WEBVTT - QLS Classic: Terence Blanchard

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio.

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

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<v Speaker 2>and every year on Questlove Supreme and now The Quest

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<v Speaker 2>Love Show, we honor it by bringing you an episode

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<v Speaker 2>every day that celebrates black music.

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<v Speaker 1>It's history and its impact.

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<v Speaker 2>My team and I have selected episodes from our archive

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<v Speaker 2>that we feel are specially relevant to the celebration, offering history,

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<v Speaker 2>insight a little fun along the way. So be on

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<v Speaker 2>the lookout for four brand new episodes throughout June, each

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

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<v Speaker 2>going to highlight trailblazers, innovators, cultural conduits, and revolutionaries whose

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<v Speaker 2>word continues to shape the world around us.

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<v Speaker 1>Happy June, Happy Black Music Month.

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<v Speaker 2>Ladies and gentlemen. Welcome to another episode of Quest Love Supreme.

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

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<v Speaker 2>us today. Uh, how are you good? I'm good.

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<v Speaker 3>I'm excited about this episode.

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<v Speaker 4>Good.

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<v Speaker 1>I like to wait?

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<v Speaker 2>Are these are the same glasses you always wear? I

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<v Speaker 2>always feel like you have a new pair of glasses

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<v Speaker 2>on every time I see you.

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<v Speaker 5>No, I got like four of five different movies, you know.

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<v Speaker 6>I feel Okay, I see where the money.

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<v Speaker 7>Came through.

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<v Speaker 3>I'm waiting for folks, wait for both.

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<v Speaker 2>I see h Steve, what's up man?

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<v Speaker 7>Uh?

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

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<v Speaker 2>paid Bill Man, everything is good. You mentioned earlier that

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<v Speaker 2>you are fasting.

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

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<v Speaker 8>lack of religious fervor.

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<v Speaker 1>Thank you.

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<v Speaker 8>Yeah, he's just not drinking.

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

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<v Speaker 2>sort of fast day today, fantolo.

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<v Speaker 6>I'm chilling man. I'm chilling man. Been looking forward to

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

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<v Speaker 6>he's been waiting on this one.

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<v Speaker 1>Man, for real.

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<v Speaker 8>You just gave away here the guests.

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<v Speaker 2>But well that's good. That makes my way, That makes

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<v Speaker 2>me enter away shorter on the episode too. Our guest

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<v Speaker 2>today is a renowned composer, musician, trumpeter, one time member

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<v Speaker 2>of the Loneld Hampton Orchestra and the world famous art

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<v Speaker 2>Blinky Jazz Messengers. Not to mention composer of too well

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<v Speaker 2>received operas, but it's his near thirty year association with

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<v Speaker 2>the great Oscar Winner. I'm sorry, I was like Spiker Winner.

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<v Speaker 1>Yeah, yes, with.

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<v Speaker 2>Oscar winner Spike Lee. His association with him for the

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<v Speaker 2>last thirty years is probably, in my opinion, probably one

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<v Speaker 2>of the best combo of film scorer and director. Thank

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<v Speaker 2>that I know for real in cinema history. And that's

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<v Speaker 2>just not blowing smoke. He's up for his second Oscar

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<v Speaker 2>nomination for scoring. Duh.

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<v Speaker 1>Yes, five bloods.

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<v Speaker 2>Duh. Ladies and gentlemen, please welcome to Quest Love Supreme.

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<v Speaker 2>The Great Terrence Blanchard.

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<v Speaker 7>How are you, yes, man, what's happening? How you guys

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<v Speaker 7>doing doing?

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<v Speaker 1>Good?

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<v Speaker 2>Brother?

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<v Speaker 1>Good to see you again. Man. We met like years

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<v Speaker 1>ago at the Grammys. This is probably twenty ten. My

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<v Speaker 1>group deported to change.

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<v Speaker 6>Nominated and we met in like the Little Dinner or whatever,

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<v Speaker 6>and oh you were still you were one of the

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<v Speaker 6>coolest dudes there. Man, Like you were just super chill.

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<v Speaker 6>And everyone else I remember a lot of those people

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<v Speaker 6>they were kind of I don't know whatever, but you

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<v Speaker 6>were just super down to earth, novel remember that very

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<v Speaker 6>houghty tody.

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<v Speaker 1>But you was folks. So I really appreciate that.

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<v Speaker 7>Man.

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<v Speaker 2>Wait, can I can I ask a question? Fronte was

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<v Speaker 2>a h Wait the Grammys throws they threw dinners.

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<v Speaker 1>Well it's after the joint.

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<v Speaker 6>So like so at the time when I went, the

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<v Speaker 6>one and only time I went, because I ain't I

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<v Speaker 6>don't really need to do that ship no more so

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<v Speaker 6>the time it was in the Staples Center, and like

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<v Speaker 6>it was they have the pre tail a little dinner.

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

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<v Speaker 2>the Governor's okay, that okay, that makes sense. I thought

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<v Speaker 2>the nomination dinner thing that I never knew about.

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<v Speaker 9>And I've been in this joint for twenty years, but

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<v Speaker 9>they should make a documentary about the pre awards because

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<v Speaker 9>in that room, it's like the guys, the people best

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<v Speaker 9>liner notes, like yeah, like it's the fucking craziest room

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<v Speaker 9>you've ever been in.

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<v Speaker 8>I met Amy Mann in that room and she was

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<v Speaker 8>just like chilling. She got an for Best liner Notes.

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

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

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<v Speaker 1>She was like, it is a thing.

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<v Speaker 8>And that was the first time I met you. Because

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<v Speaker 8>he had to be my Grammy best day ever.

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<v Speaker 7>You know, you know what's funny, but saying that, man,

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<v Speaker 7>I've been going to the Grammys a number of years,

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<v Speaker 7>and I remember when the pre show was just that man,

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<v Speaker 7>it was a pre show, not too many people. But

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<v Speaker 7>now it's like the hang dude, yeah, and.

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<v Speaker 8>Like people get fully dressed up, like and it's like

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<v Speaker 8>two in the afternoon and you're like fully I was,

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<v Speaker 8>the guys are like bright red, they're ready to go,

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<v Speaker 8>like everybody's ready to.

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<v Speaker 2>Like yeah, I was going to say, I was going

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<v Speaker 2>to say that in my maybe six times that I've

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<v Speaker 2>done that, I always wind up sitting uh in the

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<v Speaker 2>Latin section, and that I was going to say that

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<v Speaker 2>the snark and energy that that section has every time

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

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<v Speaker 2>was a point where, like I I by my fourth year,

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<v Speaker 2>I was like I couldn't wait. I was looking forward

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<v Speaker 2>to just sitting in the Latin section so I could

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<v Speaker 2>hear them all get mad because you know sometimes when

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<v Speaker 2>you well, the voting system is way different now, but

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<v Speaker 2>there was a point where everyone had access to everyone's

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<v Speaker 2>category and this like before twenty ten, and you just

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<v Speaker 2>vote for the name, you know, so in the Latin section,

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<v Speaker 2>it's like, oh, I know Felice Navid, I know Jose Feliciano,

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<v Speaker 2>So let me vote for him. And that's how he

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

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<v Speaker 2>like the most popular artist of that genre.

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<v Speaker 1>Just like even though he.

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<v Speaker 8>Put out a record that year, he just he had

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<v Speaker 8>no idea.

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<v Speaker 2>He just he definitely had no idea. He didn't. Where

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<v Speaker 2>are you right now, Terrence.

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<v Speaker 7>I'm in New Orleans, man. I mean I moved LA,

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<v Speaker 7>you know, because I was teaching at duc LA. But

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<v Speaker 7>you know, my home is not really ready yet and

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<v Speaker 7>I needed to work and begin at the beginning of

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<v Speaker 7>the pandemic. Man, I just came back home, and I

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

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<v Speaker 2>Okay, Wait, I'm glad you mentioned New Orleans. So I

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<v Speaker 2>will say that the last time that a musical giant

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<v Speaker 2>from New Orleans was on our show, which was Branford Marcellus.

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<v Speaker 2>If you know him, you already know what I'm about

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<v Speaker 2>to say is true. No one loves to deflate the

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<v Speaker 2>air out of any jazz urban legend balloons that I

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<v Speaker 2>fantasize about more than Branford. So like every everything that

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<v Speaker 2>you know, everything that I tried to romanticize over, like

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<v Speaker 2>what I thought music and jazz and musicianship was like

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

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<v Speaker 7>My boy, you know, and I think I always messed

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<v Speaker 7>with him. I said, man, you must failed debate class

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<v Speaker 7>in high school, you know what I mean.

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<v Speaker 2>Yeah, yeah, so I was saying. But basically, the one

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<v Speaker 2>thing that he totally deflated my balloon on was this

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<v Speaker 2>notion that I was fed when I was a kid

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<v Speaker 2>about obsessively practicing. And you know, I brought up a

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<v Speaker 2>story about the time when his brother won a Grammy

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<v Speaker 2>and thanked his dad for like making me practice and

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<v Speaker 2>da da da da dah. So you know, I grew

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<v Speaker 2>up with this thing where my dad was like, Yo,

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<v Speaker 2>five to ten hours, da da practice practice practice, like

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<v Speaker 2>you know, straight backstage dad stuff. And you know, for

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<v Speaker 2>the record, I'll say that David Murray is probably the

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<v Speaker 2>only jazz figure that I met that has lived up

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<v Speaker 2>to that myth where he told me like he practices

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<v Speaker 2>eight to ten hours a day with his acts.

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<v Speaker 1>So I'm just this is my first question. I'm just

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<v Speaker 1>asking for the gate.

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<v Speaker 2>Is the notion of the obsessive musician waking up at

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<v Speaker 2>five am and practicing the scales and exercise and going

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<v Speaker 2>till nine pm like before gig. Is that just some

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<v Speaker 2>myth that's been planned in my head that was never real,

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<v Speaker 2>you know, just to keep me off the streets by

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<v Speaker 2>my dad.

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<v 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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<v Speaker 7>I look, I get up early, and I do get

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<v Speaker 7>to work. I mean, I'll come in and I'll start

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<v Speaker 7>working because my studio is kind of separate from the house,

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<v Speaker 7>so I can make some noise and I disturb people.

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<v Speaker 7>But it depends on it depends on what you're dealing

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<v Speaker 7>with at the time.

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<v Speaker 4>Man.

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<v Speaker 7>There are moments where I get up and I practice

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<v Speaker 7>all day because I know that I'm trying to get

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<v Speaker 7>in shape to do certain things, you know. And then

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<v Speaker 7>with my career, since I'm composing a lot, man, there

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<v Speaker 7>are moments when I'm just sitting in here writing, you

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<v Speaker 7>know what I mean. I had to in some rewrites

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<v Speaker 7>for the opera. I'm sitting here working on the television

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<v Speaker 7>show right now, and I'm getting ready to start working

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<v Speaker 7>on a film, and you know, so this is why

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<v Speaker 7>I spend a lot of my time. I think the

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<v Speaker 7>I think the most important thing about it all, bro,

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<v Speaker 7>is just to figure out what's the best way for

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<v Speaker 7>you to be effective. Because you can sit down in

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<v Speaker 7>practice for five hours, bro, but if you ain't really

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<v Speaker 7>focused and you're not.

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

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<v Speaker 7>No, thirty minutes to do you a lot better, you

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<v Speaker 7>know what I mean? Thirty minutes like really focus, accomplish something,

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<v Speaker 7>you know what I mean?

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<v Speaker 1>Really?

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

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

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<v Speaker 2>muscle memory? What about you know, whenever you see someone

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<v Speaker 2>practicing in a movie or already hear the answer my

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<v Speaker 2>head and it's real stupid, but whenever you see anyone

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<v Speaker 2>like that, the myth of practicing is like they start

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<v Speaker 2>their scales and see and then they go half note

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<v Speaker 2>d D da da. But it is practicing muscle memory

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<v Speaker 2>or is it strictly just exploring what you don't know?

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

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<v Speaker 7>but the thing about it you try to build up

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<v Speaker 7>that vocabulary to the point where you become flexible. So

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<v Speaker 7>there are other aspects of practicing where it's all mental,

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<v Speaker 7>where you try to send yourself in different directions and

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<v Speaker 7>see if your body can respond. And if your body

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

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<v Speaker 7>memory part to kind of really figure out what is

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<v Speaker 7>it that I'm not doing. Oh, it's this interval that's

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<v Speaker 7>hanging me up. So let me come back here and

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<v Speaker 7>work on this interval, you know what I mean, until

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<v Speaker 7>I get that muscle memory down in my brain, and

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<v Speaker 7>then I could go back to doing the improvised stuff.

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<v Speaker 7>Because the thing about it, Bro, I like it. This

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<v Speaker 7>is what I tell my students.

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<v Speaker 5>Bro.

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<v Speaker 7>It's like being It's like being Kyrie Irving, Bro, you

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<v Speaker 7>know what I mean. Of course he knows how to dribble,

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<v Speaker 7>but man, does he really know what he's going to

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<v Speaker 7>do when he's coming down on a fast break, you

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<v Speaker 7>know what I mean, right in the heat of the moment.

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<v Speaker 7>But he has to have the skills to like execute

0:12:08.920 --> 0:12:11.600
<v Speaker 7>anything that happens in his brain within the split second,

0:12:11.679 --> 0:12:14.199
<v Speaker 7>you know. So that's what you're trying to achieve by

0:12:14.200 --> 0:12:17.640
<v Speaker 7>practicing and breaking it down into the various elements.

0:12:18.240 --> 0:12:20.800
<v Speaker 2>Wow, Chris Branford to say that to.

0:12:20.760 --> 0:12:24.880
<v Speaker 4>Me, it's about to be a good class.

0:12:25.240 --> 0:12:27.880
<v Speaker 3>A good class.

0:12:26.440 --> 0:12:29.760
<v Speaker 7>I'm always relating stuff to the sports. You know what

0:12:29.800 --> 0:12:34.520
<v Speaker 7>I mean, Repelicans are playing the Lakers right now, but

0:12:34.559 --> 0:12:35.600
<v Speaker 7>I'm not looking at the screen.

0:12:39.840 --> 0:12:43.240
<v Speaker 2>We appreciate your tention to thinking. Well, okay, So I

0:12:43.280 --> 0:12:46.160
<v Speaker 2>do have a trumpet question though, because the amount of

0:12:46.200 --> 0:12:50.679
<v Speaker 2>times that I've played with serious trumpet players, and I

0:12:50.720 --> 0:12:54.880
<v Speaker 2>always notice that usually I mean, if they're they're they're

0:12:55.000 --> 0:12:58.640
<v Speaker 2>sort of going, you know, hard in the paint. If

0:12:58.920 --> 0:13:02.920
<v Speaker 2>they'll usually tie out in forty minutes, like they'll start

0:13:02.960 --> 0:13:05.560
<v Speaker 2>holding your lip, all right, So can you explain that

0:13:05.600 --> 0:13:09.400
<v Speaker 2>whole thing like the UMBI sure, because someday.

0:13:09.559 --> 0:13:14.280
<v Speaker 7>Yeah, yeah, the armbature. Well, think about it like this.

0:13:14.840 --> 0:13:16.880
<v Speaker 7>You know, you have a piece of metal that's pressed

0:13:16.960 --> 0:13:19.560
<v Speaker 7>up against your lips other than like a reed instrument.

0:13:19.640 --> 0:13:21.920
<v Speaker 7>Right now, I'm taking anything away from read instrument, just

0:13:21.920 --> 0:13:25.240
<v Speaker 7>talking about brass, right, it's a very strenuous thing to

0:13:25.320 --> 0:13:28.800
<v Speaker 7>have that thing up against your lips and use these

0:13:28.880 --> 0:13:34.600
<v Speaker 7>muscles right on both sides of your umber shore. So look, man,

0:13:34.840 --> 0:13:36.960
<v Speaker 7>that's why that's the only reason why you need to practice.

0:13:36.960 --> 0:13:39.040
<v Speaker 7>You got to condition yourself. You have to get strong,

0:13:39.720 --> 0:13:42.160
<v Speaker 7>you know, and it's there's no way around that. That's

0:13:42.200 --> 0:13:43.480
<v Speaker 7>the thing I try to tell my students.

0:13:43.480 --> 0:13:43.600
<v Speaker 5>Bro.

0:13:43.720 --> 0:13:47.080
<v Speaker 7>Then Charlie Parker said, it ain't magic, it just seems

0:13:47.160 --> 0:13:49.360
<v Speaker 7>like it is, you know what I mean. So I

0:13:49.400 --> 0:13:51.800
<v Speaker 7>mean that part you have to just put in the

0:13:51.880 --> 0:13:55.040
<v Speaker 7>time an effort to build up the muscles. And that's

0:13:55.080 --> 0:13:58.240
<v Speaker 7>the thing, Like, that's like scaring me to death right now,

0:13:58.280 --> 0:14:00.760
<v Speaker 7>because man, I've been in the pandemic. I've been sitting

0:14:00.760 --> 0:14:04.200
<v Speaker 7>here chilling and right you know, I got some shows

0:14:04.240 --> 0:14:06.240
<v Speaker 7>coming up, so I got to get back and you know,

0:14:06.520 --> 0:14:08.400
<v Speaker 7>practice mode and set the build back up so I

0:14:08.400 --> 0:14:11.120
<v Speaker 7>can be in condition to play for.

0:14:11.120 --> 0:14:13.600
<v Speaker 6>A show that you do about how long would you

0:14:13.640 --> 0:14:15.960
<v Speaker 6>say you played by yourself?

0:14:16.960 --> 0:14:18.920
<v Speaker 1>What do you have to work up to? Oh?

0:14:19.040 --> 0:14:21.880
<v Speaker 7>Man, I'm you know. The goal is always to try

0:14:21.880 --> 0:14:25.400
<v Speaker 7>to build up to play two hours. Wow, that's impossible

0:14:25.440 --> 0:14:27.840
<v Speaker 7>because you know you never really played two hours straight.

0:14:27.880 --> 0:14:30.400
<v Speaker 7>But that's that's what you try to put in your mind.

0:14:30.640 --> 0:14:33.240
<v Speaker 7>And then when it comes time to do the show. Listen, man,

0:14:33.480 --> 0:14:36.600
<v Speaker 7>some of the old musicians, Brother used to always you know,

0:14:36.720 --> 0:14:39.200
<v Speaker 7>pull my cold and stuff. You know, say, look, man,

0:14:39.200 --> 0:14:40.720
<v Speaker 7>why you got to be the first cat to play

0:14:40.760 --> 0:14:42.880
<v Speaker 7>the solo? Bro? Let them dudes jump out there. You

0:14:42.960 --> 0:14:45.640
<v Speaker 7>just played the melody that's a very strenuous melody on

0:14:45.680 --> 0:14:48.080
<v Speaker 7>your chops. You need to let them and you take

0:14:48.120 --> 0:14:50.160
<v Speaker 7>a break, go on the side and look cool and

0:14:50.280 --> 0:14:51.160
<v Speaker 7>just wait your time.

0:14:51.760 --> 0:14:51.920
<v Speaker 1>You know.

0:14:52.680 --> 0:14:55.720
<v Speaker 7>It's little things like that brouh over the course of time.

0:14:56.160 --> 0:14:58.680
<v Speaker 7>It really helps you to maintain because when you looked

0:14:58.680 --> 0:15:01.760
<v Speaker 7>at Myles Man, you know, look, bro, Miles had it.

0:15:02.080 --> 0:15:04.920
<v Speaker 7>You know. Miles used to would play some break, he

0:15:04.960 --> 0:15:07.080
<v Speaker 7>would stop, he would take a break, you know. And

0:15:07.120 --> 0:15:10.520
<v Speaker 7>when he would take that break, it was doing two things.

0:15:10.640 --> 0:15:12.880
<v Speaker 7>It was doing something musically and it was also doing

0:15:12.880 --> 0:15:14.880
<v Speaker 7>something physically. He was allowing himself to recover.

0:15:15.720 --> 0:15:17.600
<v Speaker 1>Yeah, I was a trumpet player.

0:15:17.640 --> 0:15:20.600
<v Speaker 6>I played trumpet like in like middle school, high school

0:15:20.600 --> 0:15:23.520
<v Speaker 6>and stuff. And so I would always go and watch,

0:15:24.640 --> 0:15:26.480
<v Speaker 6>you know, I would just watch how they would keep

0:15:26.480 --> 0:15:28.160
<v Speaker 6>that when you talk about the amateur and my band

0:15:28.200 --> 0:15:30.400
<v Speaker 6>teacher would always say that it's like a muscle and

0:15:30.440 --> 0:15:32.400
<v Speaker 6>you had to work it. And so a good friend

0:15:32.400 --> 0:15:35.440
<v Speaker 6>of mine, Cy Smith, she's a singer and she's been

0:15:35.440 --> 0:15:39.240
<v Speaker 6>touring before prior to COVID and everything, she had been

0:15:39.240 --> 0:15:42.800
<v Speaker 6>touring with Chris Body and so and so I went

0:15:42.840 --> 0:15:45.800
<v Speaker 6>and saw her at Body Show and Body he does

0:15:45.920 --> 0:15:48.640
<v Speaker 6>exactly what you're saying, like he'll play a little bit

0:15:48.880 --> 0:15:50.840
<v Speaker 6>and then you have a girl come out play the violin.

0:15:51.400 --> 0:15:54.840
<v Speaker 6>They didn't play a little more than sousing. They didn't

0:15:54.840 --> 0:15:56.240
<v Speaker 6>play a little bit, you know what I mean. It's

0:15:56.280 --> 0:15:58.000
<v Speaker 6>it's total like attack and release.

0:15:58.320 --> 0:16:03.560
<v Speaker 2>So that's that's not just yeah selectively.

0:16:03.360 --> 0:16:06.280
<v Speaker 5>Wow, that's exclusive. People don't think don't think that. They

0:16:06.360 --> 0:16:07.960
<v Speaker 5>just think you're taking an artistic break.

0:16:08.320 --> 0:16:10.360
<v Speaker 7>Well, it is both. I mean, it's both things. I

0:16:10.400 --> 0:16:13.480
<v Speaker 7>mean because part of it is you know, it's it's

0:16:13.680 --> 0:16:16.320
<v Speaker 7>ingrained in us because that's part of the orientation of

0:16:16.360 --> 0:16:19.000
<v Speaker 7>what what you've heard on all of the records that

0:16:19.080 --> 0:16:21.400
<v Speaker 7>you've studied, you know what I mean. It's like Miles

0:16:21.400 --> 0:16:24.120
<v Speaker 7>always knew how to use space. So that's always a

0:16:24.120 --> 0:16:27.560
<v Speaker 7>part of my thinking just musically. But but it serves

0:16:27.600 --> 0:16:30.480
<v Speaker 7>two purposes, you know, it serves an autistic money and

0:16:30.480 --> 0:16:32.000
<v Speaker 7>it also serves a physical mind.

0:16:32.440 --> 0:16:37.080
<v Speaker 3>So that exercises that you guys.

0:16:35.560 --> 0:16:37.680
<v Speaker 7>Oh yeah, there are a lot of exercises. They are

0:16:37.760 --> 0:16:40.640
<v Speaker 7>things that I do, you know, to sit down and

0:16:40.720 --> 0:16:42.640
<v Speaker 7>just and it has nothing to do with music. It's

0:16:42.640 --> 0:16:45.680
<v Speaker 7>just simply the strengthen these muscles.

0:16:46.080 --> 0:16:48.600
<v Speaker 2>So okay, I was going to say, how damaging is

0:16:48.600 --> 0:16:53.720
<v Speaker 2>it to reach that? Okay, let's let's take a cat

0:16:53.840 --> 0:16:58.840
<v Speaker 2>like well, I was gonna say Minard Ferguson like Monard

0:16:59.160 --> 0:17:03.320
<v Speaker 2>is uh you know, is the sample at the beginning

0:17:03.320 --> 0:17:10.480
<v Speaker 2>of Lords to the Underground Funky Child, That's that's that's

0:17:10.560 --> 0:17:14.320
<v Speaker 2>Monard on a soft day. That's that's like that's Monard

0:17:14.359 --> 0:17:17.879
<v Speaker 2>playing Mary had a little lamb. So he's just you know,

0:17:17.960 --> 0:17:21.800
<v Speaker 2>Minard is closer to like the Clayton Gunnals rubble without

0:17:21.800 --> 0:17:25.720
<v Speaker 2>a pause, squeal t squeal, like he just plays in

0:17:26.760 --> 0:17:31.520
<v Speaker 2>for the longest time. What what muscles or like what

0:17:32.200 --> 0:17:35.920
<v Speaker 2>powers have to be activated in order to assisted or

0:17:36.000 --> 0:17:38.600
<v Speaker 2>hit that out the part? Because even even when playing

0:17:38.640 --> 0:17:43.240
<v Speaker 2>with Doc Severson, who's well within his eighties now, he

0:17:43.240 --> 0:17:44.200
<v Speaker 2>he goes from zero.

0:17:44.080 --> 0:17:48.240
<v Speaker 7>To that's one hundred crazy. That's crazy watching him play Bro.

0:17:48.280 --> 0:17:49.840
<v Speaker 7>If I knew that Bro, I'd be doing it, you

0:17:49.840 --> 0:17:50.280
<v Speaker 7>know what I mean.

0:17:52.520 --> 0:17:53.359
<v Speaker 1>Okay, I'm glad.

0:17:53.880 --> 0:17:56.919
<v Speaker 7>It's just a difference of muscle. The interesting thing that

0:17:57.000 --> 0:17:59.919
<v Speaker 7>I was a guy like that, I think a lot

0:17:59.960 --> 0:18:02.440
<v Speaker 7>of it has to do with the formulation here. I'm

0:18:02.440 --> 0:18:05.400
<v Speaker 7>not this is just me speculated because when you watch

0:18:05.440 --> 0:18:09.080
<v Speaker 7>guys who have that high high range. The lord register

0:18:09.200 --> 0:18:11.359
<v Speaker 7>sounds a little different. Yeah, you know what I mean.

0:18:12.920 --> 0:18:15.280
<v Speaker 7>And it's a it's a different and it's a different approach.

0:18:15.440 --> 0:18:18.639
<v Speaker 7>So you know, for me, man, I've always been like

0:18:18.840 --> 0:18:21.879
<v Speaker 7>Miles Davis, Clarck, Terry, Freddie Hubber, Woody Shaw type of

0:18:21.960 --> 0:18:25.440
<v Speaker 7>du you know. I like those nice brown tones when

0:18:25.440 --> 0:18:27.560
<v Speaker 7>you when you listen to Miles Davis playing that poor

0:18:27.600 --> 0:18:30.920
<v Speaker 7>game best record bro, his tone is just immaculate and

0:18:31.119 --> 0:18:35.879
<v Speaker 7>just I've been hooked since I was sixteen. You know,

0:18:36.280 --> 0:18:37.919
<v Speaker 7>that's back in the days when we used to have

0:18:38.000 --> 0:18:40.920
<v Speaker 7>the faux bar, you know in our house that had

0:18:40.960 --> 0:18:43.000
<v Speaker 7>like the flickering lights when you had the record player

0:18:43.040 --> 0:18:43.560
<v Speaker 7>under knee.

0:18:43.680 --> 0:18:48.160
<v Speaker 2>Yes, yes, I have those. Oh god, I just myself.

0:18:48.800 --> 0:18:59.360
<v Speaker 10>Yes, come on, it's so good and put on Miles man.

0:18:59.359 --> 0:19:01.720
<v Speaker 7>And I was sitting down in my room in the

0:19:01.720 --> 0:19:04.080
<v Speaker 7>front of the house and just listen to Miles Davis

0:19:04.119 --> 0:19:06.560
<v Speaker 7>with those lights on all night long.

0:19:07.359 --> 0:19:10.920
<v Speaker 2>Okay, So with okay, I'm glad you answered that question

0:19:10.960 --> 0:19:15.639
<v Speaker 2>because sometimes I'll look at a at a musician and

0:19:15.760 --> 0:19:19.080
<v Speaker 2>kind of side eye them because I didn't realize that,

0:19:19.840 --> 0:19:21.960
<v Speaker 2>you know, you need a certain amount of tune or

0:19:22.280 --> 0:19:25.720
<v Speaker 2>or lungs to hit certain things now.

0:19:25.640 --> 0:19:29.359
<v Speaker 3>Form listen to this, be shocked that you didn't know that.

0:19:29.800 --> 0:19:30.000
<v Speaker 4>No.

0:19:30.080 --> 0:19:32.600
<v Speaker 2>I mean sometimes I just feel like in my head,

0:19:32.680 --> 0:19:34.560
<v Speaker 2>my first thing is like, okay, are you just being

0:19:34.600 --> 0:19:38.800
<v Speaker 2>psychosomatic right now? Like wow, just like I'm just thinking

0:19:38.840 --> 0:19:39.960
<v Speaker 2>that there is.

0:19:39.960 --> 0:19:41.960
<v Speaker 7>A part to that, you know what there is? I mean,

0:19:42.080 --> 0:19:43.639
<v Speaker 7>there was a mental side. Tur It. Man, there's a

0:19:43.640 --> 0:19:46.760
<v Speaker 7>great classical trumpet playing in Charlitie Shalutor who played in

0:19:46.840 --> 0:19:49.640
<v Speaker 7>Boston Pops for years as a good friend of mine. Man,

0:19:50.200 --> 0:19:53.400
<v Speaker 7>I was backstage before showing night and I was doing

0:19:53.440 --> 0:19:56.800
<v Speaker 7>something and when I went up to hit this high

0:19:56.800 --> 0:19:59.080
<v Speaker 7>seat I was playing for him, I missed it, and

0:19:59.119 --> 0:20:01.040
<v Speaker 7>he goes, oh, man, stop thinking about it. You just

0:20:01.040 --> 0:20:03.040
<v Speaker 7>work because I'm standing there. Just go ahead do the thing.

0:20:03.160 --> 0:20:05.760
<v Speaker 7>And when I when he said that, you know, came

0:20:05.800 --> 0:20:08.040
<v Speaker 7>out just as clear as a bell. So there is

0:20:08.040 --> 0:20:09.960
<v Speaker 7>a part of the psychological part of it.

0:20:10.280 --> 0:20:13.920
<v Speaker 6>I mean in terms of like dizzy, because he would

0:20:13.920 --> 0:20:16.159
<v Speaker 6>always you know, like blow his cheeks out. And I

0:20:16.160 --> 0:20:18.760
<v Speaker 6>remember as a as a kid, when I would play

0:20:18.960 --> 0:20:20.760
<v Speaker 6>my bands, you should always say like you don't do.

0:20:20.720 --> 0:20:21.639
<v Speaker 2>That, don't do that.

0:20:21.800 --> 0:20:23.439
<v Speaker 1>You know what I'm saying. Well, he.

0:20:26.359 --> 0:20:28.520
<v Speaker 6>Was like, nah, don't do that, Dan, That's gonna mess

0:20:28.520 --> 0:20:31.760
<v Speaker 6>you up. So what is it about? What is it

0:20:31.800 --> 0:20:34.240
<v Speaker 6>about that that makes for I guess for bad playing

0:20:34.320 --> 0:20:35.200
<v Speaker 6>or improper form?

0:20:35.359 --> 0:20:37.600
<v Speaker 7>Well, you know the thing about it, It was Disney

0:20:37.720 --> 0:20:39.720
<v Speaker 7>was such a freaking menture man. Because when you play

0:20:39.760 --> 0:20:43.600
<v Speaker 7>the trumpet, most people think you try to bring your

0:20:43.600 --> 0:20:45.760
<v Speaker 7>lips backward. You don't want to do that because that

0:20:45.800 --> 0:20:48.600
<v Speaker 7>creates a thin layer of skin, right, what you try

0:20:48.640 --> 0:20:51.840
<v Speaker 7>to try to focus forward? Right, and we try to

0:20:51.840 --> 0:20:53.919
<v Speaker 7>do what you try to create what we call a

0:20:53.960 --> 0:20:58.359
<v Speaker 7>pucker right. Well, dizzey, he blew all of the blove

0:20:58.359 --> 0:21:03.560
<v Speaker 7>of us in his cheeks, right yeah. Wow. And then

0:21:03.720 --> 0:21:06.000
<v Speaker 7>after he did that, that's why his chiefs could expand.

0:21:06.520 --> 0:21:10.919
<v Speaker 7>But when this could expand, what happened He created a perfect.

0:21:10.520 --> 0:21:11.600
<v Speaker 1>Punker m.

0:21:13.080 --> 0:21:14.200
<v Speaker 3>Because he had no choice.

0:21:14.680 --> 0:21:18.280
<v Speaker 7>Wow, it worked for him. You know what I mean?

0:21:18.960 --> 0:21:20.679
<v Speaker 7>I don't. I don't just that.

0:21:22.160 --> 0:21:23.560
<v Speaker 1>I ain't trying to blow out the blood. This is

0:21:23.600 --> 0:21:25.280
<v Speaker 1>my cheek. That don't sound fun.

0:21:25.720 --> 0:21:27.959
<v Speaker 3>Nobody ever told us kids that we would have stopped.

0:21:28.400 --> 0:21:32.760
<v Speaker 7>Oh man.

0:21:33.760 --> 0:21:40.280
<v Speaker 2>So as a drummer, I know the texture and tone

0:21:40.320 --> 0:21:46.159
<v Speaker 2>preferences that I have when I judge or do my whatever.

0:21:46.280 --> 0:21:49.200
<v Speaker 2>Ten second judgment on Okay, they have a good sound,

0:21:49.200 --> 0:21:53.360
<v Speaker 2>they have a good tone, but how is that how

0:21:53.400 --> 0:21:58.520
<v Speaker 2>do you judge that for trumpet players? All right, so

0:21:58.600 --> 0:22:01.760
<v Speaker 2>you mentioned Dizzy and I'll give you a weird R

0:22:01.800 --> 0:22:06.200
<v Speaker 2>and B example. So you know eighty one when did

0:22:06.680 --> 0:22:08.560
<v Speaker 2>original music Aquarium come out?

0:22:08.600 --> 0:22:09.479
<v Speaker 1>Eighty one? All right?

0:22:09.520 --> 0:22:12.040
<v Speaker 2>So I was ten years old when Stevie wonders do

0:22:12.119 --> 0:22:12.359
<v Speaker 2>I do?

0:22:13.200 --> 0:22:13.760
<v Speaker 1>Comes out?

0:22:14.640 --> 0:22:17.399
<v Speaker 2>And of course you know, he does this big ass

0:22:17.520 --> 0:22:18.240
<v Speaker 2>build up.

0:22:19.000 --> 0:22:20.040
<v Speaker 1>Ladies and gentlemen.

0:22:21.840 --> 0:22:25.480
<v Speaker 2>And then Disney sort of in my mind, I'm thinking,

0:22:25.560 --> 0:22:29.480
<v Speaker 2>damn with that sort of introduction, I would expect Dizzey

0:22:29.520 --> 0:22:33.200
<v Speaker 2>to come out the gate like evil Knievel, like to.

0:22:33.200 --> 0:22:34.080
<v Speaker 1>Live up to that thing.

0:22:34.200 --> 0:22:40.920
<v Speaker 2>Instead, he held back and always wanted to, always wanted

0:22:40.960 --> 0:22:43.000
<v Speaker 2>to know, and not like I know in my world,

0:22:43.240 --> 0:22:47.800
<v Speaker 2>I've made a living out of less is more. As

0:22:47.880 --> 0:22:50.760
<v Speaker 2>much as I could hold back, I've made and that

0:22:50.800 --> 0:22:53.480
<v Speaker 2>takes a lot of faith to not want to show

0:22:53.560 --> 0:22:55.399
<v Speaker 2>up and I'll do drummers and you know, let your

0:22:55.400 --> 0:22:59.760
<v Speaker 2>egos start talking to you. But how do you so, okay,

0:22:59.760 --> 0:23:03.760
<v Speaker 2>why would you in choosing poor game best? Like, what

0:23:03.960 --> 0:23:07.600
<v Speaker 2>is it about that album that tells you like the

0:23:07.640 --> 0:23:10.440
<v Speaker 2>tone is immaculate and I'm assuming that you're speaking from

0:23:10.520 --> 0:23:14.720
<v Speaker 2>a A Jordan Game sixth level of perfection, like he's

0:23:14.800 --> 0:23:17.280
<v Speaker 2>just hitting it out the park.

0:23:17.760 --> 0:23:20.640
<v Speaker 7>Yeah, it's a it's a well listen, it's a it's

0:23:20.680 --> 0:23:26.280
<v Speaker 7>that perfect marriage between like tone and expression like it.

0:23:26.800 --> 0:23:29.640
<v Speaker 7>For me, I prefer Miles because I love that tone,

0:23:29.720 --> 0:23:32.439
<v Speaker 7>but I also loved Dizzy, and I also loved a

0:23:32.480 --> 0:23:35.560
<v Speaker 7>lot of other guys that had like a more edgy

0:23:35.640 --> 0:23:36.920
<v Speaker 7>or sharper tone.

0:23:37.000 --> 0:23:37.199
<v Speaker 1>You know.

0:23:37.840 --> 0:23:41.560
<v Speaker 7>Uh. But the thing about Miles that got me bro was, man,

0:23:41.640 --> 0:23:45.439
<v Speaker 7>the dude say boo and just you just got a

0:23:45.480 --> 0:23:48.639
<v Speaker 7>whole bunch of information in those three notes, just the

0:23:48.680 --> 0:23:51.679
<v Speaker 7>way he played it. And I think it's because he

0:23:51.920 --> 0:23:54.520
<v Speaker 7>was so counter to everything else that was going on.

0:23:54.760 --> 0:23:57.840
<v Speaker 7>Everybody else was trying to, like you said, prove how

0:23:57.920 --> 0:24:00.639
<v Speaker 7>much they could play, and for him, it was really

0:24:00.720 --> 0:24:05.160
<v Speaker 7>just about expressing, you know, the lyrics behind those those

0:24:05.320 --> 0:24:11.359
<v Speaker 7>those those beautiful songs, you know, And it just took me.

0:24:11.440 --> 0:24:13.680
<v Speaker 7>It just caught me, caught my attention from the time

0:24:13.680 --> 0:24:16.720
<v Speaker 7>that I was like fifteen, sixteen years old, and I've

0:24:16.800 --> 0:24:21.679
<v Speaker 7>just been hooked ever since. Now that's my first impression. Now,

0:24:21.720 --> 0:24:23.800
<v Speaker 7>when you listen to Clifton Brown. Clifton Brown has a

0:24:23.840 --> 0:24:27.760
<v Speaker 7>totally different type of sound. But man, there's a thing

0:24:27.880 --> 0:24:31.280
<v Speaker 7>that's connected to the way he's phrasing the notes.

0:24:31.560 --> 0:24:32.160
<v Speaker 1>You know what I mean.

0:24:34.080 --> 0:24:36.480
<v Speaker 7>This is just an honesty and purity about it.

0:24:36.520 --> 0:24:36.639
<v Speaker 1>Bro.

0:24:36.720 --> 0:24:39.040
<v Speaker 7>It just hits me right in my soul. And I

0:24:39.040 --> 0:24:41.480
<v Speaker 7>got to say this brother, the same thing with you. Brother. Look, man,

0:24:41.480 --> 0:24:45.320
<v Speaker 7>with that snare drum sound, bruh, Your snare drum sound bruh.

0:24:45.359 --> 0:24:52.840
<v Speaker 7>Had me jacked up for a long time. Yeah. No, seriously, seriously, man,

0:24:53.640 --> 0:24:54.600
<v Speaker 7>Yeah no, seriously.

0:24:54.640 --> 0:24:54.760
<v Speaker 1>Bro.

0:24:54.800 --> 0:24:56.680
<v Speaker 7>It's like you know then you said that you gotta

0:24:56.760 --> 0:24:58.639
<v Speaker 7>do a movie and stuff you try to put cruise

0:24:58.680 --> 0:25:00.119
<v Speaker 7>then said, damn, I get that that.

0:25:02.040 --> 0:25:05.800
<v Speaker 8>You don't have pluggins that have like the quest love plugins, right,

0:25:05.880 --> 0:25:09.119
<v Speaker 8>you know that those exist. I've heard, like if you

0:25:09.119 --> 0:25:10.800
<v Speaker 8>want that's there, there's like a plug.

0:25:10.880 --> 0:25:13.800
<v Speaker 2>Yeah, I've seen I've seen it. Yeah.

0:25:13.840 --> 0:25:15.960
<v Speaker 1>Okay, well track Masters knows about it very well.

0:25:16.000 --> 0:25:20.119
<v Speaker 2>Oh Jesus Christ. Right, So okay, this this is the

0:25:20.200 --> 0:25:24.359
<v Speaker 2>I guess, the perfect segue. Now, Okay, since you're talking

0:25:24.359 --> 0:25:29.200
<v Speaker 2>about your fandom for Miles Davis in real time discovering

0:25:29.280 --> 0:25:31.600
<v Speaker 2>at fourteen fifteen, First of all, how old were you

0:25:31.640 --> 0:25:34.480
<v Speaker 2>when you got serious about the trumpet?

0:25:34.800 --> 0:25:37.360
<v Speaker 7>When I was about that age. You know, I had

0:25:37.359 --> 0:25:39.080
<v Speaker 7>a trumpet from the time I was in about fourth

0:25:39.080 --> 0:25:40.119
<v Speaker 7>grade elementary school.

0:25:40.160 --> 0:25:40.280
<v Speaker 3>Man.

0:25:40.320 --> 0:25:42.760
<v Speaker 7>But look, I thought I was going to be athlete.

0:25:42.760 --> 0:25:45.320
<v Speaker 7>I thought I was going to play football. And you know,

0:25:47.119 --> 0:25:49.119
<v Speaker 7>I went to one of those by U classics, bro,

0:25:49.200 --> 0:25:52.399
<v Speaker 7>and I saw Grandma's team come off the bus. That

0:25:52.520 --> 0:25:54.800
<v Speaker 7>was it for me. Bro. I was like, big guys

0:25:55.080 --> 0:25:55.919
<v Speaker 7>following me around.

0:25:56.800 --> 0:25:58.080
<v Speaker 1>What position did you play.

0:25:58.560 --> 0:26:00.800
<v Speaker 7>When I was my litle league, man, I played lineback.

0:26:00.840 --> 0:26:04.199
<v Speaker 7>And you know what.

0:26:06.119 --> 0:26:07.359
<v Speaker 3>About high school? At least?

0:26:08.359 --> 0:26:10.720
<v Speaker 7>No, no, no, no, no, no, no no no. By the

0:26:10.720 --> 0:26:13.240
<v Speaker 7>time I got the high school, I already made that decision.

0:26:13.680 --> 0:26:15.919
<v Speaker 7>I knew I was gonna be as big as those dudes.

0:26:16.400 --> 0:26:18.080
<v Speaker 7>I just knew it wasn't gonna happen, you know what

0:26:18.080 --> 0:26:21.520
<v Speaker 7>I'm saying. So wow, No it was. I was about

0:26:21.600 --> 0:26:23.800
<v Speaker 7>fourteen fifteen round at the same time, and that was

0:26:23.840 --> 0:26:25.640
<v Speaker 7>at the same time that I wound up going to

0:26:25.680 --> 0:26:28.760
<v Speaker 7>the Archig School in New Orleans, New Orleans Center for

0:26:28.800 --> 0:26:31.520
<v Speaker 7>the Creative Arts, And that's where my life changed, man,

0:26:31.560 --> 0:26:34.960
<v Speaker 7>because they just introduced me to everything. You know, I

0:26:35.160 --> 0:26:38.359
<v Speaker 7>just clutching brown on a cam and everything. I just

0:26:38.480 --> 0:26:41.080
<v Speaker 7>I learned so much. That was the first time. Man,

0:26:41.920 --> 0:26:44.600
<v Speaker 7>I remember wanting to go to school every day, you know.

0:26:44.640 --> 0:26:47.600
<v Speaker 7>I remember I got sick one day and I had

0:26:47.640 --> 0:26:49.600
<v Speaker 7>to catch myself. My mom was said, boy, you should

0:26:49.600 --> 0:26:51.080
<v Speaker 7>stay home, and I was like, no, I got to

0:26:51.119 --> 0:26:53.199
<v Speaker 7>go to school. Damn that. I really just said it, right,

0:26:54.960 --> 0:26:57.040
<v Speaker 7>But it was like that because I was learning so much,

0:26:57.160 --> 0:26:57.840
<v Speaker 7>you know, every day.

0:26:58.240 --> 0:27:02.600
<v Speaker 2>Okay, So I have I have a Miles question for you. Now, Okay,

0:27:02.880 --> 0:27:06.359
<v Speaker 2>I'll compare it or or at least parallel with all Right,

0:27:06.440 --> 0:27:09.120
<v Speaker 2>let me my north star is Prince. So I'll say that,

0:27:09.440 --> 0:27:13.439
<v Speaker 2>and I irk Prince fans to this day because I

0:27:13.480 --> 0:27:16.880
<v Speaker 2>will only hang on to seventy eight to eighty eight,

0:27:18.040 --> 0:27:20.840
<v Speaker 2>and it'll irk them to death because it doesn't validate

0:27:20.880 --> 0:27:22.480
<v Speaker 2>when they got hipped prop well he made Da Da

0:27:22.520 --> 0:27:25.840
<v Speaker 2>Da in nineteen ninety four and whatever. And to me,

0:27:26.160 --> 0:27:30.080
<v Speaker 2>it's like, you know, I mean, every everyone has a

0:27:30.119 --> 0:27:32.120
<v Speaker 2>streak period. I mean you go look at Stevie Wonders

0:27:32.119 --> 0:27:35.119
<v Speaker 2>discograph and say, okay, this was his streak period. So

0:27:35.800 --> 0:27:40.000
<v Speaker 2>just now, because I'm more or less discovered Miles in

0:27:40.040 --> 0:27:43.200
<v Speaker 2>my twenties and way after the fact, like it's it's

0:27:43.240 --> 0:27:46.480
<v Speaker 2>different when on the Corner is introduced to you as

0:27:46.560 --> 0:27:52.880
<v Speaker 2>a masterpiece as opposed to being around seventy three to hear. Right,

0:27:53.040 --> 0:27:59.640
<v Speaker 2>So how we're two babies. Well you're a too too

0:27:59.640 --> 0:28:07.399
<v Speaker 2>baby because your age are just every episode. So all right,

0:28:07.480 --> 0:28:13.760
<v Speaker 2>yeah so you were baby? No, But I just mean, like,

0:28:14.359 --> 0:28:20.000
<v Speaker 2>you know, were you able to discern the difference between

0:28:20.760 --> 0:28:24.159
<v Speaker 2>like what were your thoughts on, Like, Okay, I always

0:28:24.160 --> 0:28:26.520
<v Speaker 2>clown a song like I do I'm going to hell

0:28:26.600 --> 0:28:32.679
<v Speaker 2>for this, a song like Jean Pierre, which I'm so not.

0:28:33.080 --> 0:28:35.080
<v Speaker 2>I'm so not a fan of Jean Pierre. It's almost

0:28:35.119 --> 0:28:37.800
<v Speaker 2>like Showgirls, Like I've made fun of that song so

0:28:37.960 --> 0:28:40.440
<v Speaker 2>much that well, let me ask you this. You ever

0:28:40.480 --> 0:28:42.240
<v Speaker 2>clown something so much that you like it like a

0:28:42.280 --> 0:28:43.320
<v Speaker 2>Stockholm syndrome thing.

0:28:43.360 --> 0:28:44.880
<v Speaker 7>Okay, but let me ask you this. Were you not

0:28:44.960 --> 0:28:47.560
<v Speaker 7>a fan of it from the beginning or just because

0:28:47.960 --> 0:28:50.040
<v Speaker 7>people you know ran it into the ground?

0:28:51.120 --> 0:28:55.160
<v Speaker 2>Okay. So with with Miles's discography, I decided when I

0:28:55.200 --> 0:28:56.680
<v Speaker 2>was going to get into him that I was going

0:28:56.760 --> 0:29:00.520
<v Speaker 2>to go in chronological order, okay, And so you know,

0:29:00.640 --> 0:29:02.680
<v Speaker 2>so I started when I was fourteen, so I didn't

0:29:02.720 --> 0:29:06.760
<v Speaker 2>even get to like we want Miles and you're underrest

0:29:06.760 --> 0:29:08.240
<v Speaker 2>and all that stuff. I didn't get to there until

0:29:08.240 --> 0:29:12.320
<v Speaker 2>I was in my twenties, and by then I had,

0:29:12.960 --> 0:29:16.960
<v Speaker 2>you know, I ingusted so much of classic Miles that

0:29:17.920 --> 0:29:20.200
<v Speaker 2>and I haven't read the books or none of that stuff,

0:29:20.240 --> 0:29:21.880
<v Speaker 2>so I didn't even know about like what he was

0:29:21.920 --> 0:29:25.040
<v Speaker 2>going through in his life. But for me, I was

0:29:25.080 --> 0:29:29.239
<v Speaker 2>just like, I guess this is okay, Like I mean,

0:29:29.280 --> 0:29:31.959
<v Speaker 2>I just gave him cart blots for everything he does

0:29:32.120 --> 0:29:36.800
<v Speaker 2>is magic and gold. But like, what were you? And

0:29:36.800 --> 0:29:40.280
<v Speaker 2>I'm so glad I'm talking to someone not named Marcellus

0:29:40.520 --> 0:29:43.680
<v Speaker 2>because you know, both of them, for many reasons, have

0:29:43.680 --> 0:29:48.040
<v Speaker 2>have polar opposite opinions on him, especially but I just

0:29:48.040 --> 0:29:54.800
<v Speaker 2>needed a third party to hit me to that time period.

0:29:55.040 --> 0:29:56.320
<v Speaker 7>Well you know what it was. You know what it

0:29:56.360 --> 0:29:59.480
<v Speaker 7>was for me, Mancy. I was always fascinated with Miles

0:29:59.520 --> 0:30:02.160
<v Speaker 7>because Miles is always the underdog. A lot of people

0:30:02.160 --> 0:30:05.640
<v Speaker 7>don't realize that, you know, Yeah, man and Billy X

0:30:05.680 --> 0:30:10.120
<v Speaker 7>Sign's band, you had Dizzeygill eSPI and uh Fat Fast

0:30:10.120 --> 0:30:13.720
<v Speaker 7>and Viral in the band, and he was like one

0:30:13.760 --> 0:30:15.840
<v Speaker 7>of the third fourth trumpet players in the band. And

0:30:16.440 --> 0:30:19.080
<v Speaker 7>it wasn't He wasn't one of the strongest guys, you

0:30:19.160 --> 0:30:21.640
<v Speaker 7>know what I mean. Wow, So you know, he was

0:30:21.680 --> 0:30:23.760
<v Speaker 7>always like the underdog. So that's why he went a

0:30:23.800 --> 0:30:28.120
<v Speaker 7>totally different direction. So for me, I've always been fascinated

0:30:28.160 --> 0:30:32.880
<v Speaker 7>with everything Miles did because I'm kind of like a

0:30:32.960 --> 0:30:35.440
<v Speaker 7>historian when it comes to him. I guess, you know,

0:30:35.480 --> 0:30:37.160
<v Speaker 7>I don't know if history is the right word, but

0:30:38.200 --> 0:30:40.920
<v Speaker 7>you know, I'm always fascinated by the things that he

0:30:41.080 --> 0:30:44.720
<v Speaker 7>wanted to do because he was so heavily affected by

0:30:44.760 --> 0:30:47.040
<v Speaker 7>that earlier period of playing with Bird and playing with

0:30:47.080 --> 0:30:51.000
<v Speaker 7>Benny x Stein in that band that it made him

0:30:51.280 --> 0:30:54.720
<v Speaker 7>forced him to find this other approach that was totally

0:30:54.760 --> 0:30:57.840
<v Speaker 7>different from the Royal Eldridge's and Disy Gillspies and all

0:30:57.840 --> 0:31:01.160
<v Speaker 7>of those guys, right, and then finding that approach, he

0:31:01.320 --> 0:31:03.520
<v Speaker 7>just all of a sudden blazed the whole new trail.

0:31:03.720 --> 0:31:06.080
<v Speaker 7>And then you can see he just never looked back

0:31:06.080 --> 0:31:08.880
<v Speaker 7>from that point. He just kept moving and kept moving forward,

0:31:09.240 --> 0:31:11.080
<v Speaker 7>and that was his thing. So by the time he

0:31:11.200 --> 0:31:13.960
<v Speaker 7>got to doing Jean Pierre, We Want Miles and all

0:31:14.000 --> 0:31:17.800
<v Speaker 7>of those things, you know, I wasn't looking for and

0:31:18.160 --> 0:31:20.040
<v Speaker 7>I know this made be sacles to say. But I

0:31:20.120 --> 0:31:24.280
<v Speaker 7>wasn't looking for the next big musical breakthrough for Miles,

0:31:24.400 --> 0:31:26.440
<v Speaker 7>you know what I mean. I was just fascinated by

0:31:27.400 --> 0:31:31.280
<v Speaker 7>why he made those choices and just watching the journey. Yeah,

0:31:31.320 --> 0:31:33.280
<v Speaker 7>they have they have to be a reason. You know,

0:31:34.160 --> 0:31:36.880
<v Speaker 7>I didn't think that. You know, I got a chance

0:31:36.920 --> 0:31:39.640
<v Speaker 7>to meet him around that period. You know, he saw

0:31:39.680 --> 0:31:44.240
<v Speaker 7>me play and uh at this jazz festival in Florida.

0:31:44.320 --> 0:31:44.480
<v Speaker 4>Men.

0:31:44.680 --> 0:31:47.960
<v Speaker 7>And unbeknownst to me, when I was in Italy, he

0:31:48.040 --> 0:31:51.560
<v Speaker 7>did an interview with some Italian journalists and he said

0:31:51.840 --> 0:31:54.000
<v Speaker 7>they asked him, so, who do you like out of

0:31:54.040 --> 0:31:56.040
<v Speaker 7>the young players? And he said, I like Terrence. But

0:31:56.120 --> 0:31:57.160
<v Speaker 7>I didn't know he said this.

0:31:57.280 --> 0:31:58.880
<v Speaker 4>So wow.

0:31:59.320 --> 0:32:01.320
<v Speaker 7>Yeah, so all of these journalists. I come out of

0:32:01.360 --> 0:32:04.080
<v Speaker 7>the hotel and Perugia and all of the journalists come

0:32:04.160 --> 0:32:05.760
<v Speaker 7>running up to me, you know, and they said, well,

0:32:05.800 --> 0:32:07.480
<v Speaker 7>what do you think about what Miles said about you?

0:32:07.520 --> 0:32:09.560
<v Speaker 7>And I go, you know it's Miles, you go, so

0:32:09.720 --> 0:32:10.080
<v Speaker 7>what are you?

0:32:10.360 --> 0:32:10.440
<v Speaker 1>Right?

0:32:11.000 --> 0:32:11.120
<v Speaker 4>Right?

0:32:14.440 --> 0:32:14.560
<v Speaker 5>Right?

0:32:14.720 --> 0:32:19.840
<v Speaker 7>Right? This is direction. So after that, he had a

0:32:19.880 --> 0:32:23.000
<v Speaker 7>show that night and al Foster was playing drums right

0:32:23.040 --> 0:32:24.800
<v Speaker 7>and uh. I'll never forget it.

0:32:24.840 --> 0:32:24.959
<v Speaker 2>Man.

0:32:25.000 --> 0:32:27.560
<v Speaker 7>When they came off the stage, they would always clear

0:32:27.640 --> 0:32:30.560
<v Speaker 7>path for Miles, you know, always everybody had to step back,

0:32:31.000 --> 0:32:34.320
<v Speaker 7>and I was standing there and Al could see, you know,

0:32:34.400 --> 0:32:36.000
<v Speaker 7>me looking at Miles. And then he just knew I

0:32:36.040 --> 0:32:38.520
<v Speaker 7>never met Miles, and he said, men, come on back

0:32:38.560 --> 0:32:41.160
<v Speaker 7>and introduce you to Miles. And when I walked in,

0:32:41.320 --> 0:32:46.960
<v Speaker 7>Miles was you know, I was like, he said, keep

0:32:46.960 --> 0:32:51.920
<v Speaker 7>doing what you're doing, motherfucker, you know wow. And he

0:32:52.040 --> 0:32:54.160
<v Speaker 7>was always cool with me, man, every time I was

0:32:54.200 --> 0:32:57.560
<v Speaker 7>seeing him after that. So for me, I didn't look

0:32:57.640 --> 0:33:01.560
<v Speaker 7>at him as a person, you know, I always still

0:33:02.520 --> 0:33:07.240
<v Speaker 7>thought he was always making moves, strategic move You didn't

0:33:07.240 --> 0:33:09.680
<v Speaker 7>have to aglieve with him. You didn't have to like him,

0:33:09.760 --> 0:33:11.600
<v Speaker 7>you know what I mean. But he was making moves

0:33:11.600 --> 0:33:14.560
<v Speaker 7>in his mind. So when I hear those records, that's

0:33:14.600 --> 0:33:18.160
<v Speaker 7>what I hear. I love to too. I think I

0:33:18.160 --> 0:33:22.240
<v Speaker 7>think those records are brilliant because you don't see anything

0:33:22.440 --> 0:33:27.280
<v Speaker 7>like that. You haven't seen anything like that since that record,

0:33:27.640 --> 0:33:31.680
<v Speaker 7>where you have somebody like of that caliber who's not

0:33:31.960 --> 0:33:35.320
<v Speaker 7>taking that music lightly, you know what I mean, who's

0:33:35.400 --> 0:33:37.480
<v Speaker 7>really coming at it from a place where he's trying

0:33:37.480 --> 0:33:40.120
<v Speaker 7>to do something interesting and trying to contribute and.

0:33:40.040 --> 0:33:44.200
<v Speaker 1>Not troduced by Marcus Miller, not.

0:33:44.120 --> 0:33:46.480
<v Speaker 7>Trying to take advantage, you know what I mean. That's

0:33:46.480 --> 0:33:48.760
<v Speaker 7>the thing that I really dug about that record. You know,

0:33:48.840 --> 0:33:50.280
<v Speaker 7>I love that record, you know, it's one of my

0:33:50.360 --> 0:33:53.720
<v Speaker 7>favorite favorite records. But that's I dig about Miles. I

0:33:53.800 --> 0:33:55.640
<v Speaker 7>want my career to be like Miles. I don't want

0:33:55.640 --> 0:33:57.840
<v Speaker 7>to sound the same if you pick up a record

0:33:58.440 --> 0:34:00.480
<v Speaker 7>from now and then to pick up a record from

0:34:00.640 --> 0:34:02.800
<v Speaker 7>from from me twenty years ago. You know what I

0:34:02.880 --> 0:34:05.920
<v Speaker 7>mean to me that that's that's the tragedy, you know,

0:34:06.000 --> 0:34:08.040
<v Speaker 7>because life, the life would be boring if you did

0:34:08.080 --> 0:34:09.680
<v Speaker 7>the same ship all the time, you know.

0:34:09.880 --> 0:34:10.239
<v Speaker 1>For real.

0:34:15.280 --> 0:34:18.560
<v Speaker 6>Man, One question I had about Miles, and I've talked to.

0:34:18.719 --> 0:34:21.760
<v Speaker 1>Being glassproow, Like we debated this before, would.

0:34:21.560 --> 0:34:23.719
<v Speaker 6>You say that Miles, because in my mind, the way

0:34:23.760 --> 0:34:26.440
<v Speaker 6>I came into him was he kind of the first

0:34:26.480 --> 0:34:31.840
<v Speaker 6>guy to to create what we now know as smooth jazz,

0:34:31.880 --> 0:34:33.640
<v Speaker 6>so to speak, Like, I know, it's kind of looked

0:34:33.680 --> 0:34:37.279
<v Speaker 6>as a as a it's smooth jazz has looked at

0:34:37.320 --> 0:34:39.439
<v Speaker 6>as kind of a pejorative now, you know what I'm saying.

0:34:39.480 --> 0:34:43.120
<v Speaker 6>But at the time when I got into jazz, I

0:34:43.200 --> 0:34:46.120
<v Speaker 6>was a kid, and so you know, kind of blue.

0:34:46.320 --> 0:34:48.200
<v Speaker 1>That was like homework music for me, you know what

0:34:48.239 --> 0:34:50.839
<v Speaker 1>I'm saying. And I was like, okay, I can put

0:34:50.880 --> 0:34:53.040
<v Speaker 1>this song. Yeah, you know what I mean.

0:34:53.080 --> 0:34:59.040
<v Speaker 7>I'm like, yo, yeah, because I never thought about it.

0:34:59.080 --> 0:35:01.480
<v Speaker 7>I never thought you would kind of blue and that

0:35:01.680 --> 0:35:03.799
<v Speaker 7>and that. But I can see where you're going with that.

0:35:03.920 --> 0:35:05.560
<v Speaker 7>I never thought about that with Mius. You know what

0:35:05.600 --> 0:35:07.640
<v Speaker 7>I thought you were going to say, was was it

0:35:07.719 --> 0:35:09.799
<v Speaker 7>true at Miles was the guy that created like the

0:35:09.840 --> 0:35:14.280
<v Speaker 7>fusion thing? And I like, yeah, because those those guys

0:35:14.280 --> 0:35:16.319
<v Speaker 7>were coming at it from all different angles, you.

0:35:16.239 --> 0:35:16.680
<v Speaker 1>Know what I mean.

0:35:16.719 --> 0:35:19.360
<v Speaker 7>But I'd have to put some thought into that about

0:35:19.360 --> 0:35:22.759
<v Speaker 7>the smooth jazz thing because you know, even though, because

0:35:23.000 --> 0:35:25.400
<v Speaker 7>you know it's funny before you said the kind of blue,

0:35:26.200 --> 0:35:29.279
<v Speaker 7>I was going to say, because you know, you had like, uh,

0:35:30.560 --> 0:35:33.000
<v Speaker 7>Lucky Thompson and all of those guys, they were one

0:35:33.520 --> 0:35:37.080
<v Speaker 7>more of the R and B is kind of instrumental music.

0:35:37.120 --> 0:35:39.800
<v Speaker 7>And then I kind of let in years later to

0:35:39.920 --> 0:35:41.440
<v Speaker 7>like a Groover Washington.

0:35:41.200 --> 0:35:44.080
<v Speaker 1>Kind David Sanborn and stuff like that.

0:35:44.280 --> 0:35:48.200
<v Speaker 7>Yeah. So but when you threw you threw me for

0:35:48.239 --> 0:35:49.200
<v Speaker 7>a loop with the cod.

0:35:50.920 --> 0:35:52.960
<v Speaker 6>I mean that was just me as a gig, Like

0:35:53.239 --> 0:35:55.719
<v Speaker 6>were talked about this kind of where you are when

0:35:55.760 --> 0:35:57.920
<v Speaker 6>you come to the music, what your experience is with it,

0:35:57.960 --> 0:35:59.160
<v Speaker 6>and so for me it would come on.

0:35:59.320 --> 0:36:01.520
<v Speaker 1>I'm like, this is just chill ship. I do my

0:36:01.560 --> 0:36:02.000
<v Speaker 1>homework too.

0:36:03.040 --> 0:36:06.400
<v Speaker 2>But I think before smooth jazz, there was cool, and

0:36:06.640 --> 0:36:11.000
<v Speaker 2>cool was you know, Bertha Cool, which is probably a

0:36:12.040 --> 0:36:16.160
<v Speaker 2>better example of smooth jazz. You know. Actually, Steve, you

0:36:16.160 --> 0:36:20.000
<v Speaker 2>are the Creed tailor uh expert here. Now I'm a

0:36:20.040 --> 0:36:23.040
<v Speaker 2>Cretailor fan only because a lot of his stuff is

0:36:23.040 --> 0:36:27.680
<v Speaker 2>so breakbeat oriented, you know, all that Bob James stuff,

0:36:27.800 --> 0:36:31.040
<v Speaker 2>all the you know, all the all this stuff, even

0:36:31.080 --> 0:36:36.759
<v Speaker 2>Krover like. But I know that jazz experts or the

0:36:36.880 --> 0:36:41.200
<v Speaker 2>jazz police, will you know, give that a raspberry down

0:36:41.280 --> 0:36:44.040
<v Speaker 2>in two seconds? But I don't know.

0:36:44.280 --> 0:36:49.240
<v Speaker 7>I would think that won't worry from New Orleans.

0:36:50.400 --> 0:36:52.839
<v Speaker 1>Listen you how did you escape the cult?

0:36:52.880 --> 0:36:56.759
<v Speaker 7>Then here's here's the thing about we don't deal with

0:36:56.840 --> 0:36:58.880
<v Speaker 7>the jazz poof you know what I mean, There's a

0:36:59.440 --> 0:37:04.880
<v Speaker 7>there's a different between like upholding something right and moving

0:37:04.920 --> 0:37:08.080
<v Speaker 7>something forward, you know what I mean? Like, well, I've

0:37:08.120 --> 0:37:10.440
<v Speaker 7>been teaching I'm not teaching it now, but when I

0:37:10.520 --> 0:37:12.520
<v Speaker 7>was working at the Monk Institute, man, I hung around

0:37:12.560 --> 0:37:16.279
<v Speaker 7>Herbie and Wayne for over fifteen years, you know what

0:37:16.360 --> 0:37:20.200
<v Speaker 7>I mean, And being around those dudes, they constantly make

0:37:20.280 --> 0:37:23.279
<v Speaker 7>you think about things. And Wayne Charlotte used to say,

0:37:23.400 --> 0:37:25.040
<v Speaker 7>jazz means I dare you.

0:37:25.040 --> 0:37:25.600
<v Speaker 1>You know what I mean?

0:37:25.640 --> 0:37:28.960
<v Speaker 7>So that's the way that I look at it. Wow,

0:37:31.080 --> 0:37:33.480
<v Speaker 7>I don't like. I don't like the divisions and music,

0:37:34.239 --> 0:37:37.200
<v Speaker 7>you know, because we already have too many divisions in life,

0:37:37.440 --> 0:37:39.160
<v Speaker 7>you know, we don't need divisions of music. As a

0:37:39.160 --> 0:37:41.600
<v Speaker 7>matter of fact. I remember years ago when I was

0:37:41.640 --> 0:37:43.480
<v Speaker 7>with all Blakey Man. We were in Paris, and I

0:37:43.520 --> 0:37:46.080
<v Speaker 7>don't know if you know Marvel Miller was very jazz pianist.

0:37:46.880 --> 0:37:49.839
<v Speaker 7>Would we would? I hate that meit this, But we

0:37:49.840 --> 0:37:53.879
<v Speaker 7>was homesick, so we went to McDonald's and shit, be the.

0:37:53.800 --> 0:38:00.960
<v Speaker 2>Only one that would go to in America that there.

0:38:03.200 --> 0:38:06.000
<v Speaker 1>Are exactly.

0:38:07.840 --> 0:38:08.040
<v Speaker 2>Ship.

0:38:08.800 --> 0:38:09.920
<v Speaker 8>Yeah.

0:38:10.160 --> 0:38:13.359
<v Speaker 7>While we were sitting there, man, I remember we heard

0:38:13.440 --> 0:38:17.600
<v Speaker 7>Nancy Wilson, we heard uh, we heard some R and B,

0:38:18.239 --> 0:38:21.160
<v Speaker 7>we heard some classical music, and it was all being

0:38:21.200 --> 0:38:22.720
<v Speaker 7>played from the same station.

0:38:23.800 --> 0:38:26.480
<v Speaker 3>Oh Europe, Oh Europe, you know.

0:38:27.320 --> 0:38:30.600
<v Speaker 7>And it was all African American artists. I'm assuming classical.

0:38:30.760 --> 0:38:34.439
<v Speaker 7>I was assuming the classical person, and I was sitting

0:38:34.440 --> 0:38:37.600
<v Speaker 7>there saying wow, and and it was deep because it

0:38:37.640 --> 0:38:39.920
<v Speaker 7>took us a minute to realize it because when you,

0:38:39.920 --> 0:38:41.719
<v Speaker 7>you know, you first sit down, you kind of think, oh,

0:38:41.760 --> 0:38:43.040
<v Speaker 7>this is just gonna be like some R and B

0:38:43.040 --> 0:38:44.960
<v Speaker 7>stuff that's playing. The next thing, you know, it's like

0:38:44.960 --> 0:38:47.520
<v Speaker 7>Timmy finn, I got something that's playing, What what the hell?

0:38:47.960 --> 0:38:50.640
<v Speaker 7>And then if something else playing, and I went, see, man,

0:38:51.440 --> 0:38:54.160
<v Speaker 7>this is what's really cool because then we're starting to

0:38:54.160 --> 0:38:57.920
<v Speaker 7>see the breath of who we are as a community bro,

0:38:58.120 --> 0:39:02.600
<v Speaker 7>not this kind of localized yeah, you know, and it

0:39:02.680 --> 0:39:07.400
<v Speaker 7>keeps people fearful, keeps people fearful of trynics experience something different,

0:39:07.600 --> 0:39:08.200
<v Speaker 7>you know what I mean?

0:39:08.840 --> 0:39:12.359
<v Speaker 2>Yeah, all right, Steve, I'm asking your question unless you're

0:39:12.360 --> 0:39:13.400
<v Speaker 2>going to ask you right now.

0:39:13.960 --> 0:39:16.239
<v Speaker 11>Well, I have a question, but I doubt you know

0:39:16.280 --> 0:39:16.680
<v Speaker 11>what it is.

0:39:17.760 --> 0:39:19.960
<v Speaker 2>Okay, Well then I'm taking your question.

0:39:20.840 --> 0:39:22.560
<v Speaker 1>Okay, I can wait.

0:39:23.360 --> 0:39:26.200
<v Speaker 2>All right, ask your question, Steve. No, I don't want

0:39:26.239 --> 0:39:28.880
<v Speaker 2>to ruin I don't want to ruin your flow. I

0:39:28.960 --> 0:39:31.880
<v Speaker 2>was going to ask what was the first album that you.

0:39:33.080 --> 0:39:34.920
<v Speaker 11>Oh no, that's not my My question is where's your

0:39:34.960 --> 0:39:36.960
<v Speaker 11>album collection right now? So we can pull up and

0:39:37.560 --> 0:39:41.440
<v Speaker 11>you know that's the question.

0:39:42.560 --> 0:39:45.120
<v Speaker 7>You know what, you know what's funny about that, bro? Man,

0:39:45.560 --> 0:39:48.319
<v Speaker 7>My wife just has some cabinets built and we put

0:39:48.360 --> 0:39:52.319
<v Speaker 7>all the records over over there, you know, and I

0:39:52.360 --> 0:39:54.320
<v Speaker 7>got my turntable over there and everything.

0:39:55.560 --> 0:39:57.680
<v Speaker 1>I've switched everything over the digital.

0:39:57.800 --> 0:40:02.279
<v Speaker 3>Dude, Okay, you off the floor.

0:40:02.320 --> 0:40:03.040
<v Speaker 2>Save space.

0:40:04.480 --> 0:40:06.520
<v Speaker 7>No no, no, no, no, it's not you know, you know,

0:40:06.800 --> 0:40:17.640
<v Speaker 7>you know, I get I know a lot of dudes

0:40:17.719 --> 0:40:17.920
<v Speaker 7>like that.

0:40:18.000 --> 0:40:19.719
<v Speaker 1>I get it. I get it. You know.

0:40:20.000 --> 0:40:24.719
<v Speaker 7>It's it's interesting, man, because uh I felt bad one day, man,

0:40:24.760 --> 0:40:27.000
<v Speaker 7>when my kids they were they were little. They're grown now,

0:40:27.040 --> 0:40:29.080
<v Speaker 7>but when they were little, I felt bad.

0:40:29.200 --> 0:40:29.359
<v Speaker 5>Man.

0:40:29.400 --> 0:40:32.840
<v Speaker 7>I pulled out the turntable and I gave him some records,

0:40:32.880 --> 0:40:34.719
<v Speaker 7>and the watching them put the needle on the thing

0:40:34.840 --> 0:40:37.480
<v Speaker 7>and with such amazement in their eyes, was.

0:40:37.480 --> 0:40:42.520
<v Speaker 8>Like, I went, wow, Right, my daughter just found CDs yesterday.

0:40:42.719 --> 0:40:45.359
<v Speaker 8>She's like, what are these? I was like, really, ship, Yeah,

0:40:45.520 --> 0:40:47.520
<v Speaker 8>she took and then she took them. She took them

0:40:47.719 --> 0:40:50.239
<v Speaker 8>and she used them to paint on they like to

0:40:50.320 --> 0:40:51.920
<v Speaker 8>paint to make art out of because she didn't know

0:40:51.960 --> 0:40:52.319
<v Speaker 8>what to do.

0:40:52.280 --> 0:40:53.680
<v Speaker 1>With the season. It was a moment.

0:40:55.320 --> 0:40:57.000
<v Speaker 7>A good friend of mine, a good friend of mine,

0:40:57.040 --> 0:40:58.920
<v Speaker 7>he used to sell records here. He had a he

0:40:58.960 --> 0:41:00.880
<v Speaker 7>had a store any walls ago, we're read just how

0:41:00.960 --> 0:41:03.319
<v Speaker 7>was hanging out and my daughter Sidney, who was living

0:41:03.360 --> 0:41:06.160
<v Speaker 7>in Brooklyn. Man, he knows she's a musician, she's a

0:41:06.160 --> 0:41:10.000
<v Speaker 7>songwriter and everything. So he pulls out in one of

0:41:10.040 --> 0:41:12.200
<v Speaker 7>the first Sony Walkman.

0:41:12.960 --> 0:41:15.120
<v Speaker 1>The Yellow Ones, first one.

0:41:15.600 --> 0:41:18.520
<v Speaker 7>Yeah yeah, and he gave it to her.

0:41:18.960 --> 0:41:19.719
<v Speaker 3>What's she doing with dad?

0:41:19.920 --> 0:41:23.759
<v Speaker 7>She told, I said, I gave her this long, long

0:41:23.920 --> 0:41:26.640
<v Speaker 7>lecture about you don't even know what you have. You

0:41:26.680 --> 0:41:29.200
<v Speaker 7>need to respect what it is you have, blah blah blah,

0:41:29.239 --> 0:41:32.400
<v Speaker 7>because it was in pristine condition, you know what I mean. Wowe,

0:41:32.480 --> 0:41:35.400
<v Speaker 7>it's still worked. I mean you know she has it.

0:41:35.560 --> 0:41:38.239
<v Speaker 7>She has it wrapped up in in uh in her room.

0:41:38.280 --> 0:41:41.640
<v Speaker 1>Now. I didn't let her take her to Brooklyn like.

0:41:41.640 --> 0:41:43.799
<v Speaker 5>You guys and bragging writs real quick about your kids though,

0:41:43.800 --> 0:41:45.960
<v Speaker 5>because I didn't know about your daughter as a songwriter.

0:41:46.520 --> 0:41:49.080
<v Speaker 7>Oh yeah, yeah yeah. My son actually wrote some stuff

0:41:49.080 --> 0:41:50.080
<v Speaker 7>from one of my albums.

0:41:50.120 --> 0:41:50.319
<v Speaker 1>Man.

0:41:50.600 --> 0:41:55.400
<v Speaker 7>You know he's a great songwriter to Jay poetry, right, yeah.

0:41:56.880 --> 0:41:59.000
<v Speaker 3>We're about to follow him Terrence with the name.

0:41:59.239 --> 0:42:02.880
<v Speaker 7>Jay Ray Oliver, but the red spelled like r E.

0:42:03.120 --> 0:42:05.640
<v Speaker 3>I okay, and then what's your daughter?

0:42:06.160 --> 0:42:11.800
<v Speaker 7>My daughters like her name is Sydney, but she Tom.

0:42:12.120 --> 0:42:14.640
<v Speaker 7>She's got like Tom girl or something that's I hamble on.

0:42:14.840 --> 0:42:15.880
<v Speaker 1>I g you know, I can't.

0:42:16.360 --> 0:42:16.759
<v Speaker 4>That's fine.

0:42:16.800 --> 0:42:18.480
<v Speaker 3>I just wanted to know at least we can find myself.

0:42:18.480 --> 0:42:21.200
<v Speaker 7>That's one of my first record with a band called

0:42:21.719 --> 0:42:29.239
<v Speaker 7>about the releasing, you know, against Priest Nice.

0:42:29.719 --> 0:42:32.240
<v Speaker 2>All right, yeah, but okay, So what was the first

0:42:32.280 --> 0:42:34.280
<v Speaker 2>album that you purchased?

0:42:34.840 --> 0:42:40.279
<v Speaker 7>Oh, man, okay, I have to class fighter. See it

0:42:40.280 --> 0:42:42.040
<v Speaker 7>was funny because you were talking about me and Ferguson

0:42:42.160 --> 0:42:43.840
<v Speaker 7>the other big Me and not Ferguson fan when I

0:42:43.880 --> 0:42:45.920
<v Speaker 7>was a kid. So some of that stuff with some

0:42:45.960 --> 0:42:48.680
<v Speaker 7>of the first stuff I bought. But when I really

0:42:48.719 --> 0:42:52.840
<v Speaker 7>started to get serious about jazz, man, it was Miles

0:42:52.920 --> 0:42:57.640
<v Speaker 7>David's Funny, My Funny, Valentine Live and Brown and Roach

0:42:58.000 --> 0:43:01.200
<v Speaker 7>Max Roach and Clipping Brown.

0:43:00.719 --> 0:43:03.200
<v Speaker 2>With Jackie on it.

0:43:03.280 --> 0:43:06.879
<v Speaker 7>Yes, okay, I used to wear those records out.

0:43:07.480 --> 0:43:08.680
<v Speaker 2>I've gotten to jazz early.

0:43:09.600 --> 0:43:12.080
<v Speaker 7>Yeah, because you know, living in New Orleans, man, I mean,

0:43:12.120 --> 0:43:14.600
<v Speaker 7>you know, you're just exposed to all of these great musicians.

0:43:14.640 --> 0:43:18.040
<v Speaker 7>You hear guys playing instruments all the time. You know,

0:43:18.120 --> 0:43:20.959
<v Speaker 7>so you just kind of is this in your system?

0:43:21.440 --> 0:43:22.680
<v Speaker 1>Can I ask my question now?

0:43:23.040 --> 0:43:27.800
<v Speaker 11>I mean, yes, it's not related to vinyl records or anything,

0:43:27.840 --> 0:43:30.600
<v Speaker 11>but your your actual trumpet.

0:43:31.080 --> 0:43:32.239
<v Speaker 2>Yes, for people who.

0:43:32.160 --> 0:43:35.400
<v Speaker 11>Have seen you play live or on video, it looks

0:43:35.400 --> 0:43:40.040
<v Speaker 11>different than normal trumpet. And I think me and our

0:43:40.120 --> 0:43:42.760
<v Speaker 11>viewers might be curious, what's the difference between your trumpet

0:43:42.800 --> 0:43:46.600
<v Speaker 11>and quote unquote normal trumpet, and like, does it have

0:43:46.640 --> 0:43:50.000
<v Speaker 11>anything to do with the you know, the mouthpiece especially

0:43:50.120 --> 0:43:52.680
<v Speaker 11>looks looks different. Does that have anything to do with

0:43:52.680 --> 0:43:55.120
<v Speaker 11>what we were talking about earlier the physical aspect of

0:43:55.520 --> 0:43:56.400
<v Speaker 11>having a.

0:43:56.440 --> 0:43:58.160
<v Speaker 7>Little bit I mean it's maybe by a guy named

0:43:58.239 --> 0:44:02.440
<v Speaker 7>David on that and the models Roger a I'm sorry,

0:44:02.640 --> 0:44:05.759
<v Speaker 7>r a Ja. And what he does is when you

0:44:05.840 --> 0:44:08.799
<v Speaker 7>see it, it has a lot of thick bracing on it,

0:44:09.320 --> 0:44:11.799
<v Speaker 7>and the reason why the mouthpiece is there, and it's

0:44:11.840 --> 0:44:15.279
<v Speaker 7>actually removable, but it takes a long long time to

0:44:15.440 --> 0:44:18.560
<v Speaker 7>unscrew because what he's trying to do is to try

0:44:18.600 --> 0:44:22.960
<v Speaker 7>to create a really tight fit, so nothing really vibrates

0:44:22.960 --> 0:44:25.080
<v Speaker 7>in the metal. But when you get to the bell,

0:44:25.200 --> 0:44:28.319
<v Speaker 7>he makes a really really large bell that's dense and

0:44:28.360 --> 0:44:31.279
<v Speaker 7>when you pluck it, man, it rings right, So that's

0:44:31.320 --> 0:44:34.239
<v Speaker 7>the only thing that resonates on the horn. And his

0:44:34.440 --> 0:44:38.560
<v Speaker 7>theory is that by keeping everything else so rigid, the

0:44:38.680 --> 0:44:42.920
<v Speaker 7>sound goes through the horn rather quickly and creates a

0:44:42.960 --> 0:44:44.480
<v Speaker 7>broader tone coming at the bell.

0:44:45.440 --> 0:44:49.120
<v Speaker 11>And what about the physical aspect of is it easier

0:44:49.160 --> 0:44:50.320
<v Speaker 11>on your on your mouth?

0:44:51.280 --> 0:44:53.160
<v Speaker 7>No, I mean it's the same. I mean, he would

0:44:53.160 --> 0:44:55.040
<v Speaker 7>like to tell you it's easier because you know, it's

0:44:55.040 --> 0:44:58.840
<v Speaker 7>slotted better, and blah blah blah. It's still a trumpet.

0:44:58.920 --> 0:45:01.080
<v Speaker 7>It's still still a pH demanding thing.

0:45:01.440 --> 0:45:01.600
<v Speaker 1>You know.

0:45:01.680 --> 0:45:03.560
<v Speaker 7>That was a great trumpet player. Man, I was telling him.

0:45:03.560 --> 0:45:04.959
<v Speaker 7>I said, Man, I'm trying to get to the point

0:45:05.360 --> 0:45:11.359
<v Speaker 7>it doesn't hurt. He said, man, it hurts. Let it go.

0:45:12.239 --> 0:45:14.600
<v Speaker 6>Man, what is the difference between I used to I

0:45:14.600 --> 0:45:17.680
<v Speaker 6>mean playing I still never really knew trumpet, corn it,

0:45:17.880 --> 0:45:18.960
<v Speaker 6>and flugel.

0:45:19.400 --> 0:45:21.560
<v Speaker 7>Well, I mean both of all three of those. It's

0:45:21.600 --> 0:45:23.960
<v Speaker 7>really about tone. I mean they're going to feel different

0:45:24.160 --> 0:45:27.160
<v Speaker 7>just because of the tubing and everything is going to

0:45:27.239 --> 0:45:30.279
<v Speaker 7>feel like really kind of open. It's you know, corn it.

0:45:30.320 --> 0:45:32.680
<v Speaker 7>For me, it feels a little more restrictive, you know,

0:45:33.320 --> 0:45:35.879
<v Speaker 7>But it's just about tone, you know. And and it's

0:45:35.960 --> 0:45:38.719
<v Speaker 7>kind of interesting because I haven't played corner out of

0:45:38.719 --> 0:45:41.280
<v Speaker 7>fluhorn a long, long long time.

0:45:41.640 --> 0:45:43.279
<v Speaker 6>I guess the notes are still the same as the

0:45:43.280 --> 0:45:46.840
<v Speaker 6>trumpet though it's the same finger and everything, gotcha, exactly

0:45:46.880 --> 0:45:48.680
<v Speaker 6>the same, just different.

0:45:49.200 --> 0:45:52.600
<v Speaker 11>Why did why did art Farmers stop playing trumpet and

0:45:52.920 --> 0:45:54.919
<v Speaker 11>only play flug on exclusively?

0:45:55.520 --> 0:45:57.840
<v Speaker 1>He did it? He plays a fluppet, Yeah, he can.

0:45:58.000 --> 0:46:00.759
<v Speaker 7>He came up. Well, the same guy, the same guy

0:46:00.760 --> 0:46:03.000
<v Speaker 7>that me and my horn made his horn, and he

0:46:03.080 --> 0:46:06.960
<v Speaker 7>came in between a trumpet and a fluval horn and

0:46:06.960 --> 0:46:09.879
<v Speaker 7>that they called it the flumpet, you know, and it

0:46:09.960 --> 0:46:15.080
<v Speaker 7>was designed to kind of bring those physical sin ways

0:46:15.120 --> 0:46:17.720
<v Speaker 7>together to create a tone that's kind of in between.

0:46:18.320 --> 0:46:20.680
<v Speaker 7>But he had, he had, he had. That was something

0:46:21.280 --> 0:46:23.399
<v Speaker 7>A lot of that is like in your in your head, man,

0:46:23.719 --> 0:46:25.640
<v Speaker 7>what you're trying to hear, you know what I mean.

0:46:25.719 --> 0:46:30.480
<v Speaker 7>And that's the beauty of any artistry, you know. You know,

0:46:30.600 --> 0:46:32.480
<v Speaker 7>That's what I try to teach my kids. It's like

0:46:33.040 --> 0:46:35.040
<v Speaker 7>I can't tell you who you are. You know, I

0:46:35.040 --> 0:46:36.799
<v Speaker 7>could just give you the twos to kind of help

0:46:37.239 --> 0:46:41.120
<v Speaker 7>you to develop your ideas, but who you are is

0:46:41.160 --> 0:46:45.000
<v Speaker 7>you're an individual. You have to do that investigation yourself.

0:46:45.040 --> 0:46:46.960
<v Speaker 7>And the more you do that, the more you trust it,

0:46:47.000 --> 0:46:49.319
<v Speaker 7>the more you start to see that maybe you're not

0:46:49.480 --> 0:46:51.720
<v Speaker 7>like somebody else. Maybe you do like a different tone,

0:46:51.719 --> 0:46:53.960
<v Speaker 7>maybe you do like a different set up on your

0:46:54.040 --> 0:46:56.200
<v Speaker 7>drums than somebody else. And that's okay as long as

0:46:56.200 --> 0:46:58.440
<v Speaker 7>you're expressing what it is you want to express.

0:46:59.120 --> 0:47:02.160
<v Speaker 11>I was just wondering if you still play other types

0:47:02.440 --> 0:47:06.600
<v Speaker 11>of if you play other brands or models of trumpet,

0:47:06.719 --> 0:47:08.680
<v Speaker 11>or just exclusively the one that we see you with.

0:47:09.080 --> 0:47:13.120
<v Speaker 7>Yeah, just the moment I'm you know, I haven't played

0:47:13.120 --> 0:47:17.400
<v Speaker 7>a horn that plays as for me, at least plays

0:47:17.440 --> 0:47:20.960
<v Speaker 7>as well as his for me, you know, And maybe

0:47:21.000 --> 0:47:25.560
<v Speaker 7>it's just because I'm accustomed to him.

0:47:24.560 --> 0:47:26.560
<v Speaker 1>But there's a certain.

0:47:27.840 --> 0:47:28.040
<v Speaker 2>You know.

0:47:28.239 --> 0:47:32.160
<v Speaker 7>Maurice Andre was this great classical trumpet player from Paris,

0:47:32.200 --> 0:47:34.279
<v Speaker 7>man and he made a comment one time and it

0:47:34.320 --> 0:47:34.920
<v Speaker 7>stuck with me.

0:47:35.160 --> 0:47:35.360
<v Speaker 2>You know.

0:47:36.040 --> 0:47:38.000
<v Speaker 7>He said there were moments in time that he would

0:47:38.040 --> 0:47:40.560
<v Speaker 7>play that he would forget that he had a horn

0:47:40.560 --> 0:47:44.239
<v Speaker 7>in his hand, you know, And sometimes you're playing them

0:47:44.239 --> 0:47:46.799
<v Speaker 7>on thatt it's kind of like that, you know what

0:47:46.800 --> 0:47:50.359
<v Speaker 7>I mean. It's like the trumpet is just what it is.

0:47:50.400 --> 0:47:51.120
<v Speaker 7>It's an instrument.

0:47:51.160 --> 0:47:51.279
<v Speaker 1>Man.

0:47:51.320 --> 0:47:54.200
<v Speaker 7>My trumpet teacher always used to say, you know, he

0:47:55.200 --> 0:47:57.520
<v Speaker 7>would point to the trump and goes, what does that mean?

0:47:57.600 --> 0:47:58.040
<v Speaker 1>What is that?

0:47:58.120 --> 0:48:01.879
<v Speaker 7>And I'm always given this scientific answer, man, you know, like, oh,

0:48:02.000 --> 0:48:04.399
<v Speaker 7>it's a two man. It's blah blah blah blah blah.

0:48:04.400 --> 0:48:07.520
<v Speaker 7>He goes, no, man, it's a mirror of the mind.

0:48:07.800 --> 0:48:08.719
<v Speaker 7>It's a mirror of.

0:48:08.680 --> 0:48:10.400
<v Speaker 1>The mind, you know.

0:48:10.719 --> 0:48:13.960
<v Speaker 7>And uh, that's the way that I kind of look

0:48:14.000 --> 0:48:16.960
<v Speaker 7>at it. With his horns when I'm playing his horns,

0:48:17.000 --> 0:48:18.960
<v Speaker 7>I don't I get to the point where I'm not

0:48:19.000 --> 0:48:22.080
<v Speaker 7>thinking about playing the trumpet, you know, it's about trying

0:48:22.080 --> 0:48:26.319
<v Speaker 7>to convey an idea to an audience. Growing up in

0:48:26.360 --> 0:48:32.640
<v Speaker 7>New Orleans, especially at the age in your formative years,

0:48:33.160 --> 0:48:37.399
<v Speaker 7>what was your relationship with pop or soul music at

0:48:37.400 --> 0:48:41.400
<v Speaker 7>the time? Like cats I saw, you know cats that

0:48:41.480 --> 0:48:44.160
<v Speaker 7>I grew up with in the seventies. You know, they

0:48:44.320 --> 0:48:47.280
<v Speaker 7>they were you know, they were looking to like Pee

0:48:47.280 --> 0:48:49.719
<v Speaker 7>Wee from the Ohio Players, or like William King from

0:48:49.760 --> 0:48:50.480
<v Speaker 7>the Commondors.

0:48:50.600 --> 0:48:54.160
<v Speaker 2>Like every high school wanted to play like love roller

0:48:54.160 --> 0:48:57.440
<v Speaker 2>Coaster or that sort of thing. Like where what was

0:48:57.440 --> 0:49:01.319
<v Speaker 2>your relationship with just modern music at the time?

0:49:02.280 --> 0:49:08.320
<v Speaker 7>What it was Bernie well Wall, Yes, indeed, Bernie Paulamer, Funker, Bellis,

0:49:08.320 --> 0:49:12.480
<v Speaker 7>earth Wind and Fire Cool in the Gang Mandrel, you know,

0:49:13.280 --> 0:49:15.120
<v Speaker 7>all of those groups. Man, that was the stuff that

0:49:15.160 --> 0:49:16.680
<v Speaker 7>I used to listen to. As a matter of fact,

0:49:17.120 --> 0:49:19.200
<v Speaker 7>I used to play keyboard in the pop band when

0:49:19.239 --> 0:49:22.400
<v Speaker 7>I was in high school and really dug it, you

0:49:22.440 --> 0:49:24.480
<v Speaker 7>know what I mean, had a lot of fun doing it, man,

0:49:24.520 --> 0:49:27.080
<v Speaker 7>and then continued to do it. You know, even when

0:49:27.080 --> 0:49:28.560
<v Speaker 7>I got to college a little bit. We used to

0:49:28.600 --> 0:49:30.720
<v Speaker 7>we used to do a lot of that stuff, playing

0:49:30.719 --> 0:49:33.160
<v Speaker 7>those gigs, and I always had fun. Listen, man, I've

0:49:33.160 --> 0:49:36.319
<v Speaker 7>always loved that music. You know. That's why I loved

0:49:36.360 --> 0:49:40.040
<v Speaker 7>Prince so much, because Prince, to me, was like a throwback.

0:49:40.239 --> 0:49:42.360
<v Speaker 7>You know. Obviously he come out of James Brown. You

0:49:42.360 --> 0:49:44.960
<v Speaker 7>could hear all of that stuff. You could hear, you know,

0:49:45.120 --> 0:49:47.080
<v Speaker 7>where he paid reverence a lot of people that had

0:49:47.120 --> 0:49:50.040
<v Speaker 7>come performed. But the thing that I liked about Prince's

0:49:50.120 --> 0:49:52.040
<v Speaker 7>kind of like Myles to me, and that you know,

0:49:52.120 --> 0:49:54.480
<v Speaker 7>with all of those albums, bro, he was trying something

0:49:54.520 --> 0:49:58.080
<v Speaker 7>different and he was always finding something new to express,

0:49:58.360 --> 0:50:02.480
<v Speaker 7>you know, and uh he was unapologetic about it. I

0:50:03.200 --> 0:50:06.680
<v Speaker 7>just listen, man, you know, he was the only artist

0:50:06.680 --> 0:50:09.360
<v Speaker 7>that I saw at the time that could have like

0:50:09.440 --> 0:50:12.400
<v Speaker 7>a like a heavy metal tune in a country tune

0:50:12.440 --> 0:50:15.200
<v Speaker 7>on the same album, you know what I mean, right,

0:50:15.320 --> 0:50:17.359
<v Speaker 7>and it'll still sound like him, you know what I mean.

0:50:17.400 --> 0:50:19.400
<v Speaker 7>It's like you had to tip your hat to that.

0:50:19.560 --> 0:50:22.759
<v Speaker 2>So so funking soul wasn't a four letter word to

0:50:22.800 --> 0:50:23.640
<v Speaker 2>you at the time.

0:50:23.920 --> 0:50:25.520
<v Speaker 7>Never, never, ever.

0:50:25.960 --> 0:50:28.400
<v Speaker 2>Okay, So now I'll go back to my original question,

0:50:28.560 --> 0:50:33.120
<v Speaker 2>because I know that you've had associations with Ellis Marcellus

0:50:34.400 --> 0:50:39.200
<v Speaker 2>and and his kids. Uh, how did you?

0:50:40.280 --> 0:50:40.799
<v Speaker 1>How did you?

0:50:41.560 --> 0:50:46.000
<v Speaker 2>How did you escape the at least in my personal,

0:50:46.239 --> 0:50:50.880
<v Speaker 2>uh point of view, the this kind of get out

0:50:51.239 --> 0:50:59.920
<v Speaker 2>cultish jazz cultish regime of Marcella's seriousness, which you know,

0:51:00.160 --> 0:51:02.839
<v Speaker 2>depending on which morsels you talk to is either some

0:51:02.880 --> 0:51:06.879
<v Speaker 2>of them are wide open or rebellious or some are

0:51:06.960 --> 0:51:10.120
<v Speaker 2>very much like you must study the book of you know,

0:51:10.320 --> 0:51:13.000
<v Speaker 2>chapter Jazz Verse Swing.

0:51:13.480 --> 0:51:15.560
<v Speaker 1>You know, Yeah, how did you escape that?

0:51:16.120 --> 0:51:18.600
<v Speaker 7>Well? I mean, listen, man, you know, at a certain

0:51:18.640 --> 0:51:23.120
<v Speaker 7>point of your development, those things are really appropriate to

0:51:23.160 --> 0:51:25.920
<v Speaker 7>help you to just decipher information, you know. So when

0:51:25.960 --> 0:51:29.040
<v Speaker 7>I was a young kid, all of that stuff was

0:51:29.040 --> 0:51:33.319
<v Speaker 7>was really it's really great to make me sit down

0:51:33.360 --> 0:51:37.120
<v Speaker 7>and focus in practice, you know. But at the same time, bruh,

0:51:37.880 --> 0:51:40.840
<v Speaker 7>I'm still a compassionate, feeling person. I'm not going to

0:51:40.920 --> 0:51:42.880
<v Speaker 7>deny what it is that I feel in my soul,

0:51:43.440 --> 0:51:45.279
<v Speaker 7>you know what I mean. I'm not going to turn

0:51:45.960 --> 0:51:48.520
<v Speaker 7>I give you another example, you know, forget to mysels.

0:51:48.520 --> 0:51:51.080
<v Speaker 7>I'll just go to the church. You know, I grew

0:51:51.120 --> 0:51:54.080
<v Speaker 7>up in a congregational as church in New Orleans. Man

0:51:54.160 --> 0:51:55.920
<v Speaker 7>Andrew Young was a member of my church.

0:51:56.560 --> 0:51:56.680
<v Speaker 2>You know.

0:51:57.120 --> 0:51:59.239
<v Speaker 7>Yeah, he grew up in my church, you know. So

0:52:00.080 --> 0:52:02.000
<v Speaker 7>it was it was interesting because as long as I

0:52:02.000 --> 0:52:04.680
<v Speaker 7>play classical music, man, those people love me, you know

0:52:04.719 --> 0:52:07.800
<v Speaker 7>what I mean. When I started to become a jazz musician,

0:52:07.800 --> 0:52:10.080
<v Speaker 7>they used to say, well, you know that's that jazz

0:52:10.120 --> 0:52:12.600
<v Speaker 7>is fine, but you keep keep up with your classics.

0:52:12.160 --> 0:52:12.440
<v Speaker 5>You hear.

0:52:12.800 --> 0:52:15.480
<v Speaker 7>And I'm like, you know, that would always bug me

0:52:15.600 --> 0:52:19.680
<v Speaker 7>because I love music period. You know, there's things that

0:52:19.760 --> 0:52:24.000
<v Speaker 7>I feel that I can't I will not ever deny,

0:52:24.239 --> 0:52:26.960
<v Speaker 7>you know. So, so when I'm when I'm listening to

0:52:27.560 --> 0:52:32.160
<v Speaker 7>you know, uh, when I'm listening to when I'm listening

0:52:32.200 --> 0:52:37.520
<v Speaker 7>to jodasy Right and and and Jodaicy, some of that

0:52:37.560 --> 0:52:42.360
<v Speaker 7>ship is like like really funky, you know, I still

0:52:42.680 --> 0:52:46.840
<v Speaker 7>feel something just as much as when I'm listening to women.

0:52:47.520 --> 0:52:50.479
<v Speaker 7>And I know people say that as a as a thing.

0:52:50.600 --> 0:52:52.759
<v Speaker 7>You know, I don't. I'm not doing that, you know,

0:52:54.160 --> 0:52:57.480
<v Speaker 7>I look at you know, this world is a vast world, man,

0:52:57.560 --> 0:52:59.680
<v Speaker 7>and God has given all of us different talents to

0:52:59.680 --> 0:53:03.160
<v Speaker 7>express things in various ways. So there shouldn't be one

0:53:03.200 --> 0:53:06.520
<v Speaker 7>way to skin a cat, you know what I'm saying.

0:53:07.080 --> 0:53:09.680
<v Speaker 7>And as long as you're coming at it from a

0:53:09.760 --> 0:53:13.400
<v Speaker 7>point of view of honesty and sincerity, who gives the

0:53:13.400 --> 0:53:16.080
<v Speaker 7>ship what it is that you you know what I mean?

0:53:16.480 --> 0:53:20.960
<v Speaker 7>It's like, that's my personal opinion for me. I think

0:53:21.000 --> 0:53:23.719
<v Speaker 7>all of that divisive stuff is a way that has

0:53:23.800 --> 0:53:26.920
<v Speaker 7>kept black people separated from each other in a way

0:53:26.960 --> 0:53:29.799
<v Speaker 7>that's unnecessary, you know. And I think it's kind of

0:53:29.840 --> 0:53:31.600
<v Speaker 7>hard for us to see that sometimes.

0:53:32.800 --> 0:53:35.200
<v Speaker 5>And maybe it's funny because we interviewed him two May

0:53:35.239 --> 0:53:36.840
<v Speaker 5>and I feel like in a way, he had to

0:53:36.840 --> 0:53:38.920
<v Speaker 5>fight that fight, so maybe other people wouldn't, because he

0:53:39.080 --> 0:53:41.879
<v Speaker 5>definitely was vocal about how people felt about him making

0:53:41.880 --> 0:53:44.000
<v Speaker 5>that transition in the R and B and whatnot.

0:53:44.280 --> 0:53:46.560
<v Speaker 7>Oh look, you know with my band The E Collective,

0:53:46.600 --> 0:53:48.920
<v Speaker 7>I heard it. You know, I've been here. You know

0:53:49.160 --> 0:53:51.920
<v Speaker 7>when we did that, man, it was funny. It was

0:53:51.960 --> 0:53:54.640
<v Speaker 7>funny when we did our first tour of Europe. Dude,

0:53:54.760 --> 0:53:56.279
<v Speaker 7>it was funny. Every time we got out in the

0:53:56.320 --> 0:53:58.439
<v Speaker 7>audience and we saw great hair, we go, oh shit,

0:54:01.040 --> 0:54:03.319
<v Speaker 7>you know, okay, it's gonna be one of them.

0:54:03.400 --> 0:54:03.640
<v Speaker 2>Nice.

0:54:03.760 --> 0:54:06.520
<v Speaker 7>But the funny part about it, man, you know when

0:54:06.560 --> 0:54:09.320
<v Speaker 7>the band will start to play, and you know, Oscar

0:54:09.360 --> 0:54:11.320
<v Speaker 7>Sene is the drummer, man, and he's got a strong

0:54:11.400 --> 0:54:13.440
<v Speaker 7>pocket man, And when the band will start to play,

0:54:14.400 --> 0:54:16.920
<v Speaker 7>people start tapping their feet and they will start grooving

0:54:16.960 --> 0:54:20.320
<v Speaker 7>to the music, and we say, oh, okay, gotcha, gotcha, gotcha.

0:54:20.920 --> 0:54:23.960
<v Speaker 7>So for me, man, music is music, dude, you know

0:54:24.000 --> 0:54:28.640
<v Speaker 7>what I mean. It's it's uh, you know, it's I

0:54:28.680 --> 0:54:34.240
<v Speaker 7>don't know. I hate the labeling of things because I've

0:54:34.360 --> 0:54:38.120
<v Speaker 7>seen it just keep us apart rather than bring us

0:54:38.160 --> 0:54:42.399
<v Speaker 7>together for too long. And I just wish we could

0:54:42.440 --> 0:54:46.040
<v Speaker 7>just turn turn that around. We haven't learned from like Herbie.

0:54:46.440 --> 0:54:49.640
<v Speaker 7>You know what I'm saying, Because Herbie was showing us

0:54:49.680 --> 0:54:50.440
<v Speaker 7>this years.

0:54:50.200 --> 0:54:53.600
<v Speaker 5>Ago, you know what I mean, right, y'all was still

0:54:53.600 --> 0:54:55.120
<v Speaker 5>having a conversation and Mobeta Blues.

0:54:56.360 --> 0:54:58.560
<v Speaker 7>Yeah, Oh listen, man, Man, you know what, we did

0:54:58.600 --> 0:55:00.560
<v Speaker 7>more better blues. It was kind of fun because when

0:55:00.760 --> 0:55:03.040
<v Speaker 7>when when the movie hit, we were like in the

0:55:03.080 --> 0:55:06.200
<v Speaker 7>top ten on radio charts in d C or some SI.

0:55:10.239 --> 0:55:12.880
<v Speaker 2>You're from DC to this episode Born and Raised Howard.

0:55:14.840 --> 0:55:16.120
<v Speaker 1>This episode?

0:55:16.960 --> 0:55:21.040
<v Speaker 2>Okay today youtu baby born in DC.

0:55:21.160 --> 0:55:24.440
<v Speaker 1>I got you today's narrative.

0:55:24.840 --> 0:55:30.440
<v Speaker 2>So with what would you say? Is your your Well,

0:55:30.480 --> 0:55:34.080
<v Speaker 2>I know you played with Hampton? Uh, but what was

0:55:34.080 --> 0:55:38.400
<v Speaker 2>your first professional I made it. I don't have to

0:55:38.440 --> 0:55:41.600
<v Speaker 2>have a part time job. I'm officially gigging. Like, what

0:55:41.760 --> 0:55:45.640
<v Speaker 2>was your first official moment playing with all Blake? Oh?

0:55:45.680 --> 0:55:47.040
<v Speaker 1>So Messengers came first?

0:55:47.480 --> 0:55:49.239
<v Speaker 7>Yeah, man, when I was about nineteen years old, I

0:55:49.320 --> 0:55:52.120
<v Speaker 7>joined that band and I had to leave school. I

0:55:52.160 --> 0:55:55.800
<v Speaker 7>was going to Rutgis University in New Jersey and with

0:55:55.960 --> 0:55:56.919
<v Speaker 7>Regina bell Man.

0:55:57.120 --> 0:56:00.880
<v Speaker 1>You know, okay, this is up. Yeah, all the school together.

0:56:01.239 --> 0:56:03.399
<v Speaker 3>Yeah, even though she went to us. That's dope.

0:56:03.440 --> 0:56:06.239
<v Speaker 2>Ok yeah, I did not know. Yeah, so what was

0:56:06.280 --> 0:56:08.200
<v Speaker 2>that old key? Tell us about the experience playing with

0:56:08.560 --> 0:56:10.240
<v Speaker 2>our Oh man.

0:56:10.280 --> 0:56:12.280
<v Speaker 7>Bruh here with that? Sorry?

0:56:12.360 --> 0:56:14.040
<v Speaker 8>What year were in the Messengers?

0:56:14.239 --> 0:56:17.680
<v Speaker 7>It was from eighty two to eighty six, And I

0:56:17.719 --> 0:56:19.560
<v Speaker 7>tell people, man, I was there for four years. But

0:56:19.640 --> 0:56:24.600
<v Speaker 7>our aged like about forty. I was a young little

0:56:24.680 --> 0:56:27.600
<v Speaker 7>kid from New Orleans, fresh off the farm. Bro it was.

0:56:28.080 --> 0:56:30.200
<v Speaker 7>And then my first tour with him was like ten

0:56:30.239 --> 0:56:31.160
<v Speaker 7>weeks in Europe.

0:56:31.239 --> 0:56:35.760
<v Speaker 2>Dude, Wow, tell us everything about it, man from New Orleans.

0:56:35.760 --> 0:56:38.640
<v Speaker 7>Bro I spoke a little bit of Spanish, brou. It

0:56:38.760 --> 0:56:40.320
<v Speaker 7>was a trip just trying to eat.

0:56:40.680 --> 0:56:41.319
<v Speaker 1>Oh my god.

0:56:41.640 --> 0:56:44.200
<v Speaker 7>And then we hit London the last two weeks of

0:56:44.280 --> 0:56:50.080
<v Speaker 7>the tour. Bro I was so happy to hear English English. Man.

0:56:50.320 --> 0:56:52.480
<v Speaker 7>It was crazy, bro it was. It was crazy. But

0:56:52.920 --> 0:56:55.719
<v Speaker 7>you know, listen, man, I learned a lot about the world.

0:56:55.800 --> 0:56:57.719
<v Speaker 7>And I came back and I remember I came back

0:56:58.040 --> 0:57:00.520
<v Speaker 7>and I was telling my mom about my cousin and stuff.

0:57:00.560 --> 0:57:01.840
<v Speaker 7>I said, you know, we need to figure out a

0:57:01.840 --> 0:57:04.319
<v Speaker 7>way to get these kids to travel to see the world,

0:57:04.320 --> 0:57:07.440
<v Speaker 7>because that's the education, you know. And I learned. I

0:57:07.520 --> 0:57:10.479
<v Speaker 7>learned a great deal. And Art was the type of guy, man,

0:57:11.400 --> 0:57:12.000
<v Speaker 7>you know what I mean.

0:57:12.600 --> 0:57:13.480
<v Speaker 1>He he had.

0:57:13.360 --> 0:57:17.439
<v Speaker 7>An Art was an interesting personality, you know what I mean.

0:57:17.480 --> 0:57:19.680
<v Speaker 7>He he was the kind of guy he could bullshit

0:57:19.760 --> 0:57:22.440
<v Speaker 7>you all day long. But then man, they'd be th

0:57:22.440 --> 0:57:25.120
<v Speaker 7>those moments brou where you would sit down and have

0:57:25.160 --> 0:57:29.640
<v Speaker 7>a conversation about him, a conversation with him and Bruh,

0:57:29.680 --> 0:57:32.480
<v Speaker 7>it would be like life lessons, man, you know, And

0:57:32.520 --> 0:57:36.320
<v Speaker 7>those were always the moments that I truly cherished having

0:57:36.360 --> 0:57:37.960
<v Speaker 7>with him because you know, it would be like one

0:57:38.000 --> 0:57:40.000
<v Speaker 7>on one in the dressing room and he would just

0:57:40.040 --> 0:57:43.760
<v Speaker 7>start talking about some things, and he opened my eyes

0:57:44.560 --> 0:57:46.880
<v Speaker 7>to a lot of stuff, Bro. And the way I

0:57:46.960 --> 0:57:49.000
<v Speaker 7>run my band is still based on the way he

0:57:49.120 --> 0:57:52.600
<v Speaker 7>ran his band by giving guys opportunities a lot, allowing

0:57:52.680 --> 0:57:57.040
<v Speaker 7>him to contribute to the to to the the repertoire

0:57:57.040 --> 0:57:59.480
<v Speaker 7>of the group, and to the concept of what's happening

0:57:59.520 --> 0:58:04.400
<v Speaker 7>with the band. You know, I owe a huge that

0:58:04.560 --> 0:58:07.880
<v Speaker 7>of gratitude to that man because he really turned me around.

0:58:07.960 --> 0:58:08.120
<v Speaker 1>Bro.

0:58:08.280 --> 0:58:11.400
<v Speaker 7>For four years, Dude, think about this.

0:58:11.560 --> 0:58:12.040
<v Speaker 1>Four years.

0:58:12.040 --> 0:58:14.840
<v Speaker 7>I met all of my jazz heroes playing with him.

0:58:15.920 --> 0:58:17.920
<v Speaker 7>That's all. I met them all playing with.

0:58:17.920 --> 0:58:21.080
<v Speaker 4>Him because Max Roach was around them too, right, Like, man.

0:58:21.120 --> 0:58:26.520
<v Speaker 7>Max, Okay, we're playing this club in New York, fat Tuesdays.

0:58:26.840 --> 0:58:29.320
<v Speaker 7>And then the table and it was a small little

0:58:29.320 --> 0:58:34.400
<v Speaker 7>club and then the table right in front was Max Roach, Uh,

0:58:34.640 --> 0:58:38.200
<v Speaker 7>Jack dsh and Net and I think Elvin Jones and

0:58:38.240 --> 0:58:40.640
<v Speaker 7>the three of them were sitting there, you know, and

0:58:40.680 --> 0:58:48.080
<v Speaker 7>I was like, Yez, you know, I'm fire. You know,

0:58:48.080 --> 0:58:50.640
<v Speaker 7>I'm in my early twenties and I'm trying. I'm trying

0:58:50.640 --> 0:58:52.040
<v Speaker 7>to play it off and be cool, but you know,

0:58:52.120 --> 0:58:56.560
<v Speaker 7>on the inside, I was sweating bullets. Man, Remember And

0:58:56.600 --> 0:58:59.400
<v Speaker 7>I remember walking by Max and Max was like, really

0:58:59.440 --> 0:59:03.640
<v Speaker 7>strong man. He grabbed my calf. I don't know why

0:59:03.720 --> 0:59:05.600
<v Speaker 7>he did it, but he grabbed my caf.

0:59:05.600 --> 0:59:06.840
<v Speaker 1>You said, man, look at the calves.

0:59:12.440 --> 0:59:14.160
<v Speaker 7>And I couldn't go nowhere. That was a funny part.

0:59:14.160 --> 0:59:15.160
<v Speaker 7>I forgot to tell you that part.

0:59:16.440 --> 0:59:17.000
<v Speaker 1>I couldn't do it.

0:59:17.520 --> 0:59:18.120
<v Speaker 7>I was stuck.

0:59:18.160 --> 0:59:19.919
<v Speaker 1>I was like, damn, you know.

0:59:20.240 --> 0:59:21.720
<v Speaker 4>Like next generation sharecrop a.

0:59:21.760 --> 0:59:30.800
<v Speaker 2>Talk wait Terrence. When you are when you're young and

0:59:30.960 --> 0:59:35.280
<v Speaker 2>you're in this institution, Yeah, how do you not how

0:59:35.280 --> 0:59:37.520
<v Speaker 2>do you resist the temptation to not flex?

0:59:39.240 --> 0:59:40.959
<v Speaker 1>Oh okay, So like when I DJ.

0:59:41.720 --> 0:59:45.120
<v Speaker 2>When I DJ, it's me and in the audience, but

0:59:45.200 --> 0:59:48.840
<v Speaker 2>the second one of my peers comes in the DJ boost,

0:59:50.040 --> 0:59:54.280
<v Speaker 2>then the temptation, then the temptation to like play that rare,

0:59:54.480 --> 0:59:57.919
<v Speaker 2>obscure Japanese record that I brought that only we get

0:59:59.240 --> 1:00:02.800
<v Speaker 2>like the temptation in the flex, and I normally lose

1:00:02.840 --> 1:00:06.440
<v Speaker 2>my audience if I do it, and I might, you know,

1:00:06.760 --> 1:00:08.960
<v Speaker 2>and sometimes I've gave it, given it and just let

1:00:08.960 --> 1:00:19.880
<v Speaker 2>the audience, you know, uh, Prins fans. Everyone loved that ship,

1:00:22.120 --> 1:00:25.160
<v Speaker 2>whatever it is, AnyWho you.

1:00:24.200 --> 1:00:26.480
<v Speaker 7>Know, being with I get what you're saying. I understand

1:00:26.520 --> 1:00:28.160
<v Speaker 7>because you know being with Art Man. Here's the thing

1:00:28.200 --> 1:00:30.800
<v Speaker 7>you got to remember, that was a long lency a

1:00:30.840 --> 1:00:33.480
<v Speaker 7>great musicians that came in up man before you, before

1:00:33.560 --> 1:00:36.720
<v Speaker 7>any of us. Right, so you already humbled just by

1:00:36.760 --> 1:00:38.480
<v Speaker 7>being in the band. And look at some of those

1:00:38.520 --> 1:00:39.919
<v Speaker 7>dudes would come by and hang out.

1:00:40.360 --> 1:00:41.680
<v Speaker 1>Man, you got back.

1:00:41.760 --> 1:00:45.160
<v Speaker 7>Then you got to remember man, Woody Shaw would show up,

1:00:45.200 --> 1:00:47.480
<v Speaker 7>Freddie Hubber would show up, and those dudes would just

1:00:47.520 --> 1:00:51.600
<v Speaker 7>be sitting in the club hanging out. Damn okay, all right, man,

1:00:51.640 --> 1:00:54.360
<v Speaker 7>he's here checking me out, all right. Adie Henderson was

1:00:54.400 --> 1:00:57.280
<v Speaker 7>another one. And then the other part of it too

1:00:57.400 --> 1:01:00.400
<v Speaker 7>is that you know, we really wanted to learn, you know,

1:01:00.520 --> 1:01:03.280
<v Speaker 7>the our thing was, but I know my thing was

1:01:03.360 --> 1:01:05.400
<v Speaker 7>I wanted to learn as much as I could about

1:01:05.840 --> 1:01:09.920
<v Speaker 7>playing music because for some reason, even though I was young,

1:01:10.480 --> 1:01:13.920
<v Speaker 7>I knew that that moment was something to cherish, you

1:01:14.000 --> 1:01:15.960
<v Speaker 7>know what I mean. I didn't try to take it

1:01:16.000 --> 1:01:19.320
<v Speaker 7>for granted. So every little thing that I could, I

1:01:19.360 --> 1:01:21.480
<v Speaker 7>tried to milk as much out of it as I could,

1:01:21.600 --> 1:01:24.040
<v Speaker 7>you know. So I was like a fly on the wall.

1:01:24.120 --> 1:01:24.240
<v Speaker 1>Bro.

1:01:24.480 --> 1:01:27.000
<v Speaker 7>Sometimes, Man, the guys would come by and they'd be

1:01:27.040 --> 1:01:28.720
<v Speaker 7>hanging in the dress room bro, and I would just

1:01:28.800 --> 1:01:31.040
<v Speaker 7>be sitting in a quiet as a church mouse, bro,

1:01:31.240 --> 1:01:34.080
<v Speaker 7>not saying a word, just watching and listening to these

1:01:34.120 --> 1:01:38.200
<v Speaker 7>conversations that's being had with Dexa Gordon or or or

1:01:38.440 --> 1:01:44.400
<v Speaker 7>you know, Walter Davis or Herbie or Algiol came by

1:01:44.560 --> 1:01:49.480
<v Speaker 7>side saying, well, one time Stanley Clark will come by

1:01:49.560 --> 1:01:50.560
<v Speaker 7>and play with us, you know.

1:01:51.440 --> 1:01:54.320
<v Speaker 2>But I've been more on stage, Like what because I

1:01:54.400 --> 1:01:57.160
<v Speaker 2>know that if you're in that position like the Temptations

1:01:57.160 --> 1:02:00.480
<v Speaker 2>has not to start showing off. We I mean, I'm

1:02:00.520 --> 1:02:02.440
<v Speaker 2>not saying you could take extra bars or not without

1:02:02.640 --> 1:02:07.439
<v Speaker 2>Art getting upset with you, but like what stops you

1:02:07.480 --> 1:02:11.160
<v Speaker 2>from showing off or we can't do that? Because I

1:02:11.160 --> 1:02:13.240
<v Speaker 2>could tell when like if cats knew it and I'm

1:02:13.240 --> 1:02:15.360
<v Speaker 2>watching them and suddenly like they're doing extra ship that

1:02:15.360 --> 1:02:17.080
<v Speaker 2>they don't need to be doing.

1:02:17.960 --> 1:02:19.120
<v Speaker 7>I cure us of that because I.

1:02:20.640 --> 1:02:23.360
<v Speaker 1>Mean, he says, stop playing for the musicians.

1:02:23.360 --> 1:02:26.880
<v Speaker 5>God damn it, thank you because I paid for his ticket,

1:02:27.080 --> 1:02:30.120
<v Speaker 5>and I would like to thank you because that did

1:02:30.120 --> 1:02:30.640
<v Speaker 5>not pay.

1:02:30.480 --> 1:02:32.640
<v Speaker 4>For that ticket. That you're impressing what.

1:02:32.520 --> 1:02:35.120
<v Speaker 7>He said, they're going to ask you for a free ticket.

1:02:35.280 --> 1:02:37.320
<v Speaker 7>And he said, you're gonna have to filing hands off

1:02:37.360 --> 1:02:39.800
<v Speaker 7>of one goddamn beer because they're not gonna buy nothing.

1:02:39.880 --> 1:02:41.080
<v Speaker 7>So stop paying.

1:02:42.440 --> 1:02:43.200
<v Speaker 3>Get out the mirror.

1:02:43.200 --> 1:02:46.240
<v Speaker 1>I love it, but I'll take that. I'll take that advice.

1:02:46.440 --> 1:02:48.320
<v Speaker 7>Like if I'll tell you this, but I will tell

1:02:48.320 --> 1:02:50.600
<v Speaker 7>you this, I will tell you this. Art was a

1:02:50.680 --> 1:02:54.400
<v Speaker 7>type of dude if your job, your job was always

1:02:54.400 --> 1:02:58.400
<v Speaker 7>in jeopardy, you know what I mean. So sometimes what

1:02:58.480 --> 1:03:00.760
<v Speaker 7>he would do is, man, he bring a dude up

1:03:00.800 --> 1:03:02.440
<v Speaker 7>on your instrument on the bandstand.

1:03:03.240 --> 1:03:05.320
<v Speaker 1>Oh no, that was.

1:03:05.320 --> 1:03:07.800
<v Speaker 7>When you had to show out, you know what I'm saying.

1:03:07.880 --> 1:03:15.360
<v Speaker 7>So because exactly, and I remember, I forgot who it was.

1:03:15.440 --> 1:03:17.960
<v Speaker 7>I forgot who. I don't forgot who the trump player was.

1:03:18.160 --> 1:03:21.000
<v Speaker 1>He said, y'all play a ballad together. I want.

1:03:22.360 --> 1:03:23.360
<v Speaker 4>I don't know him.

1:03:24.840 --> 1:03:28.080
<v Speaker 1>Wow, that was.

1:03:28.120 --> 1:03:31.160
<v Speaker 7>Art man, you know. And then and then if there

1:03:31.160 --> 1:03:35.960
<v Speaker 7>ever was an inkling that Art was unhappy with somebody,

1:03:36.400 --> 1:03:38.040
<v Speaker 7>you kind of knew because there would be a whole

1:03:38.040 --> 1:03:40.320
<v Speaker 7>bunch of dudes with that instrument showing up to the gig.

1:03:42.800 --> 1:03:44.240
<v Speaker 1>I'll never forget one time.

1:03:44.080 --> 1:03:46.240
<v Speaker 7>Man, there was a whole bunch of ixophone player showed

1:03:46.280 --> 1:03:47.720
<v Speaker 7>up and they were just sitting on the side of

1:03:47.720 --> 1:03:50.440
<v Speaker 7>the stage. Man, I was like, damn. And when it

1:03:50.520 --> 1:03:53.360
<v Speaker 7>got time for Art to let him come up and play.

1:03:54.360 --> 1:03:56.720
<v Speaker 7>He let him come up. It was about five or

1:03:56.720 --> 1:03:58.800
<v Speaker 7>six of them. He let him come up and play,

1:03:58.840 --> 1:04:01.320
<v Speaker 7>and then he called Smedie's St Marvers. Betty Smith was

1:04:01.320 --> 1:04:03.360
<v Speaker 7>in the audience. He called him up to come play

1:04:03.400 --> 1:04:04.920
<v Speaker 7>the drums. Then he went in the dressing room.

1:04:04.960 --> 1:04:05.560
<v Speaker 1>He was chilling.

1:04:05.600 --> 1:04:11.480
<v Speaker 2>He was like, yeah, yeah, wow, that's coow. So why

1:04:11.600 --> 1:04:15.080
<v Speaker 2>why did you and uh Donald Harrison decided to leave

1:04:15.480 --> 1:04:18.640
<v Speaker 2>uh in your fourth year with uh Bar Polikey.

1:04:18.520 --> 1:04:20.560
<v Speaker 7>Well, we knew it was time, man and and and

1:04:20.680 --> 1:04:22.880
<v Speaker 7>our band was the type of band where it was

1:04:22.920 --> 1:04:25.400
<v Speaker 7>like a finishing school for young musicians, so we didn't

1:04:25.400 --> 1:04:28.960
<v Speaker 7>want to occupy the space any longer. We knew other

1:04:29.040 --> 1:04:32.320
<v Speaker 7>musicians should have gotten that experience, and they've gotten signed

1:04:32.360 --> 1:04:35.280
<v Speaker 7>the Columbia Records. We had already made a record with

1:04:35.360 --> 1:04:38.920
<v Speaker 7>George Wien's label on Concord Records, but Columbia. George Butler

1:04:39.600 --> 1:04:41.920
<v Speaker 7>had signed us to Columbia and we.

1:04:41.760 --> 1:04:45.000
<v Speaker 2>Were getting I was gonna say, can you can you

1:04:45.080 --> 1:04:45.840
<v Speaker 2>describe what?

1:04:46.440 --> 1:04:46.560
<v Speaker 7>Uh?

1:04:46.760 --> 1:04:49.120
<v Speaker 2>I know many people that worked with George Butler, especially

1:04:49.200 --> 1:04:55.600
<v Speaker 2>like during that period, what what was Butler like? As

1:04:56.000 --> 1:04:58.000
<v Speaker 2>was he an a r of jazz at Columbia or

1:04:58.040 --> 1:04:58.280
<v Speaker 2>was he.

1:04:59.160 --> 1:05:02.200
<v Speaker 7>The vice president in our jast? He was, man, George

1:05:02.240 --> 1:05:04.280
<v Speaker 7>was a cool dude with me. Man, you know, I

1:05:04.360 --> 1:05:07.080
<v Speaker 7>know a lot of people had took issue with George.

1:05:07.760 --> 1:05:10.720
<v Speaker 7>George was the type of guy you know he was.

1:05:11.160 --> 1:05:11.640
<v Speaker 3>He was.

1:05:13.280 --> 1:05:16.560
<v Speaker 7>How do I say it? He knew how to maneuver,

1:05:17.360 --> 1:05:21.240
<v Speaker 7>you know, and in his maneuvering, you know, some people

1:05:21.280 --> 1:05:23.360
<v Speaker 7>didn't like what it is that he would do. But

1:05:23.840 --> 1:05:25.919
<v Speaker 7>he was good by us, you know what I mean.

1:05:26.600 --> 1:05:30.919
<v Speaker 7>And I remember even after me and Donald the band

1:05:30.960 --> 1:05:34.040
<v Speaker 7>split up, he signed me on as a you know,

1:05:34.120 --> 1:05:37.840
<v Speaker 7>as a solo artist there. And uh, we always had

1:05:37.920 --> 1:05:40.680
<v Speaker 7>like a really great relationship. Man. You know, I had

1:05:40.680 --> 1:05:44.000
<v Speaker 7>told him, I had told him this very vogue funny

1:05:44.080 --> 1:05:46.680
<v Speaker 7>story one time, man, and you know it was funny

1:05:46.960 --> 1:05:48.920
<v Speaker 7>because George was a real proper guy.

1:05:48.800 --> 1:05:49.040
<v Speaker 5>You know.

1:05:50.280 --> 1:05:53.120
<v Speaker 7>But but we would hang out and uh, have some

1:05:53.240 --> 1:05:56.440
<v Speaker 7>drinks and he'd be like with some friends, told tell

1:05:56.520 --> 1:05:58.040
<v Speaker 7>them that story, tell him that story.

1:06:00.200 --> 1:06:01.080
<v Speaker 1>He's a funny dude.

1:06:01.200 --> 1:06:02.720
<v Speaker 2>I'm afraid to ask for that story now.

1:06:02.920 --> 1:06:06.400
<v Speaker 4>No, not just because I'm here. You would do it,

1:06:06.400 --> 1:06:07.680
<v Speaker 4>would you? You would do it if I want to

1:06:07.680 --> 1:06:08.320
<v Speaker 4>hear because.

1:06:08.120 --> 1:06:11.760
<v Speaker 5>I'm okay, Okay, that's fine, because I just want you

1:06:11.800 --> 1:06:14.200
<v Speaker 5>to know I'm raunchy, So I could probably challenge you.

1:06:15.120 --> 1:06:17.320
<v Speaker 1>Yeah, maybe, yeah, probably Okay.

1:06:17.480 --> 1:06:21.560
<v Speaker 2>Well, at the time, at the time when when you

1:06:21.760 --> 1:06:26.240
<v Speaker 2>and Donald were heading up the band, how do you

1:06:26.440 --> 1:06:31.200
<v Speaker 2>how are decisions made creatively as far as what direction

1:06:31.320 --> 1:06:34.160
<v Speaker 2>to go or who gets what or who?

1:06:34.320 --> 1:06:36.280
<v Speaker 7>Yeah, that was that was a tough one. I mean,

1:06:36.360 --> 1:06:37.880
<v Speaker 7>you know, it was a tough thing. But that we

1:06:37.920 --> 1:06:40.120
<v Speaker 7>looked at the band as like a workshop man, you know,

1:06:40.200 --> 1:06:43.680
<v Speaker 7>so everybody was bringing the material and that's basically how

1:06:43.760 --> 1:06:44.240
<v Speaker 7>we did it.

1:06:44.400 --> 1:06:44.600
<v Speaker 3>You know.

1:06:46.080 --> 1:06:48.560
<v Speaker 7>Uh, He'd write music, I'd write music. And then the

1:06:48.720 --> 1:06:51.240
<v Speaker 7>interesting thing about it, like sometimes he would write music

1:06:51.560 --> 1:06:53.560
<v Speaker 7>and I would be influenced by what he was writing.

1:06:54.000 --> 1:06:56.400
<v Speaker 7>So that's why the band had a sound, you know

1:06:56.440 --> 1:06:58.800
<v Speaker 7>what I mean? Because I think even though we were

1:06:58.840 --> 1:07:03.000
<v Speaker 7>all writing different material, I think we were all kind

1:07:03.000 --> 1:07:05.760
<v Speaker 7>of like on the same page music, you know. And

1:07:05.800 --> 1:07:09.880
<v Speaker 7>then around that time, man having that band together. You

1:07:09.920 --> 1:07:14.560
<v Speaker 7>know Ralph Peterson who we just lost, God rest his soul.

1:07:15.480 --> 1:07:17.640
<v Speaker 7>He was like one of the one of the first,

1:07:18.040 --> 1:07:20.760
<v Speaker 7>one of the drummers in the band, Marvin Smadie Smith

1:07:20.920 --> 1:07:22.240
<v Speaker 7>was one of the drummers in the band. And then

1:07:22.240 --> 1:07:25.760
<v Speaker 7>we had Carl Allen uh and you know, you know

1:07:25.800 --> 1:07:27.960
<v Speaker 7>how it is, and there, you know, with a drummer

1:07:27.960 --> 1:07:30.120
<v Speaker 7>concept the tone for any band, you know what I mean.

1:07:30.600 --> 1:07:32.680
<v Speaker 7>So that was also one of the things that kind

1:07:32.720 --> 1:07:35.360
<v Speaker 7>of helped take the sound of the group when the

1:07:35.400 --> 1:07:36.240
<v Speaker 7>drummers were changed.

1:07:41.200 --> 1:07:45.720
<v Speaker 2>I can imagine that your kind of instant foray into

1:07:46.200 --> 1:07:51.360
<v Speaker 2>the world of scoring for movies wasn't exactly like a

1:07:52.760 --> 1:07:54.960
<v Speaker 2>goal or at least I assumed. So half the time

1:07:55.040 --> 1:07:56.840
<v Speaker 2>you wind up in places that you didn't plan on.

1:07:56.920 --> 1:08:00.520
<v Speaker 2>It just happens to you. So how did you even

1:08:00.640 --> 1:08:03.440
<v Speaker 2>get involved in the world of scoring?

1:08:04.280 --> 1:08:04.480
<v Speaker 1>Man?

1:08:04.520 --> 1:08:06.560
<v Speaker 7>You know, you know, I'm glad you asked that question, man,

1:08:06.640 --> 1:08:08.600
<v Speaker 7>because I you know, I've been asked that question a

1:08:08.640 --> 1:08:12.680
<v Speaker 7>lot of well, not that question, I've been asked what's

1:08:13.240 --> 1:08:15.240
<v Speaker 7>you know, what would you tell young composers? And I'm

1:08:15.280 --> 1:08:18.360
<v Speaker 7>always at a loss because I'm like, man, I wasn't

1:08:18.360 --> 1:08:20.200
<v Speaker 7>looking for this and it just fell on my lap.

1:08:20.479 --> 1:08:20.720
<v Speaker 1>You know.

1:08:21.520 --> 1:08:23.760
<v Speaker 7>We were doing the pre recorded music for more Better

1:08:23.800 --> 1:08:27.599
<v Speaker 7>Blues for the actors to act to, you know, and

1:08:27.720 --> 1:08:29.840
<v Speaker 7>I was getting ready to do my first record solo

1:08:29.920 --> 1:08:32.200
<v Speaker 7>project I was just telling you about for George Butler

1:08:32.280 --> 1:08:35.640
<v Speaker 7>Columbia Records. So I had written a song man for

1:08:35.720 --> 1:08:38.360
<v Speaker 7>the Kids that were mastered in South Africa, and it

1:08:38.439 --> 1:08:41.920
<v Speaker 7>was called Cinciuato. And we had taken a break in

1:08:42.000 --> 1:08:44.040
<v Speaker 7>the studio and I was playing it on the piano

1:08:44.080 --> 1:08:46.040
<v Speaker 7>and Spike walk by and he heard it and he said, man,

1:08:46.080 --> 1:08:47.720
<v Speaker 7>what is that? And I said, oh, man, this is

1:08:47.720 --> 1:08:50.160
<v Speaker 7>this thing called Sincuato. He goes, can I use it?

1:08:50.200 --> 1:08:52.600
<v Speaker 7>I go, yeah, yeah, sure. And we just recorded it

1:08:52.680 --> 1:08:56.639
<v Speaker 7>just as a solo trumpet piece back then, and and Denzel

1:08:56.720 --> 1:08:58.479
<v Speaker 7>shot the scene and it's a scene when he's on

1:08:58.520 --> 1:09:02.519
<v Speaker 7>the bridge playing right right, and then uh, they got

1:09:02.520 --> 1:09:05.360
<v Speaker 7>to they got back to the editing room. Spike was

1:09:05.360 --> 1:09:07.519
<v Speaker 7>trying to fill it in. He put training notises and

1:09:07.720 --> 1:09:10.000
<v Speaker 7>it still wasn't really making what wasn't doing what he

1:09:10.040 --> 1:09:12.320
<v Speaker 7>wanted to do. So then he came back to me

1:09:12.320 --> 1:09:13.800
<v Speaker 7>and He said, hey, man, you think you could write

1:09:13.800 --> 1:09:15.000
<v Speaker 7>a string arrangement for this?

1:09:15.400 --> 1:09:15.600
<v Speaker 1>You know?

1:09:16.000 --> 1:09:18.840
<v Speaker 7>And I always tell my students that's the moment. Well

1:09:18.920 --> 1:09:25.639
<v Speaker 7>you know you lie, you know, And I said, absolute, hell, yeah,

1:09:25.640 --> 1:09:28.479
<v Speaker 7>I can write arrange before. You know what I mean. So,

1:09:28.720 --> 1:09:33.080
<v Speaker 7>I mean what I did to calling my teacher, man,

1:09:35.200 --> 1:09:36.920
<v Speaker 7>and you got to tell me what to do. Dude,

1:09:37.280 --> 1:09:38.360
<v Speaker 7>you know you had.

1:09:38.240 --> 1:09:40.040
<v Speaker 6>Never done it before. You had no clue of how

1:09:40.040 --> 1:09:42.559
<v Speaker 6>to do it. Friday, No, man, Wow.

1:09:42.800 --> 1:09:45.559
<v Speaker 7>I studied composition, you know what I mean. But but

1:09:45.560 --> 1:09:47.600
<v Speaker 7>but I never had to do that. And as a

1:09:47.640 --> 1:09:49.120
<v Speaker 7>matter of fact, that's what he told me, he said,

1:09:49.120 --> 1:09:51.040
<v Speaker 7>trust the training. I was like, dude, that's not the

1:09:51.360 --> 1:09:51.880
<v Speaker 7>I was looking for.

1:09:53.160 --> 1:09:59.120
<v Speaker 2>Wait, so there's there's a musical motif of yours that

1:09:59.160 --> 1:10:03.479
<v Speaker 2>I've heard and least three or four of Spikes films.

1:10:04.880 --> 1:10:06.200
<v Speaker 1>I'm this could be it.

1:10:06.360 --> 1:10:08.840
<v Speaker 2>I've been looking for it for starters, like I'm mad

1:10:08.880 --> 1:10:12.280
<v Speaker 2>that with the exception of Malcolm X, like most of

1:10:12.320 --> 1:10:17.320
<v Speaker 2>your Spike scores are not available. What is the name

1:10:17.560 --> 1:10:20.080
<v Speaker 2>of the song that is do the Right Thing?

1:10:20.160 --> 1:10:23.080
<v Speaker 1>It's in Mo Better.

1:10:23.600 --> 1:10:26.599
<v Speaker 2>It's also in Malcolm X. But I can never find anywhere.

1:10:26.640 --> 1:10:38.519
<v Speaker 2>But it's like, uh, It's like Spike has used this

1:10:38.880 --> 1:10:44.040
<v Speaker 2>at least in ten music cues Malcolm X. But how

1:10:44.040 --> 1:10:49.400
<v Speaker 2>come that is not it's not anywhere that's available.

1:10:49.640 --> 1:10:52.240
<v Speaker 7>Yeah, but what you're probably singing is the jazz version.

1:10:52.560 --> 1:10:54.719
<v Speaker 7>There's another, there's some other versions of it.

1:10:54.800 --> 1:10:58.200
<v Speaker 2>And I've heard it as instrumental, I've heard as strings.

1:10:58.200 --> 1:10:58.720
<v Speaker 1>I've heard it.

1:10:58.680 --> 1:11:02.559
<v Speaker 7>As yeah, that stuff that You're right, that stuff listen

1:11:02.880 --> 1:11:05.280
<v Speaker 7>that that's that's a big thing.

1:11:05.400 --> 1:11:05.559
<v Speaker 1>You know.

1:11:05.600 --> 1:11:07.640
<v Speaker 7>I've been you know, I was talking to a publisher

1:11:07.680 --> 1:11:11.200
<v Speaker 7>about about that recently as a matter of fact, about

1:11:11.240 --> 1:11:13.760
<v Speaker 7>trying to do something to you, because people have been

1:11:13.800 --> 1:11:17.120
<v Speaker 7>asking me about that. You know, Yeah, when you start

1:11:17.160 --> 1:11:19.320
<v Speaker 7>to think about your legacy for your kids and everything

1:11:19.400 --> 1:11:22.040
<v Speaker 7>like that, and you know now that we've reached this

1:11:22.200 --> 1:11:25.760
<v Speaker 7>benchmark working together for thirty years, which is something you

1:11:25.760 --> 1:11:26.840
<v Speaker 7>didn't realize.

1:11:29.600 --> 1:11:29.680
<v Speaker 2>No.

1:11:29.800 --> 1:11:30.719
<v Speaker 1>A couple of years ago.

1:11:30.600 --> 1:11:34.400
<v Speaker 7>When we now, a journalist asked us a question, how

1:11:34.400 --> 1:11:36.040
<v Speaker 7>does it feel to be working together for thirty years?

1:11:36.040 --> 1:11:37.639
<v Speaker 2>We're like, thirty years?

1:11:37.960 --> 1:11:39.080
<v Speaker 1>Has it? Has it been that long?

1:11:40.680 --> 1:11:43.280
<v Speaker 7>But you know, I was thinking about exactly that, bro

1:11:43.600 --> 1:11:45.280
<v Speaker 7>about trying to.

1:11:45.200 --> 1:11:47.360
<v Speaker 2>I need I need a box set. I need a

1:11:47.400 --> 1:11:51.799
<v Speaker 2>box set for real, your entire history, every music cue

1:11:52.760 --> 1:11:55.960
<v Speaker 2>with with with Spike or at least just your your

1:11:56.120 --> 1:11:59.439
<v Speaker 2>entire story, because even the non Spike stuff you've done.

1:11:59.520 --> 1:12:00.599
<v Speaker 4>But can we can I.

1:12:00.560 --> 1:12:03.760
<v Speaker 5>Ask you, though you and Spike, can you just tell

1:12:03.840 --> 1:12:05.880
<v Speaker 5>us the quick quickness of that story and how y'all

1:12:05.920 --> 1:12:06.559
<v Speaker 5>even connected?

1:12:06.600 --> 1:12:10.639
<v Speaker 7>Because well, you know, we connected just because there was

1:12:10.720 --> 1:12:13.559
<v Speaker 7>a musician named Harold vic jazz musician. He was friends

1:12:13.560 --> 1:12:18.920
<v Speaker 7>with his father, and he wanted to put together a

1:12:18.960 --> 1:12:23.160
<v Speaker 7>group of musicians that were young and old for these

1:12:23.200 --> 1:12:25.240
<v Speaker 7>sessions to do the right thing in school days and

1:12:25.280 --> 1:12:29.320
<v Speaker 7>all of that stuff. So I think it was school days.

1:12:29.680 --> 1:12:31.519
<v Speaker 7>So he hired a bunch of us, you know, to

1:12:31.520 --> 1:12:34.280
<v Speaker 7>play on it. And as a matter of fact, there's

1:12:34.320 --> 1:12:37.959
<v Speaker 7>a video man that's floating around of one of the sessions.

1:12:38.000 --> 1:12:40.120
<v Speaker 7>It's like who's who in jazz at the time in

1:12:40.160 --> 1:12:43.439
<v Speaker 7>New York City. It's pretty crazy and I'll never forget it.

1:12:43.520 --> 1:12:45.240
<v Speaker 4>Did who was there? Tell us about it?

1:12:45.439 --> 1:12:45.599
<v Speaker 5>Was there?

1:12:45.720 --> 1:12:45.800
<v Speaker 3>Oh?

1:12:45.920 --> 1:12:47.600
<v Speaker 7>Just a lot of local guys, you know, you know,

1:12:47.760 --> 1:12:50.479
<v Speaker 7>Branfa was there, John Faddis was there. You know, a

1:12:51.040 --> 1:12:53.080
<v Speaker 7>bunch of folks. But I remember, man, I was a

1:12:53.120 --> 1:12:55.640
<v Speaker 7>big Lakers fan, right, so, and man, it had just

1:12:55.640 --> 1:12:59.320
<v Speaker 7>beat the Celtics burn. So I walk into the first session,

1:12:59.320 --> 1:13:03.400
<v Speaker 7>but I got had, I got my teacher, I got

1:13:03.439 --> 1:13:09.200
<v Speaker 7>my purple gold converse on, and I don't really know Spike,

1:13:09.320 --> 1:13:12.360
<v Speaker 7>oh God at all, you know. So I walk in

1:13:12.400 --> 1:13:14.080
<v Speaker 7>and he just looked me up and down and goes

1:13:14.840 --> 1:13:15.439
<v Speaker 7>Vaker's fan.

1:13:15.560 --> 1:13:22.679
<v Speaker 1>Huh uh boy.

1:13:22.840 --> 1:13:25.280
<v Speaker 7>It's up man, you know, come on the next thing,

1:13:25.280 --> 1:13:27.040
<v Speaker 7>you know, man, he had me how take him back?

1:13:27.760 --> 1:13:27.960
<v Speaker 7>You know?

1:13:29.520 --> 1:13:32.000
<v Speaker 4>So how did how did that narrow down though, Terrence?

1:13:32.040 --> 1:13:34.200
<v Speaker 5>Because you said it was a room full of musicians,

1:13:34.240 --> 1:13:38.479
<v Speaker 5>dope musicians, local musicians, mister Lee, but somehow it narrowed

1:13:38.479 --> 1:13:40.240
<v Speaker 5>down to just Spike in Terrence.

1:13:40.760 --> 1:13:43.000
<v Speaker 7>Well, that happened when we started to do well was

1:13:43.040 --> 1:13:44.280
<v Speaker 7>a couple of things that happened.

1:13:44.320 --> 1:13:44.479
<v Speaker 1>You know.

1:13:45.360 --> 1:13:48.760
<v Speaker 7>Lenny White had he was he had this all girl band.

1:13:48.800 --> 1:13:50.439
<v Speaker 7>I forgot the name of the group, and he wanted

1:13:50.439 --> 1:13:52.960
<v Speaker 7>myles to play on this track. He couldn't get my house,

1:13:53.040 --> 1:13:55.240
<v Speaker 7>so he asked me to play me the thing on it,

1:13:55.800 --> 1:13:59.040
<v Speaker 7>and Spike used it in the in the song. So

1:13:59.120 --> 1:14:01.599
<v Speaker 7>Spike found out that that was me that played the soul.

1:14:01.760 --> 1:14:04.200
<v Speaker 7>So then we kind of connected on that. And then

1:14:04.200 --> 1:14:06.040
<v Speaker 7>when it came time to do the right thing. We

1:14:06.120 --> 1:14:08.080
<v Speaker 7>kind of just connected a little bit together, but it

1:14:08.120 --> 1:14:10.639
<v Speaker 7>really happened on a moleit of blues when we were

1:14:10.640 --> 1:14:13.160
<v Speaker 7>doing those pre records. You know, we started doing pre

1:14:13.280 --> 1:14:16.519
<v Speaker 7>records and hearing me playing the piano, That's when everything

1:14:16.560 --> 1:14:19.240
<v Speaker 7>started to turn around, you know. And it's been an

1:14:19.240 --> 1:14:23.320
<v Speaker 7>interesting journey with my brother Man. You know he is.

1:14:23.520 --> 1:14:27.720
<v Speaker 7>He's brilliant, man beyond belief. He's loyal beyond belief. And

1:14:27.960 --> 1:14:29.840
<v Speaker 7>one of the things I got to tell you, guys, Man,

1:14:29.880 --> 1:14:33.000
<v Speaker 7>a lot of people don't really notice Man, but fights

1:14:33.040 --> 1:14:38.120
<v Speaker 7>for people. He fights for people, Man, and I've never

1:14:38.160 --> 1:14:43.000
<v Speaker 7>seen him miss an opportunity to to to to fight

1:14:43.080 --> 1:14:47.200
<v Speaker 7>for African American artists or like when we were in London, Man,

1:14:47.520 --> 1:14:51.479
<v Speaker 7>you know, we were at the Baptist and I'm drawing

1:14:51.479 --> 1:14:52.800
<v Speaker 7>a blank on my man's name.

1:14:54.880 --> 1:14:55.880
<v Speaker 1>They did the movie.

1:14:57.120 --> 1:15:05.720
<v Speaker 7>About the rock and roll singer. Yeah, what was the

1:15:05.720 --> 1:15:07.120
<v Speaker 7>guy who played played the character?

1:15:09.320 --> 1:15:10.360
<v Speaker 1>Yeah?

1:15:10.840 --> 1:15:16.719
<v Speaker 7>When Rommy won Best Actor at the Bafts, you would

1:15:16.720 --> 1:15:21.080
<v Speaker 7>have thought Spike One. He jumped up and he was

1:15:21.160 --> 1:15:24.919
<v Speaker 7>so happy for Rommi, you know what I mean, Because

1:15:25.080 --> 1:15:27.479
<v Speaker 7>you know, we're just trying to break down these barriers, Man,

1:15:27.520 --> 1:15:31.280
<v Speaker 7>and create equal opportunities for a lot of people, you know,

1:15:31.600 --> 1:15:35.479
<v Speaker 7>we Man, We'd being interviews together and people would ask

1:15:35.520 --> 1:15:38.080
<v Speaker 7>me a controversial question in l A and he would

1:15:38.120 --> 1:15:40.080
<v Speaker 7>grab me and he goes, don't answer that. He said,

1:15:40.160 --> 1:15:41.600
<v Speaker 7>let me answer that, because you got to work in

1:15:41.600 --> 1:15:46.680
<v Speaker 7>this town. He's always doing stuff like that. A lot

1:15:46.720 --> 1:15:50.800
<v Speaker 7>of people don't really realize that. And he's Listen. I've

1:15:50.840 --> 1:15:54.120
<v Speaker 7>met people who have come to me and said, man,

1:15:54.240 --> 1:15:56.760
<v Speaker 7>Spike is your biggest advocate. He's been fighting for you

1:15:56.880 --> 1:15:58.519
<v Speaker 7>to get these nominations for me.

1:16:00.240 --> 1:16:02.519
<v Speaker 1>So so dope, Man, Yeah, I voted for you.

1:16:02.280 --> 1:16:04.040
<v Speaker 7>You do, thank you, thank you.

1:16:04.080 --> 1:16:09.479
<v Speaker 2>I voted. Hey, I have two uh better questions for you.

1:16:10.120 --> 1:16:15.599
<v Speaker 2>One were you Denzel's teacher as far as the fingering

1:16:15.680 --> 1:16:17.560
<v Speaker 2>all that stuff? How how long did that take? What

1:16:17.720 --> 1:16:19.800
<v Speaker 2>was the process like? And now fast man?

1:16:19.840 --> 1:16:22.120
<v Speaker 7>You know, we had to learn because at first, I

1:16:22.120 --> 1:16:23.880
<v Speaker 7>mean I had never done that before. So at first

1:16:23.920 --> 1:16:25.760
<v Speaker 7>I started making like little videos for him and I

1:16:25.760 --> 1:16:27.960
<v Speaker 7>would send him to him out of LA and that

1:16:28.120 --> 1:16:30.519
<v Speaker 7>was kind of helpful. But we got him a teacher

1:16:30.520 --> 1:16:32.519
<v Speaker 7>out in LA just to show him how to buzz.

1:16:33.160 --> 1:16:35.719
<v Speaker 7>And then when we when he came to New York,

1:16:36.120 --> 1:16:40.360
<v Speaker 7>New York, what I figured out was you know, hey, man,

1:16:40.479 --> 1:16:42.680
<v Speaker 7>I need to write out the fingerings just on a

1:16:42.720 --> 1:16:45.720
<v Speaker 7>piece of paper. So for all of the tunes, he

1:16:45.840 --> 1:16:48.280
<v Speaker 7>had like sheets of paper with just the fingers. So

1:16:48.360 --> 1:16:50.759
<v Speaker 7>between running how the buzz and the fingers, he actually

1:16:50.800 --> 1:16:52.600
<v Speaker 7>kind of learned how to play all the melodies.

1:16:53.000 --> 1:16:57.720
<v Speaker 1>You know. So really, what's buzzing just when you take

1:16:57.920 --> 1:16:58.920
<v Speaker 1>the mouthpiece.

1:17:01.760 --> 1:17:03.559
<v Speaker 7>Trying to get a sound on. That's how you get

1:17:03.560 --> 1:17:04.559
<v Speaker 7>a sound out of producing.

1:17:04.800 --> 1:17:06.720
<v Speaker 2>So is that him playing one again? Never?

1:17:13.560 --> 1:17:14.200
<v Speaker 7>You know what that is?

1:17:14.520 --> 1:17:15.719
<v Speaker 2>That's my worst nightmare.

1:17:15.880 --> 1:17:16.960
<v Speaker 7>You know what that is?

1:17:16.960 --> 1:17:17.160
<v Speaker 1>What?

1:17:17.479 --> 1:17:19.760
<v Speaker 7>First of all, you had to be there. It was

1:17:19.840 --> 1:17:23.080
<v Speaker 7>hilarious because we started when we started doing takes, Spike

1:17:23.160 --> 1:17:25.120
<v Speaker 7>up saying it's not messed up enough, man, it's not

1:17:28.640 --> 1:17:30.479
<v Speaker 7>right in front of me, man. And what I started

1:17:30.479 --> 1:17:32.760
<v Speaker 7>to do was I started to move to trumpet off

1:17:32.800 --> 1:17:35.280
<v Speaker 7>to the side of my left where I could never

1:17:35.360 --> 1:17:38.400
<v Speaker 7>really play right, really tried to play right.

1:17:38.640 --> 1:17:39.320
<v Speaker 1>So that's what you.

1:17:39.320 --> 1:17:46.879
<v Speaker 2>Hear, man, I'm telling you. In the history of cinema,

1:17:48.080 --> 1:17:53.400
<v Speaker 2>short of maybe like a Sault film or or any

1:17:53.439 --> 1:18:01.280
<v Speaker 2>of those like extreme worry, violent like in the movie,

1:18:01.400 --> 1:18:05.559
<v Speaker 2>that is my worst in.

1:18:05.520 --> 1:18:07.479
<v Speaker 4>Your mouth with your own instrument, that's not.

1:18:08.439 --> 1:18:10.280
<v Speaker 2>That that leads to it. I'm gonna get you at

1:18:10.280 --> 1:18:14.120
<v Speaker 2>the drune that that leads to it. Yes, But my

1:18:14.160 --> 1:18:16.440
<v Speaker 2>second question, my second.

1:18:16.200 --> 1:18:19.160
<v Speaker 7>We need for that movie. What what the lobby spike

1:18:19.640 --> 1:18:23.360
<v Speaker 7>because I know it's sitting around somewhere. We need to

1:18:23.400 --> 1:18:25.759
<v Speaker 7>have him find the outtakes of Robin Hacke.

1:18:26.120 --> 1:18:28.400
<v Speaker 6>Yes, I was gonna ask you, man, I was gonna

1:18:28.400 --> 1:18:30.360
<v Speaker 6>ask you, did you have any interaction with Robin while

1:18:30.360 --> 1:18:30.880
<v Speaker 6>you on the set?

1:18:30.960 --> 1:18:32.840
<v Speaker 7>He was, He was a sweetheart, He was a nice guy.

1:18:32.880 --> 1:18:35.719
<v Speaker 7>But let me just tell you this. Everybody would shoot

1:18:35.720 --> 1:18:38.479
<v Speaker 7>that scenes and other dudes are being at trailers. Robin

1:18:38.520 --> 1:18:39.800
<v Speaker 7>Hans would shoot his scene.

1:18:40.479 --> 1:18:40.919
<v Speaker 1>Everybody.

1:18:40.920 --> 1:18:46.280
<v Speaker 7>Everybody was on set. Everybody every single time was on set.

1:18:47.880 --> 1:18:49.080
<v Speaker 5>Hurry up and ask you a question to me. I

1:18:49.080 --> 1:18:50.760
<v Speaker 5>want to ask Hm about that after party scene. Come on,

1:18:50.800 --> 1:18:51.240
<v Speaker 5>can we come on?

1:18:52.200 --> 1:18:56.400
<v Speaker 2>Okay, Well, I have a question. I asked Brand for

1:18:56.479 --> 1:18:59.920
<v Speaker 2>this on his episode, but his answer didn't satisfy me

1:19:00.080 --> 1:19:02.880
<v Speaker 2>enough because I want to know the science of the scene.

1:19:03.400 --> 1:19:08.439
<v Speaker 2>So at the very beginning, when they're doing say hey, yeah,

1:19:08.920 --> 1:19:12.800
<v Speaker 2>there's there's a really genius point, you know, where shadows

1:19:12.800 --> 1:19:16.479
<v Speaker 2>sort of interjects and and takes over. The song keeps

1:19:17.360 --> 1:19:21.960
<v Speaker 2>or no, no, no, where Denzel's character prevents Wesley Snipe's

1:19:22.040 --> 1:19:26.479
<v Speaker 2>character from hogging up the solo spot. And but to me,

1:19:27.560 --> 1:19:31.000
<v Speaker 2>that moment of interruption was so authentic, and you guys

1:19:31.080 --> 1:19:33.599
<v Speaker 2>kept it on the soundtrack sort of the messed up

1:19:35.000 --> 1:19:39.759
<v Speaker 2>and that part where how how was that choreograph because

1:19:40.360 --> 1:19:42.760
<v Speaker 2>it wasn't like they had to shoot that scene first

1:19:42.760 --> 1:19:46.200
<v Speaker 2>and you guys are in post following them so like,

1:19:47.280 --> 1:19:48.920
<v Speaker 2>but it's so spot on, imperfect.

1:19:49.080 --> 1:19:49.280
<v Speaker 8>Yeah.

1:19:49.360 --> 1:19:51.519
<v Speaker 7>No, we just did it in the studio, man, I remember,

1:19:51.760 --> 1:19:54.479
<v Speaker 7>you know, we did a couple of takes of it,

1:19:54.560 --> 1:19:56.880
<v Speaker 7>you know where Brianford would just play then all of

1:19:56.920 --> 1:19:59.080
<v Speaker 7>a sudden, I would just interrupted.

1:19:59.640 --> 1:20:01.880
<v Speaker 2>And it's the idea was that to make sure that

1:20:01.880 --> 1:20:04.360
<v Speaker 2>it happens on the soundtrack, of all things?

1:20:04.760 --> 1:20:06.519
<v Speaker 7>Oh, on the soundtrack, you know what that's that's a

1:20:06.520 --> 1:20:09.559
<v Speaker 7>good question. Yeah, well back then we were trying to

1:20:09.600 --> 1:20:11.639
<v Speaker 7>just make sure that whatever we put on a soundtrack

1:20:11.760 --> 1:20:14.840
<v Speaker 7>was kind of authentic and true to what people saw

1:20:14.920 --> 1:20:17.000
<v Speaker 7>on the screen. I know a lot of times people

1:20:17.400 --> 1:20:20.519
<v Speaker 7>take alternate takes and put on the soundtracks, but you know,

1:20:20.600 --> 1:20:23.000
<v Speaker 7>Spike wanted people to experience to see.

1:20:23.479 --> 1:20:25.839
<v Speaker 2>And I thought that was such a bold move because

1:20:26.000 --> 1:20:29.439
<v Speaker 2>it's like, even without context, I always wondered like people

1:20:29.960 --> 1:20:32.719
<v Speaker 2>for the few people that like just had the soundtrack

1:20:32.760 --> 1:20:35.360
<v Speaker 2>or heard the soundtrack without knowing the context for which

1:20:36.080 --> 1:20:40.960
<v Speaker 2>that occurred. But for me, hearing that mistake on there

1:20:41.120 --> 1:20:43.920
<v Speaker 2>was definitely like one of the key moments where like,

1:20:44.400 --> 1:20:47.720
<v Speaker 2>you know a lot of my my trademarks of what

1:20:47.840 --> 1:20:51.160
<v Speaker 2>I do musically is quote sounding messed up.

1:20:52.479 --> 1:20:54.960
<v Speaker 1>But for me, hearing that.

1:20:54.920 --> 1:20:57.599
<v Speaker 2>Was just like such a come to Jesus moment, like,

1:20:57.640 --> 1:21:00.479
<v Speaker 2>oh you can. You could purposely fuck up the record

1:21:00.520 --> 1:21:01.000
<v Speaker 2>and it'd be.

1:21:01.000 --> 1:21:04.000
<v Speaker 7>Cool, Like I don't you know what I break? You

1:21:04.040 --> 1:21:05.800
<v Speaker 7>used to say, Man, I breaks to say. I try

1:21:05.840 --> 1:21:08.200
<v Speaker 7>to make my drum sauce sound like I said of

1:21:08.280 --> 1:21:09.960
<v Speaker 7>drums falling down the flight of stairs.

1:21:11.600 --> 1:21:18.360
<v Speaker 2>Wow. Wow Wow. So with ask your uh uh at

1:21:18.360 --> 1:21:20.519
<v Speaker 2>the party because I want to ask another scoring.

1:21:20.760 --> 1:21:22.599
<v Speaker 5>I just wanted to have how many moments you had

1:21:22.640 --> 1:21:25.360
<v Speaker 5>where they were like so in the after party moment,

1:21:26.240 --> 1:21:28.280
<v Speaker 5>one of the famous scenes about you know, get the

1:21:28.280 --> 1:21:28.920
<v Speaker 5>people what they want.

1:21:28.920 --> 1:21:31.120
<v Speaker 4>If you play to people like people to our people

1:21:31.120 --> 1:21:33.920
<v Speaker 4>will come, The people will come. Who is who is

1:21:34.040 --> 1:21:35.880
<v Speaker 4>Trece Blanchard in that conversation?

1:21:36.600 --> 1:21:41.200
<v Speaker 7>Huh? That's interesting? Well, I'm I'm definitely not totally in

1:21:41.240 --> 1:21:44.559
<v Speaker 7>that direction. But just one thing I will say, and

1:21:44.600 --> 1:21:46.360
<v Speaker 7>I got this from all Blak, and he said, never

1:21:46.400 --> 1:21:48.920
<v Speaker 7>play above your audience, never played beneath him, just play

1:21:48.960 --> 1:21:49.719
<v Speaker 7>straight to him.

1:21:50.000 --> 1:21:50.240
<v Speaker 1>You know.

1:21:50.800 --> 1:21:52.960
<v Speaker 7>And that's what I firmly believe. I think there has

1:21:53.000 --> 1:21:54.839
<v Speaker 7>to be a combination of both things.

1:21:55.080 --> 1:21:55.320
<v Speaker 1>You know.

1:21:55.880 --> 1:21:57.760
<v Speaker 7>I don't want to be that jazz musician who so

1:21:58.040 --> 1:22:00.000
<v Speaker 7>aricant to always think that people have to come up

1:22:00.160 --> 1:22:02.080
<v Speaker 7>to my level to experience what it.

1:22:02.080 --> 1:22:04.280
<v Speaker 1>Is that I do. No, they want to need them

1:22:04.320 --> 1:22:05.160
<v Speaker 1>where they are right.

1:22:05.200 --> 1:22:07.920
<v Speaker 7>That makes no sense, you know. So for me, I

1:22:08.000 --> 1:22:11.679
<v Speaker 7>try to create music that helps heal souls and helps

1:22:11.680 --> 1:22:13.960
<v Speaker 7>to kind of change some hearts and minds about it's

1:22:13.960 --> 1:22:15.479
<v Speaker 7>a ission. So if I got to come to you,

1:22:15.520 --> 1:22:16.400
<v Speaker 7>that's what I'm going to do.

1:22:17.640 --> 1:22:19.639
<v Speaker 4>And what's pop top forty fun to make?

1:22:20.200 --> 1:22:22.920
<v Speaker 7>Oh it man, We've been We've We've done these shows

1:22:22.960 --> 1:22:26.720
<v Speaker 7>around the world and a lot of different countries with orchestras,

1:22:27.280 --> 1:22:31.200
<v Speaker 7>and the shows of the shows are the music of

1:22:31.280 --> 1:22:34.200
<v Speaker 7>Spike me and we have visuals and we'll bring we'll

1:22:34.200 --> 1:22:36.759
<v Speaker 7>bring vocalists out and sing all of the songs and stuff.

1:22:37.320 --> 1:22:39.679
<v Speaker 4>And they're very hard to get into terrence.

1:22:39.800 --> 1:22:43.240
<v Speaker 7>Yes, that's one of the hits people, booty booty, booty

1:22:43.280 --> 1:22:43.840
<v Speaker 7>titty titty.

1:22:46.680 --> 1:22:54.160
<v Speaker 2>But how sorry, how how when you're presented with uh,

1:22:54.680 --> 1:22:59.200
<v Speaker 2>a new challenge, a new project, how how long does

1:22:59.240 --> 1:23:05.680
<v Speaker 2>it take you to even begin to craft? What is

1:23:05.720 --> 1:23:08.920
<v Speaker 2>it going to be? Or is it so shotgun where

1:23:08.920 --> 1:23:11.240
<v Speaker 2>it's like a gun to your head. You're giving it

1:23:11.360 --> 1:23:13.439
<v Speaker 2>daily and in three weeks you got to come up

1:23:13.479 --> 1:23:14.160
<v Speaker 2>with something.

1:23:15.080 --> 1:23:18.080
<v Speaker 7>You know, man, you know what it's brouh. It's gotten

1:23:18.120 --> 1:23:20.840
<v Speaker 7>to the point now where I just tell myself just start,

1:23:21.360 --> 1:23:23.200
<v Speaker 7>just start, you know what I mean? Because I used

1:23:23.240 --> 1:23:26.040
<v Speaker 7>to freak out and try to overthink things a lot

1:23:26.080 --> 1:23:28.479
<v Speaker 7>of times. Man, And when you sit down thinking too much,

1:23:28.720 --> 1:23:33.000
<v Speaker 7>you're not really accomplishing anything. That's why when I'm not working,

1:23:33.080 --> 1:23:36.200
<v Speaker 7>when i'm in between like projects, bruh, that's when I'm

1:23:36.200 --> 1:23:38.960
<v Speaker 7>doing my homework on my plugins, on my sound design,

1:23:39.560 --> 1:23:41.559
<v Speaker 7>on everything that I need to do. So when it's

1:23:41.600 --> 1:23:43.559
<v Speaker 7>time for me to work, I could just go ahead

1:23:43.560 --> 1:23:45.960
<v Speaker 7>and do certain things, you know what I mean. So

1:23:46.200 --> 1:23:49.800
<v Speaker 7>for example, you know, I'm working on a project and

1:23:50.000 --> 1:23:53.280
<v Speaker 7>I needed to craft a certain type of thing sound

1:23:53.320 --> 1:23:57.080
<v Speaker 7>for the show, and the first start in my mind was, Oh,

1:23:57.120 --> 1:23:58.720
<v Speaker 7>I need these types of drums. Let me get these

1:23:58.760 --> 1:24:01.120
<v Speaker 7>drums up boom when we start play some rhythms, and

1:24:01.160 --> 1:24:03.360
<v Speaker 7>once I start putting these rhythms in the next thing,

1:24:03.400 --> 1:24:05.920
<v Speaker 7>you know, that's the sparkling idea of like, oh, I

1:24:05.920 --> 1:24:08.240
<v Speaker 7>need to create this sequence baseline, so let me get

1:24:08.240 --> 1:24:10.720
<v Speaker 7>in here and start messing around with the sequencer and

1:24:10.760 --> 1:24:14.000
<v Speaker 7>the thing and put that together, and I need to

1:24:14.040 --> 1:24:17.360
<v Speaker 7>have something in the middle. So it's almost like it's

1:24:17.439 --> 1:24:20.719
<v Speaker 7>like putting together a puzzle, you know, but the puzzle

1:24:20.800 --> 1:24:26.719
<v Speaker 7>is like specifically designed for whatever project that you're working

1:24:26.760 --> 1:24:29.479
<v Speaker 7>on at the time. Because all of the inspirations and

1:24:29.520 --> 1:24:31.080
<v Speaker 7>this is the thing, man, this is one of the

1:24:31.080 --> 1:24:32.760
<v Speaker 7>things I always tell my kids. I said, look, man,

1:24:32.760 --> 1:24:35.559
<v Speaker 7>look at your craft, because you never know where inspiration

1:24:35.640 --> 1:24:38.839
<v Speaker 7>is gonna come from. Sometimes it's rhythm, sometimes it's a melody.

1:24:38.960 --> 1:24:42.960
<v Speaker 7>Sometimes it's just a sound. Sometimes it's a group of harmony,

1:24:43.479 --> 1:24:46.519
<v Speaker 7>harmonic progressions. It could be a lot of different things,

1:24:46.680 --> 1:24:49.479
<v Speaker 7>you know, but if you have your tools together, whatever

1:24:49.520 --> 1:24:52.160
<v Speaker 7>it is, you'll be able to take it further and

1:24:52.320 --> 1:24:57.000
<v Speaker 7>find what's fine. You'll be able to flush the idea out.

1:24:57.080 --> 1:24:59.400
<v Speaker 7>That's the thing that I always used to say. My

1:25:00.320 --> 1:25:02.000
<v Speaker 7>my teacher used to tell me all the time, it's

1:25:02.000 --> 1:25:04.280
<v Speaker 7>like whidbling, you know, just chipping away at it.

1:25:05.080 --> 1:25:09.960
<v Speaker 2>Okay, Spike Aside and our audience should know that you've

1:25:10.000 --> 1:25:14.400
<v Speaker 2>done many a classic film. You've done sugar Hill, the Ink,

1:25:14.439 --> 1:25:19.600
<v Speaker 2>Well Eves by You, You've done Uh, you did you

1:25:20.280 --> 1:25:22.920
<v Speaker 2>with uh what's your name?

1:25:23.840 --> 1:25:26.880
<v Speaker 1>Yeah, Angelina?

1:25:29.920 --> 1:25:33.160
<v Speaker 2>I remember I believe that you did Friday or Next

1:25:33.160 --> 1:25:39.360
<v Speaker 2>Friday with you? What what non Spike associated project was

1:25:40.400 --> 1:25:41.519
<v Speaker 2>enjoyable to you?

1:25:42.320 --> 1:25:42.840
<v Speaker 7>All of them?

1:25:43.360 --> 1:25:44.200
<v Speaker 1>Man? Are you kidding?

1:25:45.000 --> 1:25:48.080
<v Speaker 7>All of them? The Friday series was hilarious, you know

1:25:48.120 --> 1:25:48.519
<v Speaker 7>what I mean?

1:25:48.920 --> 1:25:49.040
<v Speaker 1>Right?

1:25:49.360 --> 1:25:52.559
<v Speaker 7>I mean, you know, watching Mike Man in those scenes

1:25:52.560 --> 1:25:53.439
<v Speaker 7>that dude, it's funny.

1:25:53.439 --> 1:25:53.559
<v Speaker 10>Bro.

1:25:55.520 --> 1:25:56.280
<v Speaker 7>Those were fun.

1:25:56.560 --> 1:25:56.760
<v Speaker 1>You know.

1:25:56.880 --> 1:25:59.560
<v Speaker 7>Working with George Lucas on Redtails was fun.

1:26:00.040 --> 1:26:00.320
<v Speaker 2>All right.

1:26:01.400 --> 1:26:03.920
<v Speaker 7>I mean you know it's it's about working with Casey

1:26:04.000 --> 1:26:06.599
<v Speaker 7>Lemons on Harriet. You know, we worked on some other

1:26:06.680 --> 1:26:09.720
<v Speaker 7>things together, a bunch of movies together. The guy that

1:26:09.760 --> 1:26:13.000
<v Speaker 7>I did Geo with is actually the guy that wrote

1:26:13.040 --> 1:26:16.680
<v Speaker 7>the libretto for my first opera, Michael Christoffer. You know,

1:26:17.320 --> 1:26:19.760
<v Speaker 7>doing Love and Basketball that was like really a lot

1:26:19.800 --> 1:26:22.639
<v Speaker 7>of fun. I had a great time doing that because

1:26:22.720 --> 1:26:24.800
<v Speaker 7>for me, man, It's like it goes back to the

1:26:24.880 --> 1:26:27.000
<v Speaker 7>thing I was telling you about earlier. It's about learning

1:26:27.040 --> 1:26:31.040
<v Speaker 7>and expanding. You know, all of those all of those

1:26:31.160 --> 1:26:34.120
<v Speaker 7>projects helped me to grow in a lot of different ways.

1:26:34.160 --> 1:26:37.360
<v Speaker 7>You know, I'm not the guy that ever think that

1:26:37.400 --> 1:26:40.559
<v Speaker 7>I have it together. You know, I'm always trying to

1:26:40.640 --> 1:26:45.360
<v Speaker 7>acquire knowledge and experiences, you know, and I look at

1:26:45.400 --> 1:26:47.200
<v Speaker 7>all of those things. What was the TV show that

1:26:47.240 --> 1:26:49.960
<v Speaker 7>I did with Halle Barry Their eyes were watching God?

1:26:50.400 --> 1:26:50.920
<v Speaker 1>Oh wow?

1:26:51.040 --> 1:26:55.840
<v Speaker 5>Yeah, Michael, yeah, yeah. You know, No, you don't do

1:26:55.920 --> 1:26:58.520
<v Speaker 5>projects unless you really feel I'm on terrence.

1:26:59.600 --> 1:27:01.720
<v Speaker 7>Just sense of doing it as a matter of fact.

1:27:01.800 --> 1:27:01.960
<v Speaker 5>You know.

1:27:01.960 --> 1:27:04.519
<v Speaker 7>What's interesting about that, and it was when I first

1:27:04.520 --> 1:27:06.559
<v Speaker 7>got in the business, man, I had to turn down

1:27:06.560 --> 1:27:10.680
<v Speaker 7>eleven scripts, you know, and I hated doing it, but

1:27:10.760 --> 1:27:13.400
<v Speaker 7>I had to do it for a reason because you know,

1:27:13.600 --> 1:27:18.479
<v Speaker 7>all of the leven scripts were black films, you know,

1:27:18.720 --> 1:27:20.519
<v Speaker 7>and one of the things that I tried to do

1:27:20.760 --> 1:27:23.840
<v Speaker 7>was and they weren't you know, like Harriet Clublin or

1:27:23.880 --> 1:27:24.719
<v Speaker 7>anything like that.

1:27:24.840 --> 1:27:25.120
<v Speaker 1>You know.

1:27:25.600 --> 1:27:27.080
<v Speaker 7>One of the things that I was trying to make

1:27:27.120 --> 1:27:29.479
<v Speaker 7>a point to my agent at the time. It's a

1:27:29.520 --> 1:27:31.920
<v Speaker 7>different age. I have a different agent now, was I

1:27:31.920 --> 1:27:34.280
<v Speaker 7>don't want you to see me that way. You know,

1:27:34.560 --> 1:27:36.920
<v Speaker 7>I don't mind doing those films. I don't have a

1:27:36.960 --> 1:27:41.040
<v Speaker 7>problem doing those pictures, but I'm turning them down because

1:27:41.080 --> 1:27:44.040
<v Speaker 7>that's all you're bringing to me, you know what I mean.

1:27:44.640 --> 1:27:46.439
<v Speaker 7>And you need to see me in such a way

1:27:46.479 --> 1:27:49.840
<v Speaker 7>where anything should be on my table, not just that,

1:27:50.680 --> 1:27:52.840
<v Speaker 7>you know. And I paid a price for it. I

1:27:52.880 --> 1:27:55.680
<v Speaker 7>didn't work for for a long time, you know what

1:27:55.720 --> 1:27:59.599
<v Speaker 7>I mean. But I just felt like if I didn't

1:27:59.600 --> 1:28:02.360
<v Speaker 7>take a stand, they will just see me as one thing.

1:28:02.760 --> 1:28:03.880
<v Speaker 1>They would typecast you.

1:28:05.040 --> 1:28:07.680
<v Speaker 7>And I hated it because I wasn't trying to make

1:28:07.680 --> 1:28:11.400
<v Speaker 7>an indictment on the films, you know, you see what

1:28:11.400 --> 1:28:13.280
<v Speaker 7>I mean. It wasn't that I wasn't trying to make

1:28:13.280 --> 1:28:15.719
<v Speaker 7>an indictment on the films. What I was saying about

1:28:16.400 --> 1:28:18.920
<v Speaker 7>was to my agent, It's like, yo, dude, really, I mean,

1:28:18.920 --> 1:28:21.080
<v Speaker 7>because I have a certain part. It became comical. I'm like,

1:28:21.160 --> 1:28:24.560
<v Speaker 7>eleven scripts, dude, really really eleven.

1:28:25.680 --> 1:28:28.720
<v Speaker 2>Any notable films that you had to turn down or

1:28:28.760 --> 1:28:31.600
<v Speaker 2>that you've turned down that were like a damn. I

1:28:31.640 --> 1:28:33.479
<v Speaker 2>didn't know that Avatar was going to be.

1:28:36.720 --> 1:28:38.439
<v Speaker 1>I really wanted to do the Miles movie.

1:28:38.680 --> 1:28:43.519
<v Speaker 2>You know, I was going to ask you you.

1:28:45.760 --> 1:28:47.640
<v Speaker 4>Died you? No?

1:28:47.840 --> 1:28:47.920
<v Speaker 5>You?

1:28:48.080 --> 1:28:50.000
<v Speaker 1>Yeah. I think it was good to see.

1:28:50.240 --> 1:28:52.439
<v Speaker 7>When they were talking about doing it. You know, Miles listen,

1:28:52.520 --> 1:28:54.920
<v Speaker 7>that's my hero, so right, you know, I wanted to

1:28:54.960 --> 1:28:56.719
<v Speaker 7>be a part of it.

1:28:56.920 --> 1:28:59.840
<v Speaker 6>Although I did like i'd been like what Glasser did

1:28:59.880 --> 1:29:01.439
<v Speaker 6>for I mean, I didn't have no problems with the

1:29:01.520 --> 1:29:03.920
<v Speaker 6>music I thought the movie was in, but I really

1:29:03.920 --> 1:29:05.479
<v Speaker 6>did like what glass did for that stuff.

1:29:05.720 --> 1:29:15.240
<v Speaker 2>Yeah, okay, so scoring I'm not. I'm not a full

1:29:15.280 --> 1:29:19.320
<v Speaker 2>time scorer, so I'm not that deep in the poem,

1:29:19.320 --> 1:29:22.519
<v Speaker 2>still in the shallow end of it. And shout out

1:29:22.560 --> 1:29:24.960
<v Speaker 2>to Spike who got me my first scoring thing with

1:29:25.000 --> 1:29:29.639
<v Speaker 2>the commercial. But what I what I do notice is

1:29:29.680 --> 1:29:32.280
<v Speaker 2>that I'm used to it now. But in the very

1:29:32.320 --> 1:29:35.320
<v Speaker 2>beginning I used to be frustrated because oftentimes you're having

1:29:36.000 --> 1:29:42.440
<v Speaker 2>sort of creative direction conversations with people who aren't necessarily.

1:29:43.479 --> 1:29:46.880
<v Speaker 1>They don't speak the language. It's very frustrating.

1:29:47.520 --> 1:29:49.439
<v Speaker 2>So but the thing is is that how do you

1:29:49.520 --> 1:29:52.679
<v Speaker 2>handle Like I learned early, and it's hard, especially hard

1:29:52.680 --> 1:29:56.200
<v Speaker 2>for me because I learned early in scoring that drums

1:29:56.200 --> 1:30:00.720
<v Speaker 2>get in the way. So I took drums. You know,

1:30:00.800 --> 1:30:02.840
<v Speaker 2>if you're asking a drummer to score a film and

1:30:02.880 --> 1:30:05.880
<v Speaker 2>then I take drums out of it. I've learned like

1:30:05.920 --> 1:30:08.200
<v Speaker 2>to stay out of the dialogue's way and all those things.

1:30:08.240 --> 1:30:11.479
<v Speaker 2>But now I kind of have a new system where,

1:30:12.760 --> 1:30:15.920
<v Speaker 2>you know, I've dealt so much with with people with

1:30:16.080 --> 1:30:18.400
<v Speaker 2>people like knowing what they don't want as opposed to

1:30:18.400 --> 1:30:21.920
<v Speaker 2>what they do want, whereas I'll just ask them, Okay,

1:30:22.240 --> 1:30:26.479
<v Speaker 2>you obviously have like something in your head five songs,

1:30:27.000 --> 1:30:29.200
<v Speaker 2>Give me five songs in your head that you think

1:30:29.240 --> 1:30:31.200
<v Speaker 2>fits the scene, and then I can craft around that

1:30:32.479 --> 1:30:34.240
<v Speaker 2>and it makes it easy. But what's your what's your

1:30:34.280 --> 1:30:38.320
<v Speaker 2>process in dealing with someone that doesn't speak the language

1:30:38.479 --> 1:30:41.880
<v Speaker 2>and kind of makes you go back, like what was

1:30:41.920 --> 1:30:44.840
<v Speaker 2>your hardest task as a filmmaker If you're not.

1:30:44.840 --> 1:30:46.360
<v Speaker 7>Gonna, we're not gonna, We're not gonna go.

1:30:46.400 --> 1:30:52.360
<v Speaker 2>There, you know, that's hold down to them.

1:30:53.479 --> 1:30:55.519
<v Speaker 1>Where you have to go back and do something over

1:30:55.560 --> 1:30:56.720
<v Speaker 1>again and over and over.

1:30:57.040 --> 1:31:00.760
<v Speaker 7>No, No, I've never had to had had that. It's

1:31:00.920 --> 1:31:04.000
<v Speaker 7>more along the lines of just trying to find a

1:31:04.040 --> 1:31:07.960
<v Speaker 7>baseline of communication, you know what I mean. Miles, who

1:31:08.040 --> 1:31:11.120
<v Speaker 7>was my mentor in this business. That was one thing

1:31:11.160 --> 1:31:12.760
<v Speaker 7>that he told me. He said, that's what you're really

1:31:12.760 --> 1:31:15.519
<v Speaker 7>being paid for. He said, listen, man, we all can

1:31:15.520 --> 1:31:16.759
<v Speaker 7>write music for film.

1:31:17.000 --> 1:31:17.599
<v Speaker 1>You know what I mean.

1:31:17.920 --> 1:31:20.760
<v Speaker 7>You know it's it's it's really about following the story

1:31:20.560 --> 1:31:22.840
<v Speaker 7>and becoming a storyteller with your music.

1:31:22.880 --> 1:31:23.160
<v Speaker 1>He said.

1:31:23.160 --> 1:31:25.400
<v Speaker 7>The hard part is just trying to figure out which

1:31:25.439 --> 1:31:27.240
<v Speaker 7>way to go with that because a lot of times

1:31:27.240 --> 1:31:29.960
<v Speaker 7>there's so many ways to deal with it. You know,

1:31:30.040 --> 1:31:32.400
<v Speaker 7>you have to find that common ground with the person

1:31:32.400 --> 1:31:35.640
<v Speaker 7>who's producing the project. And that's where you know, a

1:31:35.720 --> 1:31:37.880
<v Speaker 7>good friend of mine, Mike Post, you know, he's a

1:31:37.880 --> 1:31:42.639
<v Speaker 7>great TV Yeah. Yeah, Mike told me one time he said, listen, man.

1:31:43.040 --> 1:31:46.639
<v Speaker 7>He had a project and he said he was having

1:31:46.680 --> 1:31:49.960
<v Speaker 7>an issue talking to a director, and I thought this

1:31:50.120 --> 1:31:52.360
<v Speaker 7>was brilliant man. He said, man, why don't you come

1:31:52.360 --> 1:31:55.400
<v Speaker 7>over to my studio. And Mike would just sit down

1:31:55.400 --> 1:31:57.040
<v Speaker 7>and play a chord and say, all right, tell me

1:31:57.080 --> 1:31:59.640
<v Speaker 7>what you feel, and then he would write it down

1:32:00.080 --> 1:32:02.120
<v Speaker 7>other coordins, they tell me what you feel, And he

1:32:02.240 --> 1:32:06.639
<v Speaker 7>created a baseline of communication. From that point of view,

1:32:07.160 --> 1:32:08.880
<v Speaker 7>I try to do more of what you what you

1:32:08.960 --> 1:32:11.519
<v Speaker 7>were just talking about. I mean, you know when I

1:32:11.720 --> 1:32:15.479
<v Speaker 7>when I said, listen, tell me what it is, that

1:32:15.520 --> 1:32:18.680
<v Speaker 7>you're hearing. If you have a playlist, send me the playlist.

1:32:18.800 --> 1:32:19.360
<v Speaker 1>You know what I mean.

1:32:21.400 --> 1:32:25.200
<v Speaker 7>And and you're always trying to get at the core.

1:32:25.560 --> 1:32:28.040
<v Speaker 7>But here's here's the here's the thing about it, though.

1:32:28.439 --> 1:32:31.519
<v Speaker 7>You know, the people who are coming to you have

1:32:31.720 --> 1:32:33.839
<v Speaker 7>to be open to stuff too.

1:32:34.160 --> 1:32:35.400
<v Speaker 1>And they have to trust you.

1:32:35.720 --> 1:32:38.880
<v Speaker 7>They have to trust you. And when and when and

1:32:38.920 --> 1:32:41.439
<v Speaker 7>when there isn't that trust, it can be rough.

1:32:41.680 --> 1:32:41.880
<v Speaker 1>You know.

1:32:42.200 --> 1:32:45.600
<v Speaker 7>Look but look, man, but sometimes as a musician, you

1:32:45.720 --> 1:32:48.400
<v Speaker 7>gotta you gotta open up your eyes to listen. I

1:32:48.520 --> 1:32:49.960
<v Speaker 7>just worked with Regina.

1:32:49.560 --> 1:32:52.680
<v Speaker 1>King on Miami.

1:32:52.560 --> 1:32:56.200
<v Speaker 7>In Miami, and you know, when we first started talking

1:32:56.240 --> 1:32:58.400
<v Speaker 7>about the score, you know, I had pitched a lot

1:32:58.439 --> 1:33:02.040
<v Speaker 7>of different ideas to and I sentiment she said, well no,

1:33:02.080 --> 1:33:04.040
<v Speaker 7>I kept thinking, she said, I think it should be

1:33:04.080 --> 1:33:07.160
<v Speaker 7>just like one instrument. I kept pitching these other ideas

1:33:07.200 --> 1:33:09.519
<v Speaker 7>to her, and she and looked to her credit, she

1:33:10.720 --> 1:33:12.960
<v Speaker 7>checked it all out, listened to everything, you know, and

1:33:13.000 --> 1:33:15.080
<v Speaker 7>then she said, you know, because you know it was

1:33:15.080 --> 1:33:17.840
<v Speaker 7>the first time doing it, you know, first time reco there.

1:33:18.240 --> 1:33:20.200
<v Speaker 7>So she went through the process and she said, yeah,

1:33:20.200 --> 1:33:23.120
<v Speaker 7>but I'm still feeling this other thing. So we went

1:33:23.200 --> 1:33:26.360
<v Speaker 7>that direction and we just decided to just do piano,

1:33:26.439 --> 1:33:28.400
<v Speaker 7>and it wound up being beautiful and wound up being

1:33:28.400 --> 1:33:31.600
<v Speaker 7>a very unique thing. Everybody's talking about the music for

1:33:31.720 --> 1:33:34.760
<v Speaker 7>the film, you know, and that's just where me as

1:33:34.760 --> 1:33:37.439
<v Speaker 7>a film composer, you know, I came at it with

1:33:37.520 --> 1:33:40.439
<v Speaker 7>a certain thing, but I had to sit back and go, Okay, I'll.

1:33:40.360 --> 1:33:41.320
<v Speaker 1>See where she's coming from.

1:33:41.439 --> 1:33:44.800
<v Speaker 7>I went to them, you know, with another director too,

1:33:44.880 --> 1:33:47.880
<v Speaker 7>similar kind of situation, so both people have to be

1:33:48.040 --> 1:33:51.120
<v Speaker 7>open on both sides. And when you run into that

1:33:51.160 --> 1:33:55.080
<v Speaker 7>situation where you don't have that, it's just difficult. It's

1:33:55.240 --> 1:33:57.160
<v Speaker 7>I mean, there's no other way around it, because the

1:33:57.200 --> 1:34:01.040
<v Speaker 7>word is collaboration, you know, not the hattership, you know

1:34:01.040 --> 1:34:05.040
<v Speaker 7>what I'm saying. So that's that's where for me, I've

1:34:05.040 --> 1:34:07.720
<v Speaker 7>been blessed, you know, because most of the people that

1:34:07.760 --> 1:34:10.560
<v Speaker 7>I've been working with are true collaborators.

1:34:10.800 --> 1:34:11.000
<v Speaker 1>You know.

1:34:12.400 --> 1:34:15.439
<v Speaker 7>I've had people tell me sometimes, damn, bro, you gave

1:34:15.479 --> 1:34:17.479
<v Speaker 7>me some insight into my film that I didn't see,

1:34:17.520 --> 1:34:18.880
<v Speaker 7>which is a compliment. You know.

1:34:19.840 --> 1:34:21.519
<v Speaker 1>Then I've had people, you know.

1:34:21.600 --> 1:34:24.720
<v Speaker 7>Who expand my horizons by getting me to see a

1:34:24.760 --> 1:34:27.800
<v Speaker 7>bigger picture about how to tell stories, you know. So

1:34:28.120 --> 1:34:29.439
<v Speaker 7>it's the reason why I love doing this.

1:34:30.120 --> 1:34:33.000
<v Speaker 6>Have you learned or have it hasn't been your experience

1:34:33.120 --> 1:34:38.400
<v Speaker 6>that doing film composing for film and TV and stuff

1:34:39.000 --> 1:34:41.439
<v Speaker 6>has been your experience that that has helped you in

1:34:41.560 --> 1:34:46.360
<v Speaker 6>your regular quote unquote recording career, because you know, because

1:34:46.400 --> 1:34:49.920
<v Speaker 6>for me, man like that, you know, as a young man,

1:34:49.920 --> 1:34:52.599
<v Speaker 6>when I was younger, I would take rejection like really personally,

1:34:52.640 --> 1:34:54.160
<v Speaker 6>like you know a lot of us do. But then

1:34:54.200 --> 1:34:56.599
<v Speaker 6>when I started doing stuff for TV and music and

1:34:56.680 --> 1:35:00.599
<v Speaker 6>you know, TV and movies whatever, it's just like, hey,

1:35:00.640 --> 1:35:02.120
<v Speaker 6>if a song don't work, it just don't work.

1:35:02.240 --> 1:35:03.040
<v Speaker 1>Just do another song.

1:35:03.360 --> 1:35:05.960
<v Speaker 6>You don't think about it, you know, you don't take

1:35:06.000 --> 1:35:08.240
<v Speaker 6>it personally. It's just like, don't mean all right, I'm

1:35:08.280 --> 1:35:10.040
<v Speaker 6>the worst songwriting the words. It's like, Yo, this shit

1:35:10.080 --> 1:35:10.479
<v Speaker 6>didn't work.

1:35:10.520 --> 1:35:12.320
<v Speaker 7>Just do another one, right, and that's it. And that's

1:35:12.360 --> 1:35:14.800
<v Speaker 7>you're out, man, Because then it's not an indictment.

1:35:14.400 --> 1:35:15.760
<v Speaker 1>On you, you know what I mean.

1:35:15.960 --> 1:35:18.120
<v Speaker 7>That's the thing. When you realize that, it kind of

1:35:18.120 --> 1:35:20.040
<v Speaker 7>frees you up from all of that other stuff that

1:35:20.280 --> 1:35:23.160
<v Speaker 7>comes along with that. You know, when you realize, like, man,

1:35:23.200 --> 1:35:26.200
<v Speaker 7>look it's still in you. Just go try something else,

1:35:26.360 --> 1:35:28.880
<v Speaker 7>you know what I mean? And I go and listen.

1:35:28.920 --> 1:35:29.000
<v Speaker 5>Bro.

1:35:29.560 --> 1:35:32.600
<v Speaker 7>Sometimes I go through that before it gets to the director.

1:35:34.880 --> 1:35:38.080
<v Speaker 7>I'm saying, I'll work on some stuff. And while I'm

1:35:38.200 --> 1:35:40.679
<v Speaker 7>doing it, Bro, I'm sitting there going what it's missing something?

1:35:40.720 --> 1:35:42.360
<v Speaker 7>It's missing something. Let me go ahead and work on that,

1:35:42.400 --> 1:35:44.760
<v Speaker 7>boom and I'll do that for a day or two, bro,

1:35:44.920 --> 1:35:46.519
<v Speaker 7>and then come back and I go, you know what

1:35:46.680 --> 1:35:52.920
<v Speaker 7>is missing the real que? So let me this away

1:35:53.200 --> 1:35:56.599
<v Speaker 7>and start over from scratch. How has that helped you

1:35:56.760 --> 1:35:58.880
<v Speaker 7>in your hold the live performance?

1:35:59.320 --> 1:36:01.799
<v Speaker 6>Yeah, just a live performance, and also when recording your records,

1:36:01.800 --> 1:36:04.080
<v Speaker 6>house film composition helps you in that area.

1:36:03.960 --> 1:36:06.840
<v Speaker 7>Oh man. Look, eventually it opened my eyes up to

1:36:06.840 --> 1:36:09.760
<v Speaker 7>about using different colors on the band stand. Even when

1:36:09.760 --> 1:36:13.000
<v Speaker 7>I had my jazz band, I was still putting using

1:36:13.040 --> 1:36:16.479
<v Speaker 7>the pedals and stuff on my horn, you know, effects

1:36:16.520 --> 1:36:20.160
<v Speaker 7>on my horn, and which eventually let me into the ecollective.

1:36:20.280 --> 1:36:24.120
<v Speaker 7>You know what I mean, Because for me, like I

1:36:24.160 --> 1:36:27.200
<v Speaker 7>told you earlier, it's about utilizing these tools to tell

1:36:27.240 --> 1:36:30.439
<v Speaker 7>a story. Bro, you know what I mean. And it's

1:36:30.520 --> 1:36:34.080
<v Speaker 7>kind of funny, you know, It's like everybody there was

1:36:34.120 --> 1:36:36.640
<v Speaker 7>this great guitarist, man, I guess you got to know

1:36:36.760 --> 1:36:38.360
<v Speaker 7>Leonella Wake and played with Herbie.

1:36:38.520 --> 1:36:40.439
<v Speaker 1>Yeah, I was going to ask this man, I love him. Man,

1:36:40.439 --> 1:36:40.840
<v Speaker 1>he's dope.

1:36:41.400 --> 1:36:43.559
<v Speaker 7>So you know when Leone was in my band, Man,

1:36:43.600 --> 1:36:45.680
<v Speaker 7>we do these shows and Leonete would be playing and

1:36:46.040 --> 1:36:48.200
<v Speaker 7>have these loops going and all of this stuff going on,

1:36:49.080 --> 1:36:51.080
<v Speaker 7>and everybody would always come up after the show and

1:36:51.160 --> 1:36:52.880
<v Speaker 7>want to look at the pedals, you know, and they

1:36:52.920 --> 1:36:57.479
<v Speaker 7>wanted to so it said, bro, Okay, he's got the pedals,

1:36:57.479 --> 1:37:01.080
<v Speaker 7>but the pedals are tools. It really here, you know

1:37:01.120 --> 1:37:04.400
<v Speaker 7>what I mean, It's not my mind. So that's the

1:37:04.479 --> 1:37:07.120
<v Speaker 7>thing that film helped me to realize. It's like, you know,

1:37:08.040 --> 1:37:10.759
<v Speaker 7>are you still trying to tell the story the same

1:37:10.840 --> 1:37:14.360
<v Speaker 7>way that Miles told the story? And he's not even

1:37:14.400 --> 1:37:17.720
<v Speaker 7>doing it that way anymore. So and look, I got

1:37:17.720 --> 1:37:20.000
<v Speaker 7>to tell you this story. This was this was man,

1:37:20.040 --> 1:37:22.680
<v Speaker 7>this was funny. Uh but it was a wake up

1:37:22.680 --> 1:37:25.400
<v Speaker 7>call for me. So I'm on tour with Herbie Hancock.

1:37:25.800 --> 1:37:30.360
<v Speaker 7>This was right before Barack Obama was elected the first time,

1:37:31.200 --> 1:37:34.559
<v Speaker 7>and we were on tour in Europe and we were

1:37:34.560 --> 1:37:38.400
<v Speaker 7>playing some some of the Herbie's classic tunes, but he

1:37:38.479 --> 1:37:41.519
<v Speaker 7>had put these new arrangements on them, so we had

1:37:41.520 --> 1:37:43.600
<v Speaker 7>to speak like a child, and he had put a

1:37:43.640 --> 1:37:46.080
<v Speaker 7>lot meter in it and did some other stuff to it.

1:37:46.720 --> 1:37:49.880
<v Speaker 7>And then one day at soundcheck, man he started playing

1:37:49.880 --> 1:37:52.640
<v Speaker 7>a straight ahead version to speak like a child. So

1:37:52.800 --> 1:37:55.320
<v Speaker 7>Kendrick Scott, the drummer, he dumped up and started playing,

1:37:55.840 --> 1:37:58.439
<v Speaker 7>and James Jenis was playing base and he started walking

1:37:58.880 --> 1:38:01.439
<v Speaker 7>and Herbie started playing and we were just sitting there going,

1:38:03.000 --> 1:38:05.479
<v Speaker 7>that's killing, you know what I mean, And because they

1:38:05.479 --> 1:38:08.840
<v Speaker 7>sounded like old Herbie from the Blue Note Manday, Yeah,

1:38:09.080 --> 1:38:11.880
<v Speaker 7>that was killing and Herbie, you know, we were trying

1:38:11.880 --> 1:38:13.479
<v Speaker 7>not to maken use because we didn't want Herbie to

1:38:13.520 --> 1:38:16.599
<v Speaker 7>see how we were reacting to what he was doing. Man,

1:38:16.720 --> 1:38:19.559
<v Speaker 7>Herbie stood up and he goes, that just sounds so

1:38:19.640 --> 1:38:20.160
<v Speaker 7>old to me.

1:38:21.160 --> 1:38:23.439
<v Speaker 1>Wow, And we were like.

1:38:24.479 --> 1:38:27.880
<v Speaker 2>Yeah, trying to play it off.

1:38:28.120 --> 1:38:32.240
<v Speaker 7>Yeah right, okay, all right, all right, yeah, yeah, that's

1:38:32.280 --> 1:38:32.719
<v Speaker 7>an ulster.

1:38:33.280 --> 1:38:35.160
<v Speaker 2>How do you how do you stop from being in

1:38:35.439 --> 1:38:37.120
<v Speaker 2>but how do you stop from being in your head?

1:38:37.120 --> 1:38:41.000
<v Speaker 2>Because I think oftentimes, I know many are artists that

1:38:41.160 --> 1:38:44.759
<v Speaker 2>will make all these new arrangements of their same songs

1:38:44.760 --> 1:38:48.720
<v Speaker 2>because they think that the audience has been there at

1:38:48.760 --> 1:38:54.040
<v Speaker 2>all nine thousand shows of their entire career. Yeah, and oftentimes, yes,

1:38:54.360 --> 1:38:58.000
<v Speaker 2>the audience wants the meat and potatoes version of the

1:38:58.040 --> 1:39:00.280
<v Speaker 2>song that would served to them as they were it

1:39:00.320 --> 1:39:03.120
<v Speaker 2>because you're there to serve their memory, or at least

1:39:03.120 --> 1:39:05.320
<v Speaker 2>the audience thinks that you're there to serve their memory.

1:39:05.360 --> 1:39:09.759
<v Speaker 2>But how do you how do you stop from going

1:39:09.800 --> 1:39:14.000
<v Speaker 2>down that that rabbit hole of reinvention to the point

1:39:14.000 --> 1:39:17.000
<v Speaker 2>where you lose the original script.

1:39:17.360 --> 1:39:19.519
<v Speaker 7>I just don't do the reinvention part, you know what

1:39:19.560 --> 1:39:21.679
<v Speaker 7>I mean, because I know what you're talking about, because

1:39:21.720 --> 1:39:25.080
<v Speaker 7>and I've seen it do exactly that. So I try

1:39:25.120 --> 1:39:27.080
<v Speaker 7>to stay away from it a little bit. I mean,

1:39:27.360 --> 1:39:31.280
<v Speaker 7>you know, every nine and then we might do something.

1:39:31.360 --> 1:39:34.719
<v Speaker 7>But the stuff that happens with us, it happens naturally.

1:39:34.840 --> 1:39:36.960
<v Speaker 7>It may just happen over the course of us playing

1:39:37.560 --> 1:39:39.760
<v Speaker 7>every night. Guys may throw a little something in it

1:39:40.160 --> 1:39:45.880
<v Speaker 7>all a sarther room. But I try to go that road,

1:39:46.680 --> 1:39:49.040
<v Speaker 7>you know, because what we try to do is we

1:39:49.160 --> 1:39:53.040
<v Speaker 7>try to just keep moving forward, you know, excuse me.

1:39:53.360 --> 1:39:58.240
<v Speaker 7>So for us, you know, we have an object and

1:39:58.320 --> 1:40:02.080
<v Speaker 7>that that's in can Now. I still have to to

1:40:02.160 --> 1:40:05.200
<v Speaker 7>finish where we did the music of Wayne Shorter with

1:40:05.360 --> 1:40:09.240
<v Speaker 7>the Turtle out and string quartet, you know, and it's

1:40:09.280 --> 1:40:13.000
<v Speaker 7>a really cool album, and uh, you know, we got

1:40:13.120 --> 1:40:15.280
<v Speaker 7>to we're gonna once we put that out, we'll probably

1:40:15.280 --> 1:40:16.200
<v Speaker 7>be turning out music.

1:40:17.360 --> 1:40:20.439
<v Speaker 2>I got to ask before we wrap up about what

1:40:20.600 --> 1:40:23.720
<v Speaker 2>made you want to create? First of all, how does

1:40:23.760 --> 1:40:26.280
<v Speaker 2>one create an opera?

1:40:26.680 --> 1:40:27.000
<v Speaker 1>Yes?

1:40:27.840 --> 1:40:31.240
<v Speaker 2>I even reading that, like, I don't know, I had

1:40:31.280 --> 1:40:36.160
<v Speaker 2>the hiccups, Like obviously I felt I felt very overwhelmed,

1:40:36.240 --> 1:40:38.240
<v Speaker 2>Like wait a minute, how does one it even begin

1:40:38.320 --> 1:40:44.080
<v Speaker 2>to craft an opera? Like, so walk us through, uh

1:40:44.760 --> 1:40:47.080
<v Speaker 2>in creating operas? And how how does it start?

1:40:48.640 --> 1:40:52.040
<v Speaker 7>Okay, it starts by somebody coming up to you and saying, man,

1:40:52.040 --> 1:40:54.160
<v Speaker 7>we want you to write an opera, and me bending

1:40:54.160 --> 1:40:56.120
<v Speaker 7>over the table trying to smell their breath to make

1:40:56.160 --> 1:41:01.400
<v Speaker 7>sure they weren't drunk. Do you have the right, dude,

1:41:01.920 --> 1:41:03.800
<v Speaker 7>me write an opera? And they say, ye know. And

1:41:03.880 --> 1:41:06.599
<v Speaker 7>you know the guy Jim Robinson, who's become a really

1:41:06.640 --> 1:41:09.120
<v Speaker 7>good friend of mine, he was like yeah, he said,

1:41:09.120 --> 1:41:11.479
<v Speaker 7>I love the album The Tale of God's Will. And

1:41:11.520 --> 1:41:15.640
<v Speaker 7>they were trying to find some diversity and you know

1:41:16.240 --> 1:41:18.759
<v Speaker 7>what they were doing and creating new operas in Saint Louis.

1:41:19.240 --> 1:41:22.920
<v Speaker 7>So once they hired me, they listen, man, they were

1:41:22.960 --> 1:41:25.360
<v Speaker 7>smart about how they did it. So once they signed

1:41:25.439 --> 1:41:28.960
<v Speaker 7>me up, commission me to do this, they brought me

1:41:29.040 --> 1:41:33.439
<v Speaker 7>to see their season and I actually just sat there

1:41:33.680 --> 1:41:37.160
<v Speaker 7>and went to a bunch of operas in Saint Louis, right.

1:41:37.400 --> 1:41:38.280
<v Speaker 4>Yes, St. Louis.

1:41:38.760 --> 1:41:41.559
<v Speaker 7>Yeah. And then and then once I once I did that,

1:41:42.000 --> 1:41:43.880
<v Speaker 7>then you know, they paired me.

1:41:44.920 --> 1:41:45.559
<v Speaker 1>You know, I.

1:41:45.520 --> 1:41:50.680
<v Speaker 7>Started writing some sketches out and look, bro it it

1:41:50.800 --> 1:41:54.519
<v Speaker 7>is a daunting task. And the first time I did it,

1:41:54.920 --> 1:41:56.800
<v Speaker 7>I was so freaked out about it. They had to

1:41:56.800 --> 1:41:59.320
<v Speaker 7>reschedule my premier, you know what I mean. I was

1:41:59.320 --> 1:42:02.679
<v Speaker 7>supposed to open one year and I said, no, no, no, no, no,

1:42:02.720 --> 1:42:04.559
<v Speaker 7>he ain't ready. Let's do another year. Because I was

1:42:04.800 --> 1:42:07.080
<v Speaker 7>the one, you know, because I was just trying to

1:42:07.120 --> 1:42:09.480
<v Speaker 7>do so much research and I was just like overwhelmed

1:42:09.479 --> 1:42:13.320
<v Speaker 7>with the whole idea. But it was my composition teacher again, Roger.

1:42:13.400 --> 1:42:15.439
<v Speaker 7>He said, man, stop trying to write an opera. Just

1:42:15.479 --> 1:42:19.200
<v Speaker 7>tell a story, you know. And when once he did that,

1:42:19.200 --> 1:42:21.320
<v Speaker 7>that kind of freed me up. And then I thought

1:42:21.360 --> 1:42:23.559
<v Speaker 7>about something a friend of mine was saying. You know,

1:42:23.640 --> 1:42:26.840
<v Speaker 7>he said, listen, bro, look go ahead and just write

1:42:26.880 --> 1:42:29.360
<v Speaker 7>your stuff, write your oper and tell your story. He said,

1:42:29.360 --> 1:42:31.040
<v Speaker 7>if it doesn't work. You can just say that just

1:42:31.080 --> 1:42:32.880
<v Speaker 7>ain't my ship, you know what I mean. I tried

1:42:32.920 --> 1:42:36.280
<v Speaker 7>it my thing, and I did, and I just tried

1:42:36.280 --> 1:42:38.920
<v Speaker 7>to be as honest as I could. But here's the thing.

1:42:39.120 --> 1:42:42.080
<v Speaker 7>My father wanted to be an opera singer. My father

1:42:42.160 --> 1:42:44.479
<v Speaker 7>was a bartrone. So I used to hear operatic music

1:42:44.520 --> 1:42:46.639
<v Speaker 7>in the house all the time, you know what I mean,

1:42:47.360 --> 1:42:49.920
<v Speaker 7>And all of that, all of those tones, all of

1:42:49.960 --> 1:42:54.439
<v Speaker 7>those those lines, and all of that development of how

1:42:54.479 --> 1:42:57.400
<v Speaker 7>an orchestra can have a rush of energy, all of

1:42:57.439 --> 1:43:00.360
<v Speaker 7>that was in my system. You know. I didn't really

1:43:00.400 --> 1:43:05.840
<v Speaker 7>realize that. Yeah, And then when I started, when I

1:43:05.880 --> 1:43:09.639
<v Speaker 7>had the first draft of the melodic lines, man, we said,

1:43:09.760 --> 1:43:12.320
<v Speaker 7>actually before then, you know what they did, which was beautiful.

1:43:12.320 --> 1:43:14.759
<v Speaker 7>And then, man, if anybody wants to write an operation

1:43:14.800 --> 1:43:17.880
<v Speaker 7>to do this, what they did was they had a

1:43:17.920 --> 1:43:21.759
<v Speaker 7>group of actors just read the libretto like a play,

1:43:22.040 --> 1:43:26.559
<v Speaker 7>and I recorded it right because then I could hear

1:43:26.640 --> 1:43:28.599
<v Speaker 7>the story, you know what I mean, I could hear

1:43:28.640 --> 1:43:31.040
<v Speaker 7>it unfold. I could hear the inflections and the voices

1:43:31.080 --> 1:43:33.360
<v Speaker 7>and all of that stuff. So once I got the

1:43:33.400 --> 1:43:36.519
<v Speaker 7>melodic line down, then we just started having workshops with singers.

1:43:36.520 --> 1:43:38.880
<v Speaker 7>Man and I started learning about how to write for voice,

1:43:38.920 --> 1:43:41.559
<v Speaker 7>because come on, writing for an instrument, bro, I'm writing

1:43:41.560 --> 1:43:44.000
<v Speaker 7>for cello. The cello's rangers from here to here, you know,

1:43:44.040 --> 1:43:46.880
<v Speaker 7>I know what it is, you know, But every baritone

1:43:46.920 --> 1:43:48.840
<v Speaker 7>is different, you know what I mean. So some people

1:43:48.880 --> 1:43:51.839
<v Speaker 7>call themselves baritone, and then more of a bass baritone

1:43:51.840 --> 1:43:55.360
<v Speaker 7>they could produce more lowtones, and some other guys are

1:43:55.360 --> 1:43:58.640
<v Speaker 7>more like in the tenor range. So I had to

1:43:58.680 --> 1:44:01.519
<v Speaker 7>go through all of that. But the main thing about

1:44:01.560 --> 1:44:04.120
<v Speaker 7>it all is that they basically just kind of like

1:44:04.360 --> 1:44:06.679
<v Speaker 7>ushered me through every step of it. And then once

1:44:06.680 --> 1:44:08.439
<v Speaker 7>I got through it, man, when it came time to

1:44:08.479 --> 1:44:10.920
<v Speaker 7>do the second one, I just had so I had

1:44:10.960 --> 1:44:14.080
<v Speaker 7>more experience and I just felt more comfortable with what

1:44:14.120 --> 1:44:16.599
<v Speaker 7>it is that I wanted to do. And I got

1:44:16.600 --> 1:44:19.160
<v Speaker 7>to tell you, it's so rewarding, man, because you sit

1:44:19.240 --> 1:44:22.280
<v Speaker 7>in a room all day writing these lines. But man,

1:44:22.320 --> 1:44:24.920
<v Speaker 7>when these guys start to move around stage singing these

1:44:25.400 --> 1:44:29.160
<v Speaker 7>lines and these words and they bring in the lighting

1:44:29.200 --> 1:44:31.400
<v Speaker 7>and the boardrobe and all of this stuff, it's a

1:44:31.479 --> 1:44:34.719
<v Speaker 7>really powerful thing. And I tell people it's the highest

1:44:34.800 --> 1:44:39.160
<v Speaker 7>form of a musical that your lover ever see. You

1:44:39.200 --> 1:44:43.040
<v Speaker 7>know what I mean, I think there's room for all

1:44:43.600 --> 1:44:46.840
<v Speaker 7>different types of people to experience opera, you know. And

1:44:46.920 --> 1:44:47.320
<v Speaker 7>I'll just.

1:44:47.280 --> 1:44:48.800
<v Speaker 1>Say this and I'll let it go.

1:44:49.120 --> 1:44:50.280
<v Speaker 2>Will you do a third.

1:44:50.760 --> 1:44:53.240
<v Speaker 7>Yeah, as a matter of fact, that there's talks about

1:44:53.280 --> 1:44:56.479
<v Speaker 7>that now. But you know, when my opera came to

1:44:56.520 --> 1:45:00.280
<v Speaker 7>New Orleans, man, it was a bit of a controversial thing.

1:45:00.320 --> 1:45:02.040
<v Speaker 7>That were a lot of people who were seizing ticket

1:45:02.040 --> 1:45:04.439
<v Speaker 7>holders who wouldn't release their tickets and didn't come to

1:45:04.520 --> 1:45:08.360
<v Speaker 7>my show, you know. Yeah, but I said that cool. Yeah,

1:45:08.400 --> 1:45:11.040
<v Speaker 7>that's cool. I mean because the people that did come

1:45:11.200 --> 1:45:11.920
<v Speaker 7>packed the place.

1:45:12.200 --> 1:45:12.879
<v Speaker 1>Hell yeah.

1:45:13.520 --> 1:45:15.760
<v Speaker 7>And when they packed it, I remember this brother man,

1:45:15.800 --> 1:45:17.320
<v Speaker 7>he came up to me. He must have been like

1:45:17.400 --> 1:45:21.080
<v Speaker 7>seventy five years old, and one thing he said, he said, Man,

1:45:21.080 --> 1:45:24.760
<v Speaker 7>if this is opera, I will come right, I said,

1:45:25.280 --> 1:45:28.679
<v Speaker 7>And that was the best compliment I could have ever gotten,

1:45:28.720 --> 1:45:32.200
<v Speaker 7>because what it made me feel like was, that's part

1:45:32.200 --> 1:45:34.640
<v Speaker 7>of what's missing in the opera is our called it.

1:45:35.040 --> 1:45:35.599
<v Speaker 1>You know what I mean?

1:45:36.280 --> 1:45:39.040
<v Speaker 6>Those story someone who never would have been got into

1:45:39.080 --> 1:45:40.400
<v Speaker 6>opera otherwise if not for.

1:45:40.320 --> 1:45:43.120
<v Speaker 7>You, because he could relate to the story. You know

1:45:43.160 --> 1:45:45.759
<v Speaker 7>what I mean. The story was Neil Griffith in nineteen

1:45:45.840 --> 1:45:47.719
<v Speaker 7>sixty five, so he can really relate.

1:45:47.880 --> 1:45:49.559
<v Speaker 5>And I was going to ask you, why is full

1:45:49.560 --> 1:45:52.240
<v Speaker 5>circle moment? Like I thought about New Orleans, and I

1:45:52.240 --> 1:45:55.280
<v Speaker 5>thought about Casey Lemons being like the director of his opera,

1:45:55.360 --> 1:45:58.080
<v Speaker 5>like out of all the directors.

1:45:57.920 --> 1:46:00.320
<v Speaker 7>Made me what she did that's the second when she

1:46:00.360 --> 1:46:03.919
<v Speaker 7>wrote for Okay, my brother for the second one, because

1:46:04.240 --> 1:46:07.639
<v Speaker 7>you know, I love Casey man, and and uh, when

1:46:07.640 --> 1:46:11.040
<v Speaker 7>it came time to do Charles Blows book, I had

1:46:11.040 --> 1:46:13.559
<v Speaker 7>to have her that. What was funny was they flew,

1:46:13.880 --> 1:46:15.760
<v Speaker 7>they flew d to Saint Louis man to hang out.

1:46:16.320 --> 1:46:20.080
<v Speaker 7>And man, you know, Casey is like a dog with

1:46:20.120 --> 1:46:20.599
<v Speaker 7>a bone.

1:46:20.640 --> 1:46:20.840
<v Speaker 5>Man.

1:46:20.920 --> 1:46:24.639
<v Speaker 7>So wherever you saw Charles walking with Casey right behind,

1:46:24.800 --> 1:46:28.320
<v Speaker 7>you know, asking ques like three days. But she she

1:46:28.439 --> 1:46:29.000
<v Speaker 7>did her thing.

1:46:29.080 --> 1:46:31.040
<v Speaker 4>She was brilliant.

1:46:31.439 --> 1:46:33.640
<v Speaker 5>Yeah, I feel like she's a little unsung, but she

1:46:33.800 --> 1:46:34.719
<v Speaker 5>sung a lot of places.

1:46:35.479 --> 1:46:37.920
<v Speaker 7>I mean looking man, you know.

1:46:38.320 --> 1:46:38.599
<v Speaker 1>Yeah.

1:46:39.240 --> 1:46:42.559
<v Speaker 6>Oh, I was gonna say, man, my favorite score of

1:46:42.600 --> 1:46:44.559
<v Speaker 6>yours and I think some of just my favorite music

1:46:44.640 --> 1:46:47.719
<v Speaker 6>of yours. It's from a movie that wasn't that popular,

1:46:47.760 --> 1:46:49.200
<v Speaker 6>but I love what you did for it.

1:46:49.720 --> 1:46:50.599
<v Speaker 1>She hate me scoring?

1:46:50.960 --> 1:46:51.599
<v Speaker 4>Why you do it?

1:46:52.760 --> 1:46:53.719
<v Speaker 1>Dude? Man?

1:46:53.920 --> 1:46:56.479
<v Speaker 2>I love that fucking score. That ship is gorgeous. Dude,

1:46:56.600 --> 1:46:59.600
<v Speaker 2>shn't like I mean, the movie was the movie, but

1:46:59.840 --> 1:47:02.600
<v Speaker 2>the score, and.

1:47:02.680 --> 1:47:05.400
<v Speaker 4>We already spike about the movie, so you don't got

1:47:05.400 --> 1:47:06.080
<v Speaker 4>to hold.

1:47:05.920 --> 1:47:10.120
<v Speaker 7>Up a lot of people are.

1:47:09.920 --> 1:47:11.000
<v Speaker 1>Yeah, but the score. Man.

1:47:11.040 --> 1:47:12.760
<v Speaker 6>I love you know what you did, and like your

1:47:12.800 --> 1:47:16.160
<v Speaker 6>record with Rob Me don that, Adam and Eve and Eve.

1:47:16.240 --> 1:47:19.920
<v Speaker 7>You know that dude? Man? You know me playing some

1:47:19.960 --> 1:47:23.439
<v Speaker 7>of the keyboard lines on that. Yeah, ask your boy

1:47:23.479 --> 1:47:25.080
<v Speaker 7>Derek is playing based on that? Man?

1:47:25.200 --> 1:47:29.160
<v Speaker 6>Yep, Yeah, what do you remember recording by because that

1:47:29.160 --> 1:47:33.080
<v Speaker 6>that melody? Like, I just I love that man.

1:47:33.120 --> 1:47:35.400
<v Speaker 7>I just remember being in the studio with him and

1:47:35.400 --> 1:47:38.160
<v Speaker 7>the energy was just like on point from the first

1:47:38.240 --> 1:47:41.800
<v Speaker 7>take and it just felt like I don't know how

1:47:41.840 --> 1:47:43.840
<v Speaker 7>to explain it. I guess you guys have gone through this.

1:47:44.360 --> 1:47:44.559
<v Speaker 1>You know.

1:47:44.600 --> 1:47:47.160
<v Speaker 7>You start off doing that track and it has that

1:47:47.360 --> 1:47:50.360
<v Speaker 7>energy and you think that's sitting and somebody adds something

1:47:50.439 --> 1:47:53.479
<v Speaker 7>and it just keeps you know what I mean, And

1:47:53.520 --> 1:47:56.920
<v Speaker 7>that's what was happening with that track man. You know, man,

1:47:56.920 --> 1:47:59.240
<v Speaker 7>we just had so much fun and Raoul was open

1:47:59.280 --> 1:47:59.760
<v Speaker 7>to it all.

1:48:00.200 --> 1:48:00.880
<v Speaker 1>You know, you could.

1:48:00.880 --> 1:48:05.599
<v Speaker 7>I remember there's this there's this little solo keyboard line

1:48:05.640 --> 1:48:08.680
<v Speaker 7>that I played right going into one of the transitions,

1:48:09.000 --> 1:48:11.760
<v Speaker 7>and he was he was cool with everything. Man, you know,

1:48:12.240 --> 1:48:14.559
<v Speaker 7>so we just we were just going for it, having fun.

1:48:15.640 --> 1:48:20.479
<v Speaker 2>Well I'm I'm predicting, yes, even if it's against my

1:48:20.680 --> 1:48:27.559
<v Speaker 2>own film. Oh no, only because but the thing is

1:48:27.600 --> 1:48:31.679
<v Speaker 2>Trend and Atticus are Actually it's it's so weird when

1:48:31.880 --> 1:48:36.360
<v Speaker 2>the Academy allows a nominee to to come in twice

1:48:36.400 --> 1:48:38.800
<v Speaker 2>because it's just gonna split. They're in for two films.

1:48:38.800 --> 1:48:39.240
<v Speaker 2>They're in for.

1:48:39.240 --> 1:48:42.719
<v Speaker 1>Souls, there for Mink. Yeah.

1:48:43.000 --> 1:48:48.400
<v Speaker 2>So yeah, so like this this could be a year.

1:48:48.439 --> 1:48:50.439
<v Speaker 2>But not to gas you up on that, but is

1:48:50.479 --> 1:48:54.760
<v Speaker 2>that I mean, I know the PC answers. Yes, I

1:48:54.760 --> 1:48:57.040
<v Speaker 2>don't get caught up in those things. Do it for

1:48:57.080 --> 1:49:02.800
<v Speaker 2>the love, but you know, it's it has to be

1:49:03.680 --> 1:49:05.040
<v Speaker 2>an exhilarating honor too.

1:49:05.960 --> 1:49:08.519
<v Speaker 4>And this day tomorrow is voting day.

1:49:08.800 --> 1:49:11.680
<v Speaker 7>So just saying no, look, man, no, I ain't got

1:49:11.680 --> 1:49:13.839
<v Speaker 7>no shame in my game when any of that comes across,

1:49:13.880 --> 1:49:15.439
<v Speaker 7>you know what I mean. I never thought this would

1:49:15.479 --> 1:49:18.120
<v Speaker 7>happen to me, Are you kidding? Dude? I thought I

1:49:18.160 --> 1:49:20.320
<v Speaker 7>was gonna be a dude who had a day job

1:49:20.400 --> 1:49:22.840
<v Speaker 7>and play jazz because I love playing music, so all

1:49:22.840 --> 1:49:25.080
<v Speaker 7>of this stuff is grazy gravy, you know what I mean.

1:49:25.120 --> 1:49:27.800
<v Speaker 7>And then to be recognized in such a way and

1:49:29.680 --> 1:49:33.280
<v Speaker 7>amongst some of some of the films that some have

1:49:33.360 --> 1:49:35.800
<v Speaker 7>been some of the greatest films that have been produced. Man,

1:49:35.840 --> 1:49:39.080
<v Speaker 7>it's a huge honor, you know what I mean. I mean,

1:49:40.120 --> 1:49:42.200
<v Speaker 7>you're right, it's not it's not the reason that we

1:49:42.360 --> 1:49:44.840
<v Speaker 7>do this, obviously, you know what I mean. We've had

1:49:44.840 --> 1:49:48.600
<v Speaker 7>a passion for just being creative, period. But but the

1:49:48.680 --> 1:49:51.960
<v Speaker 7>honor itself is huge, you know what I mean. It

1:49:52.600 --> 1:49:56.000
<v Speaker 7>doesn't go past me, you know what I mean. I'm sorry.

1:49:56.000 --> 1:49:58.760
<v Speaker 7>My father's not around to see that, you know. And

1:49:58.920 --> 1:50:00.800
<v Speaker 7>probably a good thing because they would have to keep

1:50:00.840 --> 1:50:05.200
<v Speaker 7>his ass off the stage if you have the show.

1:50:05.240 --> 1:50:09.400
<v Speaker 7>But you know, it's one of those things that makes

1:50:09.400 --> 1:50:12.120
<v Speaker 7>you proud for your family, my kids, because they really

1:50:12.120 --> 1:50:13.840
<v Speaker 7>get a big kick out of it. My wife.

1:50:13.880 --> 1:50:14.080
<v Speaker 1>Man.

1:50:14.320 --> 1:50:16.800
<v Speaker 7>Hell yeah, when I got nominated the first time, Man,

1:50:16.800 --> 1:50:19.760
<v Speaker 7>I was on the road. I came home. Man, it

1:50:19.920 --> 1:50:25.200
<v Speaker 7>was like ship all over the house everywhere. Man, I couldn't.

1:50:25.200 --> 1:50:28.519
<v Speaker 7>I was tired. I said, Man, I just want to relax, Man,

1:50:28.560 --> 1:50:30.920
<v Speaker 7>So you know, I said, I'm going upstairs. One of

1:50:30.920 --> 1:50:32.759
<v Speaker 7>them says, all over the big.

1:50:32.920 --> 1:50:35.880
<v Speaker 4>Yeah, because Oscar me escra oh was coming extra zero.

1:50:38.000 --> 1:50:42.720
<v Speaker 7>All of the events when we went to that was

1:50:42.760 --> 1:50:44.479
<v Speaker 7>for her. That had nothing to do with me, you

1:50:44.479 --> 1:50:46.920
<v Speaker 7>know what I mean? I just that was it.

1:50:47.120 --> 1:50:52.000
<v Speaker 2>Yes, if anyone is on their way to uh An

1:50:52.040 --> 1:50:54.919
<v Speaker 2>e Got or a ghetto, I definitely feel.

1:50:54.720 --> 1:50:56.360
<v Speaker 7>To you man and thank you for sir.

1:50:57.800 --> 1:50:59.559
<v Speaker 5>I was gonna ask, does it mean something that that

1:50:59.640 --> 1:51:01.880
<v Speaker 5>John teases in the in the category with you in

1:51:01.960 --> 1:51:02.400
<v Speaker 5>New Orleans?

1:51:02.439 --> 1:51:05.479
<v Speaker 7>Brothers my brother man. You know I've been doing that, dude,

1:51:05.600 --> 1:51:07.960
<v Speaker 7>man since she was a little kid. You know. As

1:51:07.960 --> 1:51:09.840
<v Speaker 7>a matter of fact, one of the Knights that we

1:51:09.960 --> 1:51:12.679
<v Speaker 7>played at the jazz Fest, we did a night show

1:51:12.720 --> 1:51:15.959
<v Speaker 7>at the club here a snug Harbor and John Baptiste

1:51:16.080 --> 1:51:18.160
<v Speaker 7>was that after entertainment when he was a young kid.

1:51:18.240 --> 1:51:21.720
<v Speaker 7>Man came up before behind her, Herbie Hancock. So when

1:51:21.720 --> 1:51:23.840
<v Speaker 7>I saw him doing all this stuff he's been doing

1:51:23.840 --> 1:51:25.960
<v Speaker 7>in New York and we just recently, not too long

1:51:26.120 --> 1:51:29.479
<v Speaker 7>before the pandemic did a show together at Carnegie Hall, Man,

1:51:29.760 --> 1:51:33.200
<v Speaker 7>and we texted back and forth. You know the nominations.

1:51:33.520 --> 1:51:35.240
<v Speaker 5>Can I just say too, because I just realized in

1:51:35.280 --> 1:51:38.400
<v Speaker 5>this conversation that meanwhile We've had three people who worked

1:51:38.400 --> 1:51:41.200
<v Speaker 5>with you on the on this show from New Orleans,

1:51:41.240 --> 1:51:44.280
<v Speaker 5>PJ Moore and of course Tank, of course John Baptiste.

1:51:44.280 --> 1:51:46.240
<v Speaker 5>But I want to defend us and say, the reason

1:51:46.280 --> 1:51:48.519
<v Speaker 5>that we waited so long to have you is because

1:51:48.560 --> 1:51:51.000
<v Speaker 5>in our minds we was coming to New Orleans and

1:51:51.000 --> 1:51:52.120
<v Speaker 5>we was going to have a real.

1:51:51.960 --> 1:51:52.679
<v Speaker 4>Show with Terror.

1:51:53.680 --> 1:51:55.920
<v Speaker 5>That is the only reason that it took us so

1:51:56.040 --> 1:51:57.640
<v Speaker 5>long to get down that.

1:51:57.640 --> 1:51:59.840
<v Speaker 7>That's a great look, Tank, Tank. You know, we did

1:51:59.840 --> 1:52:02.280
<v Speaker 7>a song for one night Miami. I know, I know.

1:52:02.400 --> 1:52:03.360
<v Speaker 4>It's awesome.

1:52:06.280 --> 1:52:07.960
<v Speaker 7>And it's funny because it's one of those things where

1:52:08.000 --> 1:52:10.120
<v Speaker 7>you want to tell your students on him and all.

1:52:10.280 --> 1:52:12.240
<v Speaker 7>That woman came in here and did two takes and

1:52:12.280 --> 1:52:13.000
<v Speaker 7>it was done.

1:52:13.520 --> 1:52:14.479
<v Speaker 2>Yeah right, that.

1:52:14.560 --> 1:52:17.000
<v Speaker 4>Sound right that girl? And PJ big up to him.

1:52:16.880 --> 1:52:19.360
<v Speaker 7>Too, Oh, PJ too. He was another man. I remember

1:52:19.360 --> 1:52:21.360
<v Speaker 7>the first time I met him, he told me he

1:52:21.400 --> 1:52:23.400
<v Speaker 7>was a musician. He was a young kid. I must

1:52:23.439 --> 1:52:25.680
<v Speaker 7>have been about twenty and twenty one years old, and

1:52:25.720 --> 1:52:27.840
<v Speaker 7>I'm like, yeah, okay, man. And then for some reason

1:52:27.920 --> 1:52:32.640
<v Speaker 7>he sent me something this stuff and I went, wow,

1:52:33.160 --> 1:52:35.120
<v Speaker 7>what And then I lost track of him, you know

1:52:35.160 --> 1:52:36.720
<v Speaker 7>what I mean. And then when I found track of

1:52:36.760 --> 1:52:40.240
<v Speaker 7>him again. He was like PJ. I was like, Okay,

1:52:40.680 --> 1:52:42.400
<v Speaker 7>that's bound to happen, that's for sure.

1:52:42.760 --> 1:52:43.040
<v Speaker 1>Sure.

1:52:43.720 --> 1:52:45.000
<v Speaker 7>Yeah.

1:52:45.160 --> 1:52:48.120
<v Speaker 6>Oh man, we have to ask like last quot, last

1:52:48.200 --> 1:52:51.760
<v Speaker 6>last question man, the when the levees broke.

1:52:52.080 --> 1:52:54.480
<v Speaker 2>Oh oh damn, I totally.

1:52:54.200 --> 1:52:57.920
<v Speaker 6>Forgot yeah, man, like just to talk about that experience,

1:52:58.080 --> 1:53:00.960
<v Speaker 6>just you know, the just the emotional joy of scoring that.

1:53:01.439 --> 1:53:03.960
<v Speaker 7>Well, you know the wild part about that, man. You know,

1:53:04.080 --> 1:53:07.200
<v Speaker 7>going through that period of in our history, bro was

1:53:07.200 --> 1:53:10.479
<v Speaker 7>a traumatic thing, you know, because there was something you

1:53:10.520 --> 1:53:13.040
<v Speaker 7>never thought, whatever really happened in this country, and then

1:53:13.280 --> 1:53:15.720
<v Speaker 7>the way it went down, the way we were talked

1:53:15.720 --> 1:53:19.240
<v Speaker 7>about is being refugees. It was so disrespectful to look

1:53:19.320 --> 1:53:21.519
<v Speaker 7>on the television and see people that look like people

1:53:21.560 --> 1:53:24.360
<v Speaker 7>in my family and they were being called such things.

1:53:24.479 --> 1:53:27.719
<v Speaker 7>You know. It was like you couldn't You wanted to scream,

1:53:27.760 --> 1:53:29.479
<v Speaker 7>but there was no place to go, you know what

1:53:29.560 --> 1:53:33.080
<v Speaker 7>I'm saying. So we were in the listen. I had

1:53:33.120 --> 1:53:35.599
<v Speaker 7>to go to la because I had an apartment there.

1:53:36.840 --> 1:53:39.719
<v Speaker 7>Because we couldn't come back to the warts. I couldn't

1:53:39.720 --> 1:53:43.880
<v Speaker 7>find my mom for two weeks when I finally found

1:53:44.200 --> 1:53:46.040
<v Speaker 7>When I finally found my mom and said mom been

1:53:46.040 --> 1:53:47.479
<v Speaker 7>calling you for two weeks. I said, I heard that

1:53:47.520 --> 1:53:58.120
<v Speaker 7>thing buzzing in my purse. We were doing the music

1:53:58.160 --> 1:54:04.240
<v Speaker 7>to Spike lee movie Inside Man. Yeah, and normally he'd

1:54:04.240 --> 1:54:06.000
<v Speaker 7>fly me to New York, but he said, no, man,

1:54:06.040 --> 1:54:07.920
<v Speaker 7>you stay with your family in l A. And I'm

1:54:07.920 --> 1:54:10.360
<v Speaker 7>coming to you. And when he came to my apartment,

1:54:10.400 --> 1:54:11.840
<v Speaker 7>he made he walked in the door. The first thing

1:54:11.880 --> 1:54:14.240
<v Speaker 7>he said was he didn't even say hi. He said, Man,

1:54:14.280 --> 1:54:16.840
<v Speaker 7>I'm doing a documentary on those levees and I'm gonna

1:54:16.840 --> 1:54:19.599
<v Speaker 7>give those people a chance to tell their story. And

1:54:20.160 --> 1:54:22.000
<v Speaker 7>you know, my respect for him went through the roof

1:54:22.040 --> 1:54:24.960
<v Speaker 7>right at that moment, you know. And that's the most

1:54:25.000 --> 1:54:28.240
<v Speaker 7>comprehensive thing I've ever seen done on all the cultures

1:54:28.240 --> 1:54:32.720
<v Speaker 7>of New Orleans, you know. And to to watch it,

1:54:33.400 --> 1:54:36.080
<v Speaker 7>you know, we were actually recording and music the Inside Man.

1:54:36.440 --> 1:54:36.920
<v Speaker 1>That's how he.

1:54:36.920 --> 1:54:38.960
<v Speaker 7>Found out that my mom hadn't gone in the house.

1:54:38.960 --> 1:54:42.440
<v Speaker 7>Ship you know, I was out there. Yeah, I come

1:54:42.480 --> 1:54:44.800
<v Speaker 7>back in for a playback. And then Spike goes, we're

1:54:44.800 --> 1:54:46.840
<v Speaker 7>gonna feel mel your mom going in the house. I'm like,

1:54:46.920 --> 1:54:50.400
<v Speaker 7>what you know? And my mom said, well, people need

1:54:50.400 --> 1:54:52.400
<v Speaker 7>to see what we're going to you know what I mean.

1:54:52.680 --> 1:54:55.880
<v Speaker 7>And that was one of the reference things to do

1:54:56.000 --> 1:54:58.080
<v Speaker 7>with my mom because you know, I'd went to the

1:54:58.080 --> 1:55:01.880
<v Speaker 7>house the night before. I already knew what was up,

1:55:02.280 --> 1:55:04.600
<v Speaker 7>what was about to go down, And when she said,

1:55:04.640 --> 1:55:07.320
<v Speaker 7>I hope my house is fine, it just broke, you know,

1:55:07.400 --> 1:55:09.960
<v Speaker 7>breaks you up. She had a friend of hers who

1:55:10.040 --> 1:55:14.320
<v Speaker 7>had come home, got out his car, saw his house,

1:55:14.520 --> 1:55:16.120
<v Speaker 7>and had a heart attack and died right in front

1:55:16.120 --> 1:55:16.640
<v Speaker 7>of the house.

1:55:17.240 --> 1:55:18.000
<v Speaker 1>Shit, you know what I mean.

1:55:18.120 --> 1:55:19.680
<v Speaker 7>So there were a lot of stories like that that

1:55:19.720 --> 1:55:21.720
<v Speaker 7>were going on. So when it came time to make

1:55:21.760 --> 1:55:24.920
<v Speaker 7>the record, man, you know, I kept wondering if I

1:55:25.000 --> 1:55:28.080
<v Speaker 7>was sounding angry because I was pissed. You know, I

1:55:28.200 --> 1:55:31.520
<v Speaker 7>was just pissed. I kept being pissed. I'm like, you know,

1:55:32.320 --> 1:55:36.360
<v Speaker 7>this is America. This shit shouldn't happen. Who designed those levees.

1:55:36.400 --> 1:55:38.080
<v Speaker 7>If it was one of us, we'd be in jail,

1:55:38.280 --> 1:55:40.920
<v Speaker 7>you know what I mean. It's just that's simple. You know,

1:55:40.960 --> 1:55:43.600
<v Speaker 7>it's faulty design. And people lost their lives because of

1:55:43.600 --> 1:55:46.360
<v Speaker 7>when people lost their homes because of it. So I

1:55:46.800 --> 1:55:49.560
<v Speaker 7>kept trying to say to myself, don't sound angry, don't

1:55:49.600 --> 1:55:52.040
<v Speaker 7>sound angry. But all of those stories, all of those

1:55:52.120 --> 1:55:55.360
<v Speaker 7>arrangements I kind of based off of stories that happened,

1:55:55.480 --> 1:55:59.120
<v Speaker 7>you know, during that period. And one of the blessed

1:55:59.120 --> 1:56:02.280
<v Speaker 7>things about it is that once we did it and

1:56:02.480 --> 1:56:06.280
<v Speaker 7>recorded it, you know, and released it, man, this one

1:56:06.320 --> 1:56:09.160
<v Speaker 7>guy came to one of our shoulder and he said, Man,

1:56:10.640 --> 1:56:13.120
<v Speaker 7>he said, I lost my best friend in Katrina. And

1:56:13.160 --> 1:56:16.960
<v Speaker 7>he said, I wasn't wasn't able to mourn. And he said,

1:56:17.280 --> 1:56:20.280
<v Speaker 7>and then, you know, they were having a memorial for him,

1:56:20.360 --> 1:56:24.040
<v Speaker 7>like a year afterwards, and he said, I put your

1:56:24.240 --> 1:56:28.960
<v Speaker 7>album on and as I was listening to it, he said,

1:56:29.000 --> 1:56:31.800
<v Speaker 7>as I was pulling up to the church funeral, dirt

1:56:31.920 --> 1:56:35.840
<v Speaker 7>started to play and he said, I just lost it.

1:56:35.880 --> 1:56:37.840
<v Speaker 7>And he said that was the first time he could

1:56:37.880 --> 1:56:41.120
<v Speaker 7>ever moan the lost more one the loss of the friend.

1:56:42.120 --> 1:56:44.640
<v Speaker 7>So you know, when you hear stories like that, you know,

1:56:44.760 --> 1:56:47.440
<v Speaker 7>you feel like that's why you create music, to help

1:56:47.480 --> 1:56:50.880
<v Speaker 7>people like deal with stuff, you know. And and one

1:56:50.920 --> 1:56:52.640
<v Speaker 7>of the things we kept saying with that album. One

1:56:52.680 --> 1:56:54.520
<v Speaker 7>of the things we said with the breathless stuff, with

1:56:54.560 --> 1:56:57.000
<v Speaker 7>the gun violence, you know, it's like, let the music

1:56:57.080 --> 1:57:00.640
<v Speaker 7>absorb you, Let the music absorb your frustration and pain.

1:57:03.000 --> 1:57:06.839
<v Speaker 7>Strategic about how we move forward, you know, and creating

1:57:06.840 --> 1:57:09.040
<v Speaker 7>a more equitable life for us in this country.

1:57:10.520 --> 1:57:14.000
<v Speaker 1>That's real. Thank you for sharing that, man, Thank for

1:57:14.080 --> 1:57:15.240
<v Speaker 1>sharing that. Thank you.

1:57:15.800 --> 1:57:19.680
<v Speaker 2>Thank you on behalf of on pay Bill Sugar Steve

1:57:20.000 --> 1:57:22.840
<v Speaker 2>and Fan Tikolo and like, yeah.

1:57:22.520 --> 1:57:25.360
<v Speaker 4>Thank you, thank you, thank you. Flowers, flowers, flowers, flowers.

1:57:25.520 --> 1:57:26.560
<v Speaker 1>Thank you for all you do man.

1:57:26.840 --> 1:57:30.040
<v Speaker 6>Your music, like all your music, it definitely becomes just

1:57:30.080 --> 1:57:32.880
<v Speaker 6>like a whole other character in all the movies that

1:57:32.920 --> 1:57:33.240
<v Speaker 6>you do.

1:57:33.360 --> 1:57:36.080
<v Speaker 1>And I watch them just as much for your music

1:57:36.160 --> 1:57:40.000
<v Speaker 1>as I do movies. Like for real, that is.

1:57:41.440 --> 1:57:42.960
<v Speaker 4>That is listening truth.

1:57:43.000 --> 1:57:43.400
<v Speaker 3>Thank you.

1:57:43.520 --> 1:57:47.320
<v Speaker 7>Yeah, yes, absolutely, I love what you guys do. Man,

1:57:47.360 --> 1:57:48.600
<v Speaker 7>So keep it up, man.

1:57:48.840 --> 1:57:51.680
<v Speaker 1>Thank you all right, this quest love.

1:57:51.760 --> 1:57:54.720
<v Speaker 2>Then we'll see on the next ground round of Supreme.

1:57:55.000 --> 1:57:55.600
<v Speaker 2>Thank you.

1:57:59.200 --> 1:58:00.600
<v Speaker 1>Yoh what's up? Sponte.

1:58:00.920 --> 1:58:03.200
<v Speaker 6>Make sure you keep up with us on Instagram at

1:58:03.280 --> 1:58:05.040
<v Speaker 6>QLs and let us know what you think.

1:58:05.080 --> 1:58:06.720
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1:58:06.960 --> 1:58:10.080
<v Speaker 6>Don't forget to subscribe to our podcast, Ali Peace.

1:58:18.120 --> 1:58:21.080
<v Speaker 1>How Much Love Supreme is a production of iHeartRadio.

1:58:23.680 --> 1:58:28.080
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1:58:28.520 --> 1:58:30.240
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