,880 --> 01:56:37,840
Speaker 7: And he said that was the first time he could

2343
01:56:37,880 --> 01:56:41,120
Speaker 7: ever moan the lost more one the loss of the friend.

2344
01:56:42,120 --> 01:56:44,640
Speaker 7: So you know, when you hear stories like that, you know,

2345
01:56:44,760 --> 01:56:47,440
Speaker 7: you feel like that's why you create music, to help

2346
01:56:47,480 --> 01:56:50,880
Speaker 7: people like deal with stuff, you know. And and one

2347
01:56:50,920 --> 01:56:52,640
Speaker 7: of the things we kept saying with that album. One

2348
01:56:52,680 --> 01:56:54,520
Speaker 7: of the things we said with the breathless stuff, with

2349
01:56:54,560 --> 01:56:57,000
Speaker 7: the gun violence, you know, it's like, let the music

2350
01:56:57,080 --> 01:57:00,640
Speaker 7: absorb you, Let the music absorb your frustration and pain.

2351
01:57:03,000 --> 01:57:06,839
Speaker 7: Strategic about how we move forward, you know, and creating

2352
01:57:06,840 --> 01:57:09,040
Speaker 7: a more equitable life for us in this country.

2353
01:57:10,520 --> 01:57:14,000
Speaker 1: That's real. Thank you for sharing that, man, Thank for

2354
01:57:14,080 --> 01:57:15,240
Speaker 1: sharing that. Thank you.

2355
01:57:15,800 --> 01:57:19,680
Speaker 2: Thank you on behalf of on pay Bill Sugar Steve

2356
01:57:20,000 --> 01:57:22,840
Speaker 2: and Fan Tikolo and like, yeah.

2357
01:57:22,520 --> 01:57:25,360
Speaker 4: Thank you, thank you, thank you. Flowers, flowers, flowers, flowers.

2358
01:57:25,520 --> 01:57:26,560
Speaker 1: Thank you for all you do man.

2359
01:57:26,840 --> 01:57:30,040
Speaker 6: Your music, like all your music, it definitely becomes just

2360
01:57:30,080 --> 01:57:32,880
Speaker 6: like a whole other character in all the movies that

2361
01:57:32,920 --> 01:57:33,240
Speaker 6: you do.

2362
01:57:33,360 --> 01:57:36,080
Speaker 1: And I watch them just as much for your music

2363
01:57:36,160 --> 01:57:40,000
Speaker 1: as I do movies. Like for real, that is.

2364
01:57:41,440 --> 01:57:42,960
Speaker 4: That is listening truth.

2365
01:57:43,000 --> 01:57:43,400
Speaker 3: Thank you.

2366
01:57:43,520 --> 01:57:47,320
Speaker 7: Yeah, yes, absolutely, I love what you guys do. Man,

2367
01:57:47,360 --> 01:57:48,600
Speaker 7: So keep it up, man.

2368
01:57:48,840 --> 01:57:51,680
Speaker 1: Thank you all right, this quest love.

2369
01:57:51,760 --> 01:57:54,720
Speaker 2: Then we'll see on the next ground round of Supreme.

2370
01:57:55,000 --> 01:57:55,600
Speaker 2: Thank you.

2371
01:57:59,200 --> 01:58:00,600
Speaker 1: Yoh what's up? Sponte.

2372
01:58:00,920 --> 01:58:03,200
Speaker 6: Make sure you keep up with us on Instagram at

2373
01:58:03,280 --> 01:58:05,040
Speaker 6: QLs and let us know what you think.

2374
01:58:05,080 --> 01:58:06,720
Speaker 1: You know it should be next to sit down with us.

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Speaker 6: Don't forget to subscribe to our podcast, Ali Peace.

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Speaker 1: How Much Love Supreme is a production of iHeartRadio.

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Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

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Speaker 2: or wherever you listen to your favorite shows.