Quentin Walston: Teaching Jazz, Retro Future, and Reviving 1920s Stride

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This week on The Stereo Image,
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we're lucky enough to be joined by the
great Quentin Walston,
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~ great author, pianist, ~ Instagram ~
hero
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of my friend Jen, the producers.
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And it's great to have you on the show and
it's great to meet you in person.
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Well, over the internet. How are ya?
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Yeah, well thank
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you so much. Yeah, I really appreciate it.
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It's a delight to be on. I'm really
excited to just talk about jazz.
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It's a huge passion and it's always a good
day when you can dive in deep
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to the music.
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Well, I'll tell you, ~ it's I'm gonna
start right in on you know,
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~ how important I think what you're doing
is,
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~ because you're bringing all of this ~
knowledge that many jazz
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musicians just have built in from years
and years of practice and study and
playing,
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and you're imparting it to all these
people in these really accessible way.
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And it's really nice and ~ we really
appreciate it.
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I appreciate that. Yeah.
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~
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you're helping everyone out. one by one we
will educate Americans into jazz.
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Yeah, absolutely. I mean, I ~ I I think
people enjoy I mean,
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my kind of personal mission is is I think
people enjoy the music more when they
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understand what's going on. And and part
of that is kind of modeled after
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my own journey through jazz. I'm I'm a
very analytical person.
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I've always been a music theory dork.
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~ I
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Mm-hmm.
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always love history and just the more I
figure it out,
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the more I liked it.
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And then I
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Right.
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found talking to audiences, whether it's
in my concerts or on Instagram,
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like just imparting that knowledge helps
people I think enjoy the genre more,
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especially the genre that can be
instrumental and can get rather complex.
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I agree. ~ and I I've had a couple of
experiences ~ with ~
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the there's a friend of mine who's ~ a
magician,
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~ Piff the Magic Dragon. and ~ I was on
his podcast
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and he basically said to me, Explain jazz
to me.
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I I have no idea what it is. And he had no
idea that it was even even
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the concept of, you know, inventing
melodies over chords.
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you know, over the chord changes of a
song.
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And
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Right.
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so when I as soon as I did that to him,
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he was like, that makes sense.
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You know, I I think I I I
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Mm-hmm.
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I think I can understand that more.
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But ~ but ~ well you you did you start at
like as a really young age?
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I I'm I'm getting a vibe from you that you
didn't just pick this up
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in the last decade. were you like a kid
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Well, ~
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player or
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Yeah, I mean I guess I mean now that I'm
in my thirties I've been I've been playing
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for over a couple of decades, but when I
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Yeah.
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went to music school, some of my peers
started when they were,
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you know, four, five, six years old.
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I didn't start that young. I started in
middle school,
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probably around the age of twelve.
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Okay. Mm-hmm.
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~
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~ I was self-taught for about a year.
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My parents saw that I had an interest,
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so they got me lessons, but I always still
felt like I was doing ketchup.
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Like I I
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Mm-hmm.
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wasn't ~ un until I got to college,
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I wasn't a very serious practicer.
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I only did classical unless I absolutely
had to.
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~ but
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Right.
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I did have a teacher that allowed me to
explore
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ragtime and boogie woogie and jazz.
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And I'd always been composing myself.
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So I think that fostering of creativity
was something that
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was really beneficial for me. And then I
mentioned just kind
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of that analytical side. So that ~ the
left brain helped
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me accelerate where my kind of right brain
or my facilities weren't quite there,
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if that makes sense.
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Right.
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~ sure, sure. Yeah. ~ it was the opposite
for me.
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you know,
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Mm-hmm.
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I I could I could play well, but it wasn't
until I was in my my,
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you know, mid l because I started very
early.
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I you know, I started when I was
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What's it
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when I was three. ~ and
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wow, yeah.
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~ but it wasn't until I was in my mid
teens that I started being able
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to pull things apart and and and
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Mm.
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understand
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at least conceptually what like someone
like R.
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Tatum was doing because it was just such a
you know,
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an onslaught of of technique and notes
that you say,
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wait a minute, wait a minute, wait,
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wait what how how did he he's changing
keys in the in the middle of a measure,
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you know? You know,
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No, yeah. Yeah.
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and and it wasn't in you know until I got
to Berklee and started really pulling
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stuff apart that that I I I could always
sort of play,
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but it was it was different, you know,
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for me. But ~ and ~ so you obviously
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~ through high school decided to go to
music school ~ to continue your education.
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Yeah. Yeah. I it it's it's
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interesting. Like my I didn't gravitate
towards jazz initially.
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I kinda mentioned I I was interested in
like boogie woogie and ragtime in
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Mm-hmm.
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my younger teen years. And I I think it's
mostly just 'cause I wasn't exposed to
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more, I guess, I don't want to say jazz
proper,
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but you know, some of the more straight
ahead artists.
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Like when I was fifteen, I didn't know who
Monk was.
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I didn't know who Bill Evans was.
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~ but I knew who Ray Charles was and and
things like that.
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So I I
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kind of had an ear for that sound.
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~ and then growing up where I was in
Virginia,
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a lot of the music scene was actually
bluegrass.
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So I
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sure,
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Exposed
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yeah.
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to bluegrass, and that has a really rich
world of improvisation.
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So
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Right.
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in between every verse and chorus,
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you're getting fiddle solos or banjo
solos,
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dobro, whatever
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Mm-hmm.
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it is. So I fell in love with improv
actually outside of jazz,
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and then
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Right.
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I had my love of ragtime and boogie
woogie,
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and right around junior, senior year,
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it all kind of clicked. Like, hey,
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that sound that you're after is actually
jazz.
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Okay, okay, sure.
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~ so I
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I really, really dove deep and really
started practicing a lot and pursuing it.
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And yeah, I think I didn't decide until,
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you know, auditions were like four or five
months away that I wanted to
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go to music school. And I probably gave my
~ music teacher a heart attack.
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I said, you know, I think I want to
audition for college.
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So she's like, ~ well then you better
start with Yeah.
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Uh-huh. Uh-huh. You better start working.
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And I mean, when you auditioned,
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did you play you know, the classical
repertoire?
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Did did you have
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Yeah. Yeah, I
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d I had to do ~ both. So I I learned
Mozart's Rondo Alaterca in one
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Sure.
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of the Bach conventions. And then
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I did for my jazz I I wrote an arrangement
of ~ what is it now?
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I hear a rhapsody. So classic
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~ yep, okay.
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great American songbook tune. ~ but yeah,
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I still had so much to learn. I mean I I'm
very grateful that ~
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That James Madison University brought me
in,
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because I I still
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huh.
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felt like it was an uphill an uphill
battle,
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a lot to learn.
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Yeah, but
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that's I mean that's the beauty of you
know that's I was lucky enough
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to get into Berklee ~
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Mm.
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and ~ you know I mean ~ in in Buffalo
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I was the top piano player. You know what
I mean?
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In Buffalo, New York, before
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Yeah.
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I went to Berklee. And I got to Berklee
and there were many people much better
than
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me. And
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Yeah.
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~ you know, and I mean I also
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had the horrible misfortune of being there
at exactly the same time Makoto Ozzone
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was there. And yeah, and Makoto was like
from another planet.
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~ it was, you know, nobody none of the
music,
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none of the faculty that taught there was
even equipped to comprehend what
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Mm. Mm.
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he was doing. It was
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he was just so heavy and so great.
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But ~
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I heard yeah, yeah.
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no, go ahead. What were you gonna say?
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I was gonna say I heard similar things
about ~ when Robert Glasper was
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in was in school. ~ the people just trying
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that's yeah. I
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to absorb his progressions and stuff.
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Yeah, I he way past my time. You know,
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I was there in the early eighties.
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~ but ~ but yeah,
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it was it, you know, but school music
school ~ you know,
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again, I learned more from
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the teachers that I got to hang out and
talk with than
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Mm.
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than the classes you know what I mean?
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I mean you do all the classes,
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but it's
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Right.
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like having lunch with the guy that played
with Charlie Parker.
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You know, hanging out with Herb Pomery.
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And then getting out of school in in in
Boston and then playing on gigs with
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Yeah. Yeah.
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all these guys, which is
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where you real educate because I I,
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you know, ~ you get to play everybody
wants something different behind them
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as a c in a companyist. So
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Mm-hmm.
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that's when you really w sort of round out
your your your
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Yeah.
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you know, your the way you know that this
guy wants more monk stuff behind him.
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This guy wants more, you know,
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Teddy Wilson. This guy wants, you know.
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And but anyways, well ~ so you went
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you went to you went to the real school
and got a real degree.
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~ and were you did you have a group that
you were s playing with a trio then
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or were you just were you doing gigs?
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Yeah, I
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I I ~ was playing with I think it was a a
quintet.
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~ a bunch of classmates. we started a
group with I think
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it was called Grooveyard. so
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Nice, nice.
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it was guitar, piano, drums, and then sax
and trumpet.
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~ I'd always loved writing, so I I was
writing for that group and
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we were playing around Harrisonburg and
things like that.
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And then, you know, other people started
going into our guitarist went into
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the cruise ship thing for a while and some
other people did their thing.
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~ but you know, I was always determined to
be full time musician no matter what.
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Right.
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And I think that was w one of the
blessings of being a pianist is is you
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can get a lot of solo gigs. So it's harder
for some other
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for some other instruments. Like if you're
a vibes player,
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you can be a killing vibes player,
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but you know, it's hard to bring
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Right.
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bring that into solo gigs and stuff like
that.
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So right out of school, if it wasn't that
quintet,
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~ I was working all the wineries because
in Virginia.
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yeah, yeah, yeah. Yeah.
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like a mini Napa Valley. So you know this
was
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And what years with this? What what what
what what
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~ this I graduated in twenty fifteen.
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So I I started I know I'm I'm I'm ~ you're
good.
246
00:10:57,201 --> 00:10:59,084
I'm sorry, I'm I'm just gonna cry.
247
00:10:59,084 --> 00:11:00,084
~
248
00:11:00,979 --> 00:11:03,911
Well I I I appreciate that. That feels
good because you know I mean
249
00:11:03,911 --> 00:11:06,183
I'm I'm I'm eleven years out of school.
250
00:11:06,183 --> 00:11:10,287
I've lost my hair. I got two kids so I'm
feeling like the
251
00:11:09,943 --> 00:11:10,943
yeah,
252
00:11:10,333 --> 00:11:12,424
yeah, yeah. Well, you're half my age,
253
00:11:12,424 --> 00:11:15,405
so it doesn't matter. ~
254
00:11:12,793 --> 00:11:14,991
very good. ~
255
00:11:15,425 --> 00:11:18,185
you know, I graduated in nineteen eighty
six.
256
00:11:18,185 --> 00:11:20,466
~ but ~
257
00:11:18,453 --> 00:11:20,197
There you go. Yeah.
258
00:11:20,866 --> 00:11:25,707
but so I'm coming up on my fortieth this
is my fortieth year out of out of Berklee.
259
00:11:25,707 --> 00:11:28,938
~ but I'm still waiting to start a career,
260
00:11:28,938 --> 00:11:32,489
but ~ it it it'll happen. It'll happen.
261
00:11:29,491 --> 00:11:31,421
Yeah, there you go. There's always more
time.
262
00:11:31,421 --> 00:11:32,429
That's your question.
263
00:11:32,809 --> 00:11:34,530
If I don't make it by the time I'm
seventy.
264
00:11:34,530 --> 00:11:37,240
~ but ~ but
265
00:11:35,849 --> 00:11:36,849
Yeah.
266
00:11:37,240 --> 00:11:39,191
so ~ so twenty fifteen.
267
00:11:39,658 --> 00:11:43,339
So the the music that you I mean,
268
00:11:43,339 --> 00:11:47,281
obviously this is a a sort of a an off
topic thing,
269
00:11:47,281 --> 00:11:49,052
but I mean it's it's a different topic.
270
00:11:49,052 --> 00:11:53,463
The music that you you seem to gravitate
towards and love
271
00:11:53,463 --> 00:11:57,155
is obviously straight ahead mainstream
stuff that I I love.
272
00:11:57,155 --> 00:11:58,155
And you know,
273
00:11:59,836 --> 00:12:03,477
how ~ what were you listening to at that
at that point?
274
00:12:03,477 --> 00:12:06,488
What do you what were you listening to
like when you got out of school?
275
00:12:06,488 --> 00:12:08,048
Were you listening to to
276
00:12:08,549 --> 00:12:12,854
All the new guys coming up as well as the
classic stuff or
277
00:12:12,819 --> 00:12:13,819
Yeah,
278
00:12:13,339 --> 00:12:16,670
that's such a great question. ~ you know,
279
00:12:16,670 --> 00:12:23,012
my my taste, I really like the straight
ahead guys that will like push a little
bit.
280
00:12:23,012 --> 00:12:25,363
Like I love Monk for that reason.
281
00:12:24,791 --> 00:12:25,791
Right.
282
00:12:25,363 --> 00:12:27,483
Cause I mean he he he's straight ahead,
283
00:12:27,483 --> 00:12:29,244
but there's still that quirkiness.
284
00:12:29,244 --> 00:12:30,244
~ I
285
00:12:29,644 --> 00:12:30,644
Right.
286
00:12:29,974 --> 00:12:33,285
love Duke's like trio albums, like Money
Jungle.
287
00:12:32,811 --> 00:12:35,314
Mm. Right. Sure. Yeah.
288
00:12:33,285 --> 00:12:35,356
I absolutely love that. And
289
00:12:35,356 --> 00:12:38,847
like that kind of sound I I tried to to
get
290
00:12:39,047 --> 00:12:43,470
on my my record retro future. and and it's
291
00:12:41,483 --> 00:12:43,378
Yep. Which we'll talk.
292
00:12:43,470 --> 00:12:49,013
weird. Like I feel I almost felt badly
that I wasn't as hip to all
293
00:12:49,013 --> 00:12:52,315
the other like newer newer artists out
there.
294
00:12:51,863 --> 00:12:52,863
Mm-hmm.
295
00:12:52,595 --> 00:12:55,727
But when people would ask me like like ~
have you checked out this
296
00:12:55,727 --> 00:12:59,008
or you have checked out that I was like
man I feel like I've got this whole back
297
00:12:59,008 --> 00:13:01,360
catalog I've got to listen to first.
298
00:13:01,360 --> 00:13:02,360
Like how
299
00:13:01,750 --> 00:13:02,750
Right.
300
00:13:02,460 --> 00:13:06,423
I can't check that out until I've checked
out Sonny Rollins or I can't check this
301
00:13:05,921 --> 00:13:07,186
Right, right, right.
302
00:13:06,423 --> 00:13:07,423
out and like
303
00:13:07,421 --> 00:13:10,972
I so I would just really try to absorb
304
00:13:12,833 --> 00:13:16,554
a lot of bop and and post bop stuff.
305
00:13:16,554 --> 00:13:22,215
~ but then, you know, the newer guys that
I started to get in into,
306
00:13:22,215 --> 00:13:24,576
a lot of pianists, 'cause I'm I'm a
biased,
307
00:13:23,809 --> 00:13:27,780
Yeah. Yeah,
308
00:13:24,576 --> 00:13:28,317
but like ~ Jason Moran, like 'cause
309
00:13:27,780 --> 00:13:28,780
sure.
310
00:13:28,317 --> 00:13:30,648
he has like especially with his bandwagon,
311
00:13:30,648 --> 00:13:34,639
he was doing that kind of straight ahead
getting out.
312
00:13:34,389 --> 00:13:35,389
Yeah, but pushing
313
00:13:35,233 --> 00:13:36,233
it, yeah, yeah.
314
00:13:36,436 --> 00:13:40,119
Yeah, same thing with like Brad Meldow and
some of the Young Lion
315
00:13:39,383 --> 00:13:40,383
Mm-hmm.
316
00:13:40,199 --> 00:13:44,102
guys. ~ and then later getting into the
bad plus.
317
00:13:44,102 --> 00:13:45,233
~ so yeah,
318
00:13:44,780 --> 00:13:45,780
Right.
319
00:13:45,233 --> 00:13:48,366
I always like the the acoustic groups a
lot.
320
00:13:48,366 --> 00:13:52,668
but yeah, so that's probably what I was
most into.
321
00:13:52,668 --> 00:13:55,213
And then as far as gigs were, I mean,
322
00:13:55,213 --> 00:13:58,214
I I was fortunate to get some steady gigs,
323
00:13:58,214 --> 00:14:00,676
like weekly gigs. Like there is a resort
324
00:13:59,894 --> 00:14:00,894
Right.
325
00:14:00,676 --> 00:14:03,578
that I was playing piano there every
Friday and Saturday.
326
00:14:03,578 --> 00:14:04,578
So two hours.
327
00:14:04,021 --> 00:14:05,021
Nice.
328
00:14:04,599 --> 00:14:06,220
two and half hours every Friday and
Saturday.
329
00:14:05,891 --> 00:14:06,891
Mm-hmm.
330
00:14:06,220 --> 00:14:07,220
There was
331
00:14:06,550 --> 00:14:08,782
a cigar shop where I was doing the same
thing.
332
00:14:08,782 --> 00:14:13,465
They had a piano. So that's where I kind
of was able to build my solo chops,
333
00:14:13,465 --> 00:14:16,206
get more songbook under my fingers.
334
00:14:16,627 --> 00:14:17,627
It's
335
00:14:16,867 --> 00:14:21,699
it's funny because you know, one of the
sad things that I see as an old man
336
00:14:21,699 --> 00:14:25,130
now is ~ all of those gigs going away,
337
00:14:25,130 --> 00:14:30,813
you know. ~ I mean that was my whole life
when I was in Boston in
338
00:14:30,813 --> 00:14:33,874
the in the eighties and and and up until I
went to New York.
339
00:14:33,874 --> 00:14:39,336
~ every every every hotel in Boston
340
00:14:39,717 --> 00:14:44,543
had at least one full time piano player
for one from five to nine.
341
00:14:44,543 --> 00:14:45,579
We have four hour gigs.
342
00:14:45,623 --> 00:14:46,623
Mm-hmm. Mm-hmm.
343
00:14:46,219 --> 00:14:47,219
Five to
344
00:14:46,609 --> 00:14:48,600
nine and nine to one every night.
345
00:14:48,600 --> 00:14:49,621
And
346
00:14:49,110 --> 00:14:50,110
Wow.
347
00:14:49,921 --> 00:14:55,364
there was seventy, seventy piano players
working full time in Boston.
348
00:14:55,467 --> 00:14:56,467
Yeah.
349
00:14:55,964 --> 00:14:58,766
And we all, you know, they all taught at
New England Conservatory
350
00:14:58,766 --> 00:15:00,627
or Boston Conservatory or Berklee.
351
00:15:00,627 --> 00:15:03,168
And then they would supplement their
income by doing these gigs
352
00:15:03,168 --> 00:15:06,430
at the Marriott Longworth or the Copley
Plaza or the Ritz Carlton.
353
00:15:06,430 --> 00:15:08,551
And that was what that was what I did,
354
00:15:08,551 --> 00:15:11,413
you know, for for for several years.
355
00:15:11,413 --> 00:15:14,974
~ and also as you as you can attest,
356
00:15:16,203 --> 00:15:22,087
There's nothing better than building solo
chops than having a long gig.
357
00:15:22,087 --> 00:15:25,650
Because you get to you get to think about
what you're playing,
358
00:15:25,650 --> 00:15:27,351
but you also get to think
359
00:15:27,351 --> 00:15:30,553
about putting together medleys and things
like that
360
00:15:30,741 --> 00:15:31,741
Yeah.
361
00:15:31,374 --> 00:15:36,778
that ~ that that that's just missing now
because those gigs don't exist,
362
00:15:36,778 --> 00:15:37,879
you know.
363
00:15:36,918 --> 00:15:38,088
Yeah. Yeah.
364
00:15:38,088 --> 00:15:39,719
It it's such a great chance. I mean,
365
00:15:39,719 --> 00:15:43,561
like you're it's not quite like well,
366
00:15:43,561 --> 00:15:45,579
it it is practice in a way, but yeah,
367
00:15:45,579 --> 00:15:46,579
I mean you can hash
368
00:15:45,983 --> 00:15:46,983
Yeah.
369
00:15:46,532 --> 00:15:48,292
out all your different textures,
370
00:15:48,292 --> 00:15:50,563
you know, block core, walking bass lines,
371
00:15:48,875 --> 00:15:50,826
Right. Yeah.
372
00:15:50,563 --> 00:15:51,563
transitions,
373
00:15:51,694 --> 00:15:54,025
all of that stuff. And when yeah,
374
00:15:54,025 --> 00:15:57,776
when you have four hours and and you're
kind of forced into it and and
375
00:15:57,776 --> 00:16:02,048
and forced to come up with a novel way of
of playing all the things you
376
00:16:02,048 --> 00:16:04,769
are for the twenty third time kind of
thing.
377
00:16:03,701 --> 00:16:06,073
Right. Right. Exactly.
378
00:16:04,769 --> 00:16:05,769
So yeah.
379
00:16:06,503 --> 00:16:10,556
no, it and and ~ and I I think that ~ that
380
00:16:11,596 --> 00:16:16,870
the fact that ~ you're doing it for
yourself,
381
00:16:16,870 --> 00:16:20,552
but you're doing it in public so you ha
you're always aware that people
382
00:16:20,151 --> 00:16:24,498
Mm-hmm. Yeah. Yeah.
383
00:16:20,552 --> 00:16:23,925
are somebody's listening, even though it
may seem like no one is,
384
00:16:23,925 --> 00:16:25,186
you know. So you have
385
00:16:24,498 --> 00:16:25,498
Yeah.
386
00:16:25,186 --> 00:16:29,790
to be you have to you know, it's it's
that's why you can never I mean I
387
00:16:29,790 --> 00:16:31,950
I have this rule that you you never,
388
00:16:31,950 --> 00:16:33,131
you know, coast.
389
00:16:33,845 --> 00:16:34,845
Mm, mm-hmm.
390
00:16:33,909 --> 00:16:34,909
You you
391
00:16:34,759 --> 00:16:36,560
never know who might hear you.
392
00:16:36,560 --> 00:16:37,561
And
393
00:16:36,961 --> 00:16:37,961
Yeah.
394
00:16:37,901 --> 00:16:41,293
you know, and it and so you you so there's
always that little edge.
395
00:16:41,293 --> 00:16:43,804
So it's not really practice, it's really
work.
396
00:16:43,211 --> 00:16:44,414
Yeah. Yeah.
397
00:16:43,804 --> 00:16:44,804
And
398
00:16:44,515 --> 00:16:50,568
~ and it really helps. It's it helps to
form people's sound and and you you know,
399
00:16:50,568 --> 00:16:53,610
your the as I said, the overall concept of
what you're doing.
400
00:16:53,610 --> 00:16:57,972
And ~ and I yeah, I'm sad I'm sad that
that's gone because
401
00:16:57,972 --> 00:17:02,845
~ I miss going into a place and hearing
live music.
402
00:17:03,595 --> 00:17:05,226
You know, ~ as
403
00:17:04,235 --> 00:17:05,235
That's true, yeah.
404
00:17:05,226 --> 00:17:07,697
and and I don't mean as an event,
405
00:17:07,697 --> 00:17:09,938
I mean it's just there. You know,
406
00:17:09,938 --> 00:17:11,719
the the era that I grew up in,
407
00:17:11,719 --> 00:17:14,781
every fancy restaurant had a piano player.
408
00:17:14,781 --> 00:17:19,003
You know? ~ yeah,
409
00:17:15,797 --> 00:17:20,416
Yeah, yeah, there's something so special
about doing that.
410
00:17:19,003 --> 00:17:21,635
you got dressed up to go to dinner and and
411
00:17:20,416 --> 00:17:21,629
Yeah. Yeah.
412
00:17:21,635 --> 00:17:23,486
and there were people, you know,
413
00:17:23,486 --> 00:17:26,187
adults were there. And so, you know,
414
00:17:26,187 --> 00:17:27,858
and and they weren't and you know,
415
00:17:27,858 --> 00:17:29,379
they weren't on their phones, obviously,
416
00:17:29,379 --> 00:17:31,670
and they weren't watching television up
over the bar,
417
00:17:31,670 --> 00:17:32,833
you know, and
418
00:17:33,120 --> 00:17:35,890
I mean there there are still gigs that are
great and there's
419
00:17:35,890 --> 00:17:37,411
you know obviously clubs and stuff,
420
00:17:37,411 --> 00:17:43,743
jazz clubs, but that idea of of music
being a part of of life,
421
00:17:43,743 --> 00:17:45,731
you know, culturally, you know,
422
00:17:45,731 --> 00:17:48,904
and even it, you know, I mean in the worst
places,
423
00:17:48,904 --> 00:17:51,685
you know, country clubs would have a piano
424
00:17:50,675 --> 00:17:52,926
Mm. Yeah, yeah.
425
00:17:51,685 --> 00:17:53,245
player, you know. ~
426
00:17:53,665 --> 00:17:57,396
and so it's yeah, so it's kind of a sad
sad,
427
00:17:57,396 --> 00:18:00,047
but but ~ but I'm glad you got to do it.
428
00:18:01,291 --> 00:18:05,399
and I'm glad that it built a foundation
'cause I think it really does to have
that,
429
00:18:05,399 --> 00:18:07,144
you know, 'cause you're you're public.
430
00:18:07,144 --> 00:18:08,658
You know, that's the
431
00:18:08,242 --> 00:18:09,242
Yeah, it
432
00:18:08,822 --> 00:18:15,565
it it does build in and I think it was I
was so anxious right
433
00:18:15,565 --> 00:18:17,054
out of school because I felt like,
434
00:18:17,054 --> 00:18:20,147
man, I don't know how to do a solo gig for
three hours.
435
00:18:19,390 --> 00:18:20,390
Uh-huh.
436
00:18:20,147 --> 00:18:26,110
Like I I felt and and not to to knock
where I went to school or or knock kind
437
00:18:26,110 --> 00:18:28,521
of jazz academia, but I
438
00:18:28,020 --> 00:18:29,020
Mm-hmm.
439
00:18:28,521 --> 00:18:32,362
I think the the tool set that I was given
was more like,
440
00:18:32,362 --> 00:18:36,464
okay, here's how to be Wynton Kelly in a
quartet.
441
00:18:36,604 --> 00:18:37,604
Or here's how
442
00:18:37,075 --> 00:18:38,075
Right.
443
00:18:37,544 --> 00:18:38,747
to be red garland.
444
00:18:39,090 --> 00:18:42,672
So, you know, or Bill Evans. So you you
got your little rootless voicings here
445
00:18:42,672 --> 00:18:45,463
and you got your little your little melody
here.
446
00:18:45,463 --> 00:18:51,226
And it was like, wait, how do I just build
up a whole entire like accompaniment
447
00:18:51,226 --> 00:18:56,788
style? And yeah, it was it was slow going
and and and anxious and then
448
00:18:56,788 --> 00:18:58,509
it was exciting. And then, you know,
449
00:18:58,509 --> 00:19:02,151
I'm going and I'm going and recording
myself and listening back to myself
450
00:19:02,151 --> 00:19:03,361
and and listening
451
00:19:02,772 --> 00:19:03,772
Mm-hmm.
452
00:19:03,361 --> 00:19:05,852
to to Errol Garner and Art Tatum.
453
00:19:05,852 --> 00:19:08,964
And yeah, it it was just a really fun way
to grow.
454
00:19:09,014 --> 00:19:11,356
And then get more familiar with the,
455
00:19:11,356 --> 00:19:13,398
you know, the Great American Songbook.
456
00:19:13,106 --> 00:19:14,757
Yeah. And it
457
00:19:13,398 --> 00:19:14,909
Which in talking
458
00:19:14,909 --> 00:19:16,580
about like things that are are,
459
00:19:16,580 --> 00:19:18,582
I think, losing importance is,
460
00:19:18,582 --> 00:19:21,505
you know, I think the Great American
Songbook.
461
00:19:21,505 --> 00:19:25,848
I I know that, you know, jazz majors have
to learn their tunes,
462
00:19:25,848 --> 00:19:31,123
but I think that there's less of an import
on learning tunes
463
00:19:31,123 --> 00:19:33,915
and learning great lyrical melodies.
464
00:19:34,397 --> 00:19:37,168
Yeah, I I hope not. but you're right,
465
00:19:37,168 --> 00:19:40,319
but I agree. ~ i I mean, I hope it comes
back,
466
00:19:40,319 --> 00:19:44,821
you know. I think that ~
467
00:19:45,381 --> 00:19:52,244
the idea of the idea of of the great
American songbook being
468
00:19:53,004 --> 00:19:58,526
almost regarded as classical repertoire
now.
469
00:19:58,172 --> 00:20:00,187
Mm, mm hmm. Yeah.
470
00:19:58,526 --> 00:20:00,247
You know what I mean? It's
471
00:20:00,347 --> 00:20:04,858
I got a chance because of my age to play
with sort of the last generation
472
00:20:05,219 --> 00:20:08,299
of guys that played this music when it was
popular.
473
00:20:08,299 --> 00:20:10,380
You know what I mean? Did jazz
474
00:20:08,823 --> 00:20:10,128
Mm. Yeah.
475
00:20:10,380 --> 00:20:15,801
musicians that were alive in the 40s and
50s and 60s and played all this stuff
476
00:20:16,142 --> 00:20:18,922
and it was a real one to one, you know,
477
00:20:18,922 --> 00:20:19,922
passing
478
00:20:19,422 --> 00:20:21,543
of not passing of the torch, but but you
know,
479
00:20:21,543 --> 00:20:24,424
being able to be on a bandstand with a guy
that played with Bird,
480
00:20:24,424 --> 00:20:27,405
you know, and playing four, five,
481
00:20:27,405 --> 00:20:28,505
six nights a week with him.
482
00:20:29,049 --> 00:20:33,312
And hearing the stories and hearing and
just the the authenticity of that.
483
00:20:33,312 --> 00:20:38,657
And ~ and now the generations that have
passed that are coming
484
00:20:38,657 --> 00:20:43,280
up now are studying it the same way you or
I studied Bach or Mozart.
485
00:20:43,280 --> 00:20:47,454
You know, there's not that I mean there is
there is the added advantage
486
00:20:47,454 --> 00:20:50,406
of having recordings of it and videos and
stuff like that,
487
00:20:50,406 --> 00:20:52,508
which we don't have of of Beethoven,
488
00:20:52,508 --> 00:20:58,593
but ~ but so but it's still more of a
separation.
489
00:20:59,357 --> 00:21:03,909
than there used to be because I mean then
you get guys like Benny Green who's
490
00:21:03,909 --> 00:21:08,462
so so much into keeping
491
00:21:08,922 --> 00:21:11,630
the jazz messengers alive, you know what I
mean,
492
00:21:11,630 --> 00:21:13,004
and keeping the history of that.
493
00:21:13,004 --> 00:21:15,781
So they're imparting that to their
students and their,
494
00:21:15,781 --> 00:21:17,907
you know, so there's a can there's a
continuity,
495
00:21:17,907 --> 00:21:18,907
but
496
00:21:18,333 --> 00:21:19,333
Mm-hmm.
497
00:21:18,747 --> 00:21:20,168
it's it's a little bit different.
498
00:21:20,168 --> 00:21:25,951
And ~ I think it's getting ~ I think it's
it's getting harder
499
00:21:26,111 --> 00:21:29,033
to find people when you go on a gig.
500
00:21:29,716 --> 00:21:32,568
That don't want to play all their
originals,
501
00:21:32,568 --> 00:21:36,351
you know? and you know,
502
00:21:36,351 --> 00:21:40,534
I mean, I'm I'm a guy that prides myself
on having you know,
503
00:21:40,534 --> 00:21:42,075
a lot of standards at my fingers,
504
00:21:42,075 --> 00:21:47,178
you know. ~ but I mean, I there's people
writing music that I love all
505
00:21:47,178 --> 00:21:49,350
the time. But, you know,
506
00:21:48,999 --> 00:21:49,999
Yeah.
507
00:21:49,350 --> 00:21:54,023
you get these 20, 20-year-olds that get on
the bandstand and they don't have any,
508
00:21:54,023 --> 00:21:56,505
they can't play all the things you are.
509
00:21:57,042 --> 00:21:58,042
Right, right.
510
00:21:57,639 --> 00:21:58,639
But they
511
00:21:57,990 --> 00:22:00,593
can play, you know, their their tunes that
they wrote.
512
00:22:00,593 --> 00:22:01,593
So it's a
513
00:22:01,041 --> 00:22:02,041
Yeah.
514
00:22:01,529 --> 00:22:02,887
little different. But
515
00:22:02,904 --> 00:22:04,956
It is different. Yeah, and and it's
challenging too,
516
00:22:04,956 --> 00:22:08,746
'cause I mean, like the there's also,
517
00:22:08,746 --> 00:22:13,097
you know, a body of work from the like
518
00:22:13,549 --> 00:22:16,591
you know, I feel bad. Like I I can't play
any Brecker tunes.
519
00:22:16,591 --> 00:22:17,591
Like like
520
00:22:17,137 --> 00:22:18,137
Yeah.
521
00:22:17,732 --> 00:22:20,173
you know, there's that era too of of like,
522
00:22:20,173 --> 00:22:24,406
you know, you know, Joshua Redmond's
writing tunes and all these guys
523
00:22:23,976 --> 00:22:24,976
Right.
524
00:22:24,406 --> 00:22:27,868
writing tunes and it's like ~ like I I
sometimes I feel guilty.
525
00:22:27,868 --> 00:22:31,500
Like I don't know how to play those tunes
because I was spent a
526
00:22:31,500 --> 00:22:33,422
lot more time wanting to, you know,
527
00:22:33,422 --> 00:22:36,964
learn how to play ~ Love for Sale or or
whatever it is.
528
00:22:36,519 --> 00:22:38,250
Yeah, sure. And it's I mean,
529
00:22:36,964 --> 00:22:38,109
So
530
00:22:38,250 --> 00:22:42,214
and it's natural because and I think it's
it's okay because it's the same with
531
00:22:42,214 --> 00:22:45,776
me is I found what I love and I
532
00:22:45,385 --> 00:22:46,385
Mm-hmm.
533
00:22:45,776 --> 00:22:49,099
just want to make sure that it keeps going
into another generation.
534
00:22:49,099 --> 00:22:50,861
You know what I mean? ~
535
00:22:49,329 --> 00:22:50,734
Right. Yeah.
536
00:22:50,861 --> 00:22:53,343
so I don't make excuses for not knowing,
537
00:22:53,343 --> 00:22:55,144
you know, a Cecil Taylor piece.
538
00:22:55,144 --> 00:22:57,896
~ because
539
00:22:55,625 --> 00:22:56,829
Mm. Yeah.
540
00:22:57,896 --> 00:22:59,648
it's n it's outside my wheelhouse.
541
00:22:59,648 --> 00:23:00,648
You know what I mean?
542
00:23:00,007 --> 00:23:01,007
Right. Yeah.
543
00:23:01,569 --> 00:23:04,411
I and and and you know, I found a song
called It's Wonderful,
544
00:23:04,787 --> 00:23:05,787
Mm.
545
00:23:05,012 --> 00:23:06,193
which I found
546
00:23:06,696 --> 00:23:08,818
I found it because this pianist that I
love,
547
00:23:08,818 --> 00:23:11,290
Dave McKenna, recorded it. He did two
548
00:23:10,847 --> 00:23:11,847
yeah.
549
00:23:11,290 --> 00:23:14,832
two albums at Maybeck, but one the second
one didn't come out.
550
00:23:13,095 --> 00:23:14,234
Yeah, yeah. I know.
551
00:23:14,832 --> 00:23:15,832
~
552
00:23:16,033 --> 00:23:18,915
and I got it, and it's it's available on
his website to hear.
553
00:23:18,915 --> 00:23:22,378
~ but it was it was never released in the
series.
554
00:23:22,378 --> 00:23:25,170
~ but he all of a sudden he's playing this
tongue.
555
00:23:25,170 --> 00:23:29,724
I don't date I've known Dave, I knew Dave
for 25 years and worshipped him.
556
00:23:29,724 --> 00:23:31,726
And all of a sudden he's playing this
tune,
557
00:23:31,726 --> 00:23:35,188
and it's a really cool tune. And it's
called It's Wonderful.
558
00:23:34,020 --> 00:23:35,955
Mm. Mm.
559
00:23:35,188 --> 00:23:36,188
And
560
00:23:37,031 --> 00:23:38,592
I know a lot of songs, you know,
561
00:23:38,592 --> 00:23:40,523
they say the falling in love is wonderful,
562
00:23:40,523 --> 00:23:41,523
~ it's
563
00:23:40,936 --> 00:23:41,936
Mm.
564
00:23:41,374 --> 00:23:44,646
wonderful, you know, there's a lot of
tunes with wonderful and I and
565
00:23:44,646 --> 00:23:48,148
and I didn't know it. And I looked up and
there's like one recording of it.
566
00:23:48,148 --> 00:23:50,640
I think it was by Ella or somebody,
567
00:23:48,975 --> 00:23:51,268
Mm. Yeah.
568
00:23:50,640 --> 00:23:51,640
and
569
00:23:51,671 --> 00:23:53,532
it wasn't wasn't a hit or anything,
570
00:23:53,532 --> 00:23:56,754
but and it just sort of fell by the
wayside and it never got picked up as
571
00:23:56,754 --> 00:23:58,905
a as a jazz standard. And
572
00:23:58,483 --> 00:23:59,483
Yeah.
573
00:23:58,905 --> 00:24:00,817
I love finding stuff like that,
574
00:24:00,817 --> 00:24:01,817
you know.
575
00:24:01,885 --> 00:24:07,070
There's you know, Billie Holiday when she
was doing stuff with Teddy Wilson,
576
00:24:07,133 --> 00:24:08,133
Mm-hmm.
577
00:24:07,631 --> 00:24:12,475
they did so many, they recorded so many
sides of of tunes that just never became
578
00:24:12,475 --> 00:24:16,539
standards. Like and I remember I I sang
and played one of those
579
00:24:16,539 --> 00:24:21,023
at my brother's wedding. I think it's l it
was Life Begins When You're in Love.
580
00:24:21,023 --> 00:24:22,125
And I
581
00:24:21,641 --> 00:24:22,641
Uh-huh.
582
00:24:22,165 --> 00:24:25,868
I tried to track down the original sheet
music for it and I had to
583
00:24:26,845 --> 00:24:30,828
it was like the University of Iowa or
something had it and they scanned it for
me.
584
00:24:29,418 --> 00:24:31,589
huh. Really?
585
00:24:30,828 --> 00:24:31,828
because
586
00:24:31,819 --> 00:24:33,129
yeah, I mean it was one of those,
587
00:24:33,129 --> 00:24:36,592
you know, musical theater numbers that
Billy Holiday
588
00:24:35,837 --> 00:24:36,837
Never hit.
589
00:24:36,592 --> 00:24:38,894
decided to record in nineteen thirty,
590
00:24:38,894 --> 00:24:41,315
whatever, and it just didn't become a
standard.
591
00:24:41,315 --> 00:24:43,267
But it was a great tune, great words.
592
00:24:41,597 --> 00:24:43,939
Right. Yeah. Yeah.
593
00:24:43,267 --> 00:24:44,267
So
594
00:24:43,939 --> 00:24:48,252
I ~ I love that stuff. And that's what I
love about like ~ the stuff that you're
595
00:24:48,252 --> 00:24:52,045
doing, the the you know, the the deep
dives as they say these days,
596
00:24:52,045 --> 00:24:55,578
in into you know, br bringing peop you
know,
597
00:24:55,578 --> 00:24:59,911
bringing regular folks ~ information
that's cool.
598
00:25:00,131 --> 00:25:01,752
I mean ~ what led you to that?
599
00:25:01,752 --> 00:25:03,394
Is that like just your own journey?
600
00:25:03,394 --> 00:25:04,655
You want to share this stuff
601
00:25:04,655 --> 00:25:06,702
Obviously education is important to you.
602
00:25:06,702 --> 00:25:08,498
~ but how did
603
00:25:06,906 --> 00:25:08,458
Yeah. ~
604
00:25:08,498 --> 00:25:09,498
that come about?
605
00:25:09,699 --> 00:25:14,974
well I I've always enjoyed the history of
jazz and and people might think it's
606
00:25:14,974 --> 00:25:17,789
corny, but I love the Ken Burns jazz
series.
607
00:25:17,789 --> 00:25:18,789
When I was
608
00:25:18,255 --> 00:25:19,255
Anything.
609
00:25:18,636 --> 00:25:21,183
I think when I was like seventeen or
something,
610
00:25:21,183 --> 00:25:24,727
my folks got me the DVD set for yeah,
611
00:25:23,407 --> 00:25:24,407
That being said, yeah.
612
00:25:24,727 --> 00:25:27,220
for like Christmas or a birthday or
something.
613
00:25:27,502 --> 00:25:30,154
And I just loved it. I I got it helped me
get really,
614
00:25:30,154 --> 00:25:34,258
really into the music. So I think that was
probably like the the seed
615
00:25:34,378 --> 00:25:37,120
of my passion about the history.
616
00:25:37,120 --> 00:25:38,671
And like, wow, this is a really,
617
00:25:38,671 --> 00:25:41,123
really fascinating stop. Like,
618
00:25:40,749 --> 00:25:41,749
Right.
619
00:25:41,244 --> 00:25:43,515
there's a lot of of richness here,
620
00:25:43,515 --> 00:25:46,898
whether yeah, you're learning about Bird
or or Duke or or any of
621
00:25:46,575 --> 00:25:47,575
Mm-hmm.
622
00:25:46,898 --> 00:25:49,911
that. It's like, man, this is such an
interesting thing.
623
00:25:49,911 --> 00:25:54,905
but yeah, and then fast forward to ~ you
know.
624
00:25:55,181 --> 00:25:58,162
A few years ago, or probably a little bit
more than a few years ago,
625
00:25:58,162 --> 00:26:02,594
wanting to have a greater online presence.
626
00:26:02,594 --> 00:26:03,784
~ part
627
00:26:03,247 --> 00:26:04,247
Mm-hmm.
628
00:26:03,784 --> 00:26:05,265
of it is just self-serving, like,
629
00:26:05,265 --> 00:26:06,625
hey, I had a record coming out,
630
00:26:06,625 --> 00:26:08,256
I want to try to reach more people.
631
00:26:08,256 --> 00:26:12,928
and just in the process of trial and error
632
00:26:12,928 --> 00:26:15,971
and and finding what
633
00:26:16,577 --> 00:26:21,118
people were interested in learning about
on social media or what would resonate
with
634
00:26:21,118 --> 00:26:25,219
people, the explanation stuff tended to
kick off.
635
00:26:25,219 --> 00:26:29,611
So like my when I started on social media
and and I never was a
636
00:26:29,611 --> 00:26:34,372
big social media person in in in college
or or or high school or anything.
637
00:26:34,372 --> 00:26:39,073
~ I really approached it strictly from a
business approach.
638
00:26:39,073 --> 00:26:43,794
~ but you know I I did like try doing the
chops videos like here check
639
00:26:43,794 --> 00:26:45,935
me out blowing over this tune and you know
640
00:26:45,721 --> 00:26:46,721
Right.
641
00:26:47,005 --> 00:26:48,005
kind of like your
642
00:26:47,127 --> 00:26:48,127
Yeah.
643
00:26:47,585 --> 00:26:52,237
experience at Berklee, there's a lot of
amazing piano players out there,
644
00:26:52,237 --> 00:26:54,717
many of whom could outplay me,
645
00:26:54,717 --> 00:26:56,278
like on some changes. You know,
646
00:26:55,309 --> 00:26:57,077
Right. Yeah.
647
00:26:56,278 --> 00:26:57,278
there's killing players
648
00:26:57,158 --> 00:27:00,819
out there. ~ but I I I would do some
videos where it's like,
649
00:27:00,819 --> 00:27:03,040
hey, let's let's actually just break down
this song.
650
00:27:03,040 --> 00:27:05,240
This is why this is a cool composition
651
00:27:04,419 --> 00:27:05,419
Mm-hmm.
652
00:27:05,240 --> 00:27:07,851
or this is what is going on in Boogie
Woogie.
653
00:27:07,851 --> 00:27:09,101
If you listen to Boogie Woogie,
654
00:27:09,101 --> 00:27:11,952
this is how it works. It's it's a simple
it's repeated.
655
00:27:11,952 --> 00:27:14,803
So that kind of stuff, ~
656
00:27:15,296 --> 00:27:19,738
I enjoyed talking about it. I had no limit
of fun little tidbits
657
00:27:20,099 --> 00:27:24,501
and people enjoyed it too. So it just kind
of was this mutual growth where
658
00:27:24,501 --> 00:27:27,683
I enjoyed talking about it and people
enjoyed learning about it.
659
00:27:27,683 --> 00:27:33,726
~ and then I went viral. I did this video
breaking down take five.
660
00:27:33,726 --> 00:27:34,881
I got like
661
00:27:34,351 --> 00:27:35,351
Mm-hmm.
662
00:27:34,881 --> 00:27:36,368
four and a half million views.
663
00:27:36,368 --> 00:27:40,870
It was crazy. I I know, it's like Yeah.
664
00:27:36,825 --> 00:27:40,406
Jesus. Yeah, it's amazing.
665
00:27:40,406 --> 00:27:42,217
It's amazing. ~
666
00:27:40,870 --> 00:27:41,971
So
667
00:27:42,778 --> 00:27:44,748
well, it's certainly as I said,
668
00:27:44,748 --> 00:27:48,860
you know, my the producer Jen ~ of this
podcast,
669
00:27:48,860 --> 00:27:53,002
she's a ~ fledgling jazz pianist and she's
been you know,
670
00:27:53,002 --> 00:27:57,124
she's a good classical pianist and she'd
been taking lessons ~ and ~
671
00:27:57,644 --> 00:27:59,545
and she just eats this stuff up,
672
00:27:59,545 --> 00:28:03,346
you know. ~ and I mean I'm the worst for
that.
673
00:28:03,346 --> 00:28:05,187
I mean I have a million stories.
674
00:28:05,476 --> 00:28:06,476
Mm.
675
00:28:05,591 --> 00:28:06,591
and a million
676
00:28:06,221 --> 00:28:10,713
jazz history stories and I can talk jazz
piano styles and everything.
677
00:28:10,713 --> 00:28:15,055
But getting on, you know, an Instagram
thing and saying doing that,
678
00:28:15,055 --> 00:28:17,646
I don't have any facility for that.
679
00:28:17,646 --> 00:28:18,646
You know,
680
00:28:17,785 --> 00:28:18,785
Yeah.
681
00:28:18,063 --> 00:28:21,337
I I can ~ but ~ but ~
682
00:28:20,463 --> 00:28:21,748
You got like awesome podcasts.
683
00:28:21,851 --> 00:28:25,835
what's that well and sure sure it's it's
growing it's grow well it's good
684
00:28:25,835 --> 00:28:31,121
I mean that you know the the beauty of the
podcast is we decided we wanted
685
00:28:31,121 --> 00:28:35,203
to do a podcast with people that weren't
necessarily musicians
686
00:28:35,545 --> 00:28:38,436
Just talking about the music in their
lives and the music that they like,
687
00:28:38,436 --> 00:28:40,316
like creative people. ~
688
00:28:39,886 --> 00:28:40,886
Yeah.
689
00:28:40,556 --> 00:28:44,277
and in the in the the the template for
that was a guy named David Silverman,
690
00:28:44,277 --> 00:28:46,618
who is the animator of The Simpsons.
691
00:28:47,128 --> 00:28:48,128
Mm.
692
00:28:47,438 --> 00:28:50,299
And he's done my last five record covers.
693
00:28:50,299 --> 00:28:56,521
And he's ~ a dear friend. And ~ but he
also plays jazz tuba.
694
00:28:56,521 --> 00:28:59,432
He plays re he plays legit tuba too,
695
00:28:59,432 --> 00:29:01,382
which I didn't even know until I had him
on the podcast.
696
00:29:01,382 --> 00:29:04,473
But he's, you know, he and
697
00:29:04,950 --> 00:29:10,882
his knowledge of of music was really deep
and went on like on the podcast
698
00:29:10,882 --> 00:29:15,244
he went on a history of of the of of the
tuba and the precursor to the tuba
699
00:29:15,244 --> 00:29:18,165
in the orchestra and what they were called
and how they manufactured them
700
00:29:18,305 --> 00:29:21,713
and it was like this guy's drawing the
Simpsons you know what I mean
701
00:29:21,713 --> 00:29:24,108
he directs the Simpsons movies and stuff
and
702
00:29:23,832 --> 00:29:24,832
Yeah.
703
00:29:24,468 --> 00:29:27,869
and so that idea is what what led us to do
this podcast.
704
00:29:27,869 --> 00:29:32,921
And then over the past year we found I
mean obviously
705
00:29:33,429 --> 00:29:36,121
many of my friends are doing it and
they're all musicians.
706
00:29:36,121 --> 00:29:43,086
And so ~ even though we still get people
that aren't ~ known as musicians,
707
00:29:43,086 --> 00:29:45,948
I'm getting more fun talking to guys like
you.
708
00:29:45,948 --> 00:29:47,589
You know what I mean? ~
709
00:29:46,431 --> 00:29:48,084
Mm. I agree. Yeah.
710
00:29:48,150 --> 00:29:50,321
because ~ and and we're getting,
711
00:29:50,321 --> 00:29:54,114
you know, we had Joel Alterman on the
other ~ last week and you know it's just
712
00:29:54,114 --> 00:29:59,218
fun to to to to chat with people that it's
important.
713
00:29:59,218 --> 00:30:00,939
Music is not
714
00:30:01,761 --> 00:30:03,753
an aside for you. It's your whole life,
715
00:30:03,753 --> 00:30:08,356
you know? and ~ and speaking of your whole
life,
716
00:30:08,356 --> 00:30:12,400
~ we we should we should because I don't
want to like get to the end
717
00:30:12,400 --> 00:30:18,665
of the this thing and say, we forgot to
talk about ~ this the you're you're you're
718
00:30:18,765 --> 00:30:24,249
you're you're subtly placed ~ ja play jazz
piano like a pro ~ on
719
00:30:24,024 --> 00:30:25,024
A record.
720
00:30:24,249 --> 00:30:25,249
top of your
721
00:30:24,740 --> 00:30:28,413
Mason and Hamlin. Yes, well yeah we'll get
to the album too the retro future.
722
00:30:28,413 --> 00:30:31,055
~ but ~
723
00:30:32,567 --> 00:30:33,567
The book,
724
00:30:33,901 --> 00:30:34,901
Yeah.
725
00:30:34,580 --> 00:30:35,807
when did when did it come out?
726
00:30:36,941 --> 00:30:41,252
This came out this year, ~ Jazz Piano Like
a Pro.
727
00:30:41,252 --> 00:30:46,964
And it's ten compositions that really
728
00:30:46,964 --> 00:30:52,745
try to present or not try, but I I believe
they do present intermediate piano
729
00:30:52,745 --> 00:30:57,456
players with authentic jazz piano
repertoire pieces.
730
00:30:57,456 --> 00:30:58,456
So when
731
00:30:57,817 --> 00:30:58,817
Uh-huh.
732
00:30:58,377 --> 00:31:05,059
you get a jazz book at ~ at a store or
order one on Amazon or whatever,
733
00:31:05,059 --> 00:31:06,579
a lot of times you
734
00:31:07,020 --> 00:31:10,142
I I don't want I'm not throwing any
composers under the bus,
735
00:31:10,142 --> 00:31:14,154
but you get people that come from outside
of jazz and they have pieces that
736
00:31:14,154 --> 00:31:17,256
can be maybe corny or quasi-jazzy
737
00:31:16,271 --> 00:31:17,271
Mm-hmm.
738
00:31:17,256 --> 00:31:19,167
and and don't quite hit the mark.
739
00:31:19,167 --> 00:31:23,649
They're not something that sounds like
what you would hear on a record,
740
00:31:23,649 --> 00:31:24,649
on a jazz
741
00:31:23,981 --> 00:31:24,981
Right.
742
00:31:24,544 --> 00:31:29,422
record. So this the so that was the
concept for this is I wanted
743
00:31:29,422 --> 00:31:34,875
to write pieces that pianists could play
that actually sound like the records.
744
00:31:35,352 --> 00:31:36,352
Okay, yeah.
745
00:31:35,425 --> 00:31:36,425
So there's
746
00:31:36,206 --> 00:31:42,320
10 pieces and like and they have actual ~
recommended listening.
747
00:31:42,320 --> 00:31:46,583
Like, hey, here's a tune. ~ this one's
called Stray Thought,
748
00:31:46,583 --> 00:31:51,707
and it's like this was influenced by
Crepuscule with Nelly by Monk
749
00:31:52,067 --> 00:31:54,509
and Isfahan by Billy Strahorn.
750
00:31:54,029 --> 00:31:55,050
Right, he's fair, yep.
751
00:31:55,249 --> 00:32:00,593
So you can kind of get that ~ that ~
752
00:31:58,912 --> 00:32:00,554
I see. Yeah.
753
00:32:00,593 --> 00:32:02,905
this is Holler, it has a very
754
00:32:03,119 --> 00:32:07,051
Close, kind of Bobby Timmins moaning kind
of sound.
755
00:32:07,051 --> 00:32:08,051
So
756
00:32:07,471 --> 00:32:08,471
Mm-hmm.
757
00:32:07,962 --> 00:32:11,984
they also introduce people to kind of the
subgenres of jazz.
758
00:32:11,984 --> 00:32:18,507
This one, ~ All Over Blue, ~ kind of has a
Stolen Moments Oliver Nelson vibe,
759
00:32:18,507 --> 00:32:21,849
or kind of a minor block chord Bill Evans
vibe.
760
00:32:21,849 --> 00:32:28,012
So they all give piano players a chance to
immerse themselves in the style.
761
00:32:28,012 --> 00:32:32,705
It's accessible, and then it has something
that I haven't seen any book.
762
00:32:33,113 --> 00:32:35,684
Do which is have optional solo sections.
763
00:32:35,684 --> 00:32:37,384
So you
764
00:32:36,721 --> 00:32:37,721
nice.
765
00:32:37,384 --> 00:32:40,105
can play the tune skipping over it,
766
00:32:40,105 --> 00:32:43,286
it totally works. But if you, you know,
767
00:32:43,286 --> 00:32:45,377
if you play jazz authentically,
768
00:32:45,377 --> 00:32:47,867
there's improvisation. So it introduces
769
00:32:47,172 --> 00:32:48,172
Right.
770
00:32:47,867 --> 00:32:49,437
that idea to the player of, hey,
771
00:32:49,437 --> 00:32:52,569
I'm gonna play something that's
prearranged for me,
772
00:32:52,569 --> 00:32:58,750
but then there's a chance, there's a spot
right here that I can express myself and
773
00:32:58,499 --> 00:32:59,499
nice.
774
00:32:58,970 --> 00:33:00,671
give them a recommended.
775
00:33:01,525 --> 00:33:06,018
left hand accompaniment and ~ Yeah.
776
00:33:03,685 --> 00:33:06,579
~ yeah, very hip. Yeah, that's really
cool.
777
00:33:06,579 --> 00:33:07,579
Yeah.
778
00:33:07,059 --> 00:33:09,640
So it's ~ it's been really cool.
779
00:33:09,640 --> 00:33:13,863
I I premiered this at the Music Teacher
National Association,
780
00:33:13,863 --> 00:33:15,705
which was in Chicago this year.
781
00:33:15,705 --> 00:33:16,710
~ and it's
782
00:33:16,239 --> 00:33:17,239
Mm-hmm.
783
00:33:16,710 --> 00:33:21,809
just been really cool to connect with
piano teachers and get this resource to
them,
784
00:33:21,809 --> 00:33:23,790
get get students playing them.
785
00:33:23,790 --> 00:33:25,101
So it it it's been really fun.
786
00:33:25,604 --> 00:33:28,957
Wow. And do you do you teach privately as
well?
787
00:33:28,957 --> 00:33:29,957
Or
788
00:33:30,113 --> 00:33:36,619
I do, yeah. I've I've got probably twenty
or some students that I've consolidated
789
00:33:36,619 --> 00:33:38,861
into a couple of days during my my week.
790
00:33:39,689 --> 00:33:44,904
nice, nice. ~ and at a thousand dollars a
student that works out well.
791
00:33:45,220 --> 00:33:46,220
Ha ha ha.
792
00:33:47,827 --> 00:33:48,827
but
793
00:33:48,099 --> 00:33:49,099
You
794
00:33:48,319 --> 00:33:51,065
could be my my marketing guy startup.
795
00:33:50,617 --> 00:33:52,850
Yeah, sure, sure. It's worked out well for
me.
796
00:33:52,850 --> 00:33:53,850
~
797
00:33:53,891 --> 00:33:56,705
but ~ no that it's that's really great.
798
00:33:56,705 --> 00:33:59,322
And are you thinking of a next volume
799
00:33:59,362 --> 00:34:05,024
I might. I I'm ~ right now I think my next
creative endeavor is gonna
800
00:34:05,024 --> 00:34:10,115
be ~ I'm working on some some ~
performance stuff,
801
00:34:10,115 --> 00:34:13,396
getting some repertoire under my fingers
and some new compositions.
802
00:34:13,396 --> 00:34:17,227
I don't wanna ~ say too far
803
00:34:16,975 --> 00:34:17,975
Okay.
804
00:34:17,487 --> 00:34:24,129
too much yet, but I'm I am gonna be ~
creating some repertoire from
805
00:34:24,249 --> 00:34:26,370
the twenties. So I'm I'm dive
806
00:34:26,177 --> 00:34:27,177
okay.
807
00:34:26,690 --> 00:34:27,980
diving farther back.
808
00:34:28,474 --> 00:34:29,474
Mm-hmm.
809
00:34:28,566 --> 00:34:29,566
into
810
00:34:29,436 --> 00:34:33,378
James B. Johnson, Fatswaller,
811
00:34:31,288 --> 00:34:34,450
Right. That's yeah.
812
00:34:33,378 --> 00:34:35,539
Gershwin, stuff like that. So that I'm I'm
813
00:34:34,450 --> 00:34:35,450
Yep, yep.
814
00:34:35,539 --> 00:34:39,340
really excited for. But ~ but in addition
to this book,
815
00:34:39,340 --> 00:34:42,552
last year I I released how to teach jazz
and improvisation,
816
00:34:42,552 --> 00:34:44,973
which is designed for teachers of all
instruments.
817
00:34:44,973 --> 00:34:46,113
So it's really
818
00:34:45,530 --> 00:34:46,530
~
819
00:34:46,193 --> 00:34:49,755
geared towards improv from the ground up.
820
00:34:49,755 --> 00:34:50,795
Because a lot
821
00:34:50,170 --> 00:34:51,170
Mm-hmm.
822
00:34:50,795 --> 00:34:53,716
of materials like Abersol or whatever kind
of
823
00:34:53,359 --> 00:34:54,359
Yeah.
824
00:34:53,856 --> 00:34:57,938
they start with assuming you have a lot of
knowledge and a lot of facility.
825
00:34:58,520 --> 00:34:59,520
Right.
826
00:34:58,562 --> 00:34:59,562
Like
827
00:34:59,142 --> 00:35:03,305
if you're starting with A Train which you
need to know a couple
828
00:35:03,305 --> 00:35:06,426
of different modes and be able to hang
with a thirty-four
829
00:35:06,426 --> 00:35:09,008
or thirty-two bar tune form, excuse me,
830
00:35:09,008 --> 00:35:14,251
~ that's gonna be like way above what a
ten year old could do,
831
00:35:14,251 --> 00:35:15,251
or even
832
00:35:14,276 --> 00:35:15,276
Sure.
833
00:35:14,731 --> 00:35:19,053
what like a a freshman high school jazz
band who's never improvised can do.
834
00:35:19,343 --> 00:35:20,343
Yeah, yeah.
835
00:35:19,974 --> 00:35:25,632
That's yeah, it's smart. ~ and so it's
it's that's more geared towards teachers.
836
00:35:25,632 --> 00:35:31,811
And ~ did you put this out yourself
contract to do it with nice.
837
00:35:29,697 --> 00:35:31,818
I did. I did put it out myself
838
00:35:31,879 --> 00:35:36,141
and I did it the easy way by starting a
whole company around it.
839
00:35:36,141 --> 00:35:39,764
So yeah, the the company is
840
00:35:36,597 --> 00:35:37,597
Yeah.
841
00:35:39,764 --> 00:35:44,837
this is jazz. ~ but I I have these also
for sale on on my website,
842
00:35:44,837 --> 00:35:46,819
Quentinwalston.com, W
843
00:35:46,341 --> 00:35:47,341
Mm-hmm.
844
00:35:46,819 --> 00:35:50,191
U E N T I N W A L S T O N and Amazon.
845
00:35:49,403 --> 00:35:51,234
there were there will be a link,
846
00:35:50,191 --> 00:35:52,673
Awesome. Yeah.
847
00:35:51,234 --> 00:35:52,735
believe me. ~
848
00:35:53,055 --> 00:35:55,497
but ~ Jen is a master at that.
849
00:35:55,497 --> 00:36:00,221
~ well, ~ and then ~ the other thing I
want to talk about before we run out
850
00:36:00,221 --> 00:36:04,523
of time because we got plenty of time left
and I just wanna I don't wanna miss it.
851
00:36:04,523 --> 00:36:08,726
your latest album, which you have out on
vinyl,
852
00:36:08,726 --> 00:36:11,708
retro future. ~
853
00:36:09,966 --> 00:36:10,966
Yeah.
854
00:36:12,369 --> 00:36:13,670
how did that all come about?
855
00:36:13,730 --> 00:36:17,033
'Cause I you know, I record for Capri
Records and
856
00:36:16,699 --> 00:36:17,699
cool.
857
00:36:18,515 --> 00:36:23,059
and our last two albums, 'cause nobody
buys C Ds,
858
00:36:23,059 --> 00:36:25,021
we put out on vinyl.
859
00:36:23,294 --> 00:36:25,461
Hmm. Yeah.
860
00:36:25,461 --> 00:36:28,644
in addition to C D too. But ~ but
861
00:36:28,644 --> 00:36:32,436
We smartly I know a guy that runs a really
big recording studio out here
862
00:36:32,436 --> 00:36:34,487
in in Vegas with with heavy metal bands.
863
00:36:34,487 --> 00:36:39,099
~ and he's he's the guy behind ~ this band
called Five Finger Death Punch
864
00:36:39,099 --> 00:36:41,389
and all these bands that ~
865
00:36:40,947 --> 00:36:41,947
Yeah.
866
00:36:41,670 --> 00:36:46,492
and ~ so he said that these you know these
smaller groups come in there
867
00:36:47,192 --> 00:36:53,275
and they all press vinyl of like a hundred
copies or five hundred copies
868
00:36:53,555 --> 00:36:56,606
and they sell them for a hundred dollars a
piece to their
869
00:36:57,203 --> 00:36:59,134
Biggest fans, limited edition,
870
00:36:59,134 --> 00:37:01,114
and that's how they pay for everything.
871
00:37:01,114 --> 00:37:04,935
And so Tom, we did a record, we did a
record with me and Penn,
872
00:37:04,935 --> 00:37:08,376
put it out on red vinyl and sold it for a
hundred bucks a piece at the show,
873
00:37:08,376 --> 00:37:11,457
at the Penn and Teller show, and sold them
out.
874
00:37:11,457 --> 00:37:13,527
You know? And
875
00:37:13,055 --> 00:37:14,055
Damn.
876
00:37:13,527 --> 00:37:16,559
so that covered the cost of the
manufacturer and the manufacturer of the
877
00:37:16,559 --> 00:37:18,599
C Ds and you know, everything else.
878
00:37:18,599 --> 00:37:21,000
So I think vinyl is way
879
00:37:19,218 --> 00:37:21,045
Well, to your listeners, my
880
00:37:21,045 --> 00:37:23,987
vinyl is only thirty dollars, so they
could save
881
00:37:23,304 --> 00:37:25,275
Well the vinyl,
882
00:37:25,275 --> 00:37:26,445
yeah, no, the vinyl that I did,
883
00:37:26,445 --> 00:37:28,576
that was the special edition I did with
just me and Penn.
884
00:37:28,576 --> 00:37:30,606
We did a record I did with a record with
me,
885
00:37:30,606 --> 00:37:35,197
Penn, and Jeff Hamilton ~ last year or two
years ago,
886
00:37:35,197 --> 00:37:37,748
~ which I'm very proud of the title,
887
00:37:37,748 --> 00:37:40,629
which was Are You Sure You Three Guys Know
What You're Doin?
888
00:37:40,629 --> 00:37:44,530
And 'cause we're big Stooges fans.
889
00:37:44,530 --> 00:37:50,312
And ~ we that's like thirty bucks or
thirty-five bucks or something,
890
00:37:49,722 --> 00:37:50,722
Mm-hmm.
891
00:37:50,312 --> 00:37:51,882
but but that's just regular vinyl.
892
00:37:52,292 --> 00:37:56,721
But ~ and then do you ~ did you do it
through through a company
893
00:37:56,721 --> 00:37:58,103
or bandcamp or yourself
894
00:37:58,103 --> 00:38:00,034
Yeah, I'm I'm very entrepreneurial.
895
00:38:00,034 --> 00:38:01,075
So I
896
00:38:00,669 --> 00:38:01,669
Uh-huh.
897
00:38:01,295 --> 00:38:07,870
~ I did this. I I got it printed a small
printing company
898
00:38:07,870 --> 00:38:10,912
or or pressing company down in the
Shenandoah Valley,
899
00:38:10,912 --> 00:38:13,884
actually in Harrisonburg where James
Jackson is.
900
00:38:12,994 --> 00:38:14,614
Yeah.
901
00:38:13,884 --> 00:38:14,884
~
902
00:38:14,925 --> 00:38:19,748
but yeah, I mean I did everything from the
the cover art to ~ the composition.
903
00:38:19,277 --> 00:38:22,999
It looks great. Yeah, yeah, it's a great
cover.
904
00:38:19,748 --> 00:38:26,413
Thank you. This is and and ~ thank you.
905
00:38:22,999 --> 00:38:25,170
~ I was looking at it earlier.
906
00:38:25,170 --> 00:38:26,501
~ and
907
00:38:27,001 --> 00:38:32,634
it really ~ and ~ yeah, 'cause I I did a
record during the pancake demic
908
00:38:32,634 --> 00:38:38,368
as I call it. ~ I just did a I wanted to
do a solo album in my house.
909
00:38:38,590 --> 00:38:39,590
Mm, mm.
910
00:38:39,849 --> 00:38:43,191
and ~ I have a I have a a big Kawai a nine
foot,
911
00:38:43,191 --> 00:38:45,032
~ and
912
00:38:46,025 --> 00:38:50,947
And it records really well. So I did this
just a solo record of
913
00:38:51,347 --> 00:38:52,828
all public domain tunes.
914
00:38:53,098 --> 00:38:54,098
Nice.
915
00:38:53,888 --> 00:38:56,450
Right? So, ~ called all by myself.
916
00:38:56,450 --> 00:38:59,531
And I I did it all on Bandcamp.
917
00:38:59,531 --> 00:39:03,522
And and it worked great. I was shocked.
918
00:39:00,330 --> 00:39:03,055
Well done, yeah. Yeah.
919
00:39:03,522 --> 00:39:06,063
I mean, I'm you know, I've always been on
a label.
920
00:39:06,063 --> 00:39:07,063
~ I'm
921
00:39:06,530 --> 00:39:07,530
Mm-hmm.
922
00:39:07,014 --> 00:39:11,515
I'm on Capri now. Before that I was on
this Caroscuro f since since the nineties,
923
00:39:09,916 --> 00:39:10,916
Mm.
924
00:39:11,515 --> 00:39:12,515
you know.
925
00:39:12,136 --> 00:39:13,216
So I had no
926
00:39:14,152 --> 00:39:16,253
I am not entrepreneurial, you know.
927
00:39:16,061 --> 00:39:17,061
Mm. Mm-hmm.
928
00:39:16,253 --> 00:39:17,253
~ Jen's
929
00:39:17,164 --> 00:39:20,827
the brains of all this podcast stuff and
everything else that I'm doing.
930
00:39:20,827 --> 00:39:25,072
But I, you know, I fought my way through
it and you know,
931
00:39:25,072 --> 00:39:29,604
figured out paid the publishing and
because I did another album during the
pandemic.
932
00:39:29,604 --> 00:39:33,056
I did a bunch of videos for Kawai called
Mondays
933
00:39:32,485 --> 00:39:33,485
~ cool.
934
00:39:33,056 --> 00:39:38,770
with Mike. And then I wound up doing 118
videos during the pandemic on YouTube.
935
00:39:38,770 --> 00:39:39,770
And
936
00:39:40,677 --> 00:39:45,408
I decided to put out on Bandcamp an album
called Quarantime,
937
00:39:45,408 --> 00:39:46,649
which was
938
00:39:46,969 --> 00:39:48,710
~ all hundred and eighteen tracks.
939
00:39:48,710 --> 00:39:50,811
And I had to go through and you know,
940
00:39:50,811 --> 00:39:54,102
go to a rights clearance place and still
so I learned all that,
941
00:39:54,102 --> 00:39:59,024
you know. But ~ but yeah, it but I'm I'm
glad ~ it's it seems like it would
942
00:39:59,024 --> 00:40:03,275
be even another step to do what you did
with your album.
943
00:40:03,651 --> 00:40:10,404
Yeah, but I it I I like having ~ you know
a lot of the the decision making stuff
944
00:40:10,404 --> 00:40:11,404
and the
945
00:40:10,405 --> 00:40:11,405
I mean
946
00:40:10,704 --> 00:40:15,496
album is a mix of originals and then it
947
00:40:15,496 --> 00:40:22,109
has ~ two standards. It has Take the A
Train and Take Five.
948
00:40:20,915 --> 00:40:21,915
Right.
949
00:40:22,109 --> 00:40:23,470
~ Take Five
950
00:40:23,470 --> 00:40:25,110
is a a solo version. But yeah,
951
00:40:25,110 --> 00:40:26,681
the then the rest are originals.
952
00:40:26,681 --> 00:40:30,883
~ and I I mentioned before the top like
953
00:40:31,559 --> 00:40:37,444
kind of really liking that sound of
straight ahead that kind of pushes
boundaries.
954
00:40:37,137 --> 00:40:38,137
Yeah.
955
00:40:37,444 --> 00:40:38,444
And
956
00:40:39,065 --> 00:40:42,283
and and and I mentioned Money Jungle by
Duke Ellington.
957
00:40:42,283 --> 00:40:43,759
If anyone hasn't listened to that,
958
00:40:43,759 --> 00:40:46,932
it's just incredible. You get Duke,
959
00:40:46,932 --> 00:40:50,315
Max Roach, and Charles Mingus Yeah.
960
00:40:48,857 --> 00:40:51,898
And Charles Mingus yeah. It's such a great
album.
961
00:40:50,315 --> 00:40:54,498
And it's so great. And and it pushes
962
00:40:51,898 --> 00:40:54,317
And and and
963
00:40:54,498 --> 00:40:57,210
tonality. Like they're they're they're
playing a blues,
964
00:40:57,210 --> 00:40:59,883
but he's doing these cluster voicings and
and
965
00:40:59,522 --> 00:41:00,673
~ I i yeah.
966
00:41:00,673 --> 00:41:04,215
I mean and and Duke was so so hip,
967
00:41:04,215 --> 00:41:06,946
you know, I mean, everyone thinks of the
band,
968
00:41:06,946 --> 00:41:09,747
but you know, even if you go to like piano
in the foreground,
969
00:41:09,747 --> 00:41:11,158
that album by him or
970
00:41:10,064 --> 00:41:11,751
Mm-hmm. Yeah.
971
00:41:11,479 --> 00:41:12,479
or
972
00:41:11,839 --> 00:41:15,521
there's one of my favorite albums by Duke
is this one's for Blanton,
973
00:41:15,521 --> 00:41:17,702
the duo that he did with Ray Brown,
974
00:41:16,033 --> 00:41:18,363
Mm. Yeah.
975
00:41:17,702 --> 00:41:18,702
that
976
00:41:18,563 --> 00:41:21,965
is just it's jaw dropping. It's so
beautiful.
977
00:41:21,462 --> 00:41:22,683
Yeah. And
978
00:41:21,965 --> 00:41:22,965
And
979
00:41:22,683 --> 00:41:27,427
it it's crazy. And and the thing too that
he was self taught for the most part.
980
00:41:27,427 --> 00:41:29,859
Like he kind of gleaned little things from
people,
981
00:41:29,859 --> 00:41:35,914
but ~ I mean you listen to like just the
cluster voicings,
982
00:41:35,914 --> 00:41:41,579
the whole tone stuff, just some of the
like the just the way that he will grab
983
00:41:41,579 --> 00:41:47,183
a theme and just like stick with it and
wring every little bit out of it
984
00:41:47,203 --> 00:41:49,585
and it's so cool. ~
985
00:41:47,422 --> 00:41:49,603
Right. There's
986
00:41:49,745 --> 00:41:52,065
the that there's a there's a recording.
987
00:41:52,065 --> 00:41:56,587
There was a bunch of ~ sometime in the
eighties ~ or nineties these CDs came
988
00:41:56,587 --> 00:42:02,820
out of Duke would go into studios with his
own money and just record stuff that
989
00:42:02,820 --> 00:42:07,302
he had. And there's this version of Stompy
Jones that's on one
990
00:42:07,302 --> 00:42:09,573
of those recordings and I'm I I don't know
where it is,
991
00:42:09,573 --> 00:42:12,554
and I don't have the C D anymore and I
can't find it.
992
00:42:12,554 --> 00:42:15,265
And it's it's so it's maddening because
it's
993
00:42:15,979 --> 00:42:19,760
one of the hardest swinging things and
they do exactly what you just said.
994
00:42:19,760 --> 00:42:23,702
There's just they're just working this
little four note motif
995
00:42:24,135 --> 00:42:25,135
Yeah.
996
00:42:24,703 --> 00:42:30,146
over and over in the tune and it just
drills into you and it's so so hip.
997
00:42:30,146 --> 00:42:31,566
~ but
998
00:42:30,403 --> 00:42:31,403
Mm, yeah.
999
00:42:31,567 --> 00:42:35,159
~ yeah yeah I I and yeah I mean you the
1000
00:42:35,159 --> 00:42:39,511
other thing that we can't remember at all
it's like when you talk about
1001
00:42:39,511 --> 00:42:41,872
Bix Beiderbecke or somebody, you know,
1002
00:42:41,872 --> 00:42:43,093
that music
1003
00:42:43,446 --> 00:42:46,367
didn't exist. You know, and it's I mean,
1004
00:42:46,367 --> 00:42:49,229
I saw the in the 70s, I think it was,
1005
00:42:49,229 --> 00:42:52,250
there was a a documentary on Bix,
1006
00:42:52,250 --> 00:42:57,032
and they were talking to like the kids in
his high school who were
1007
00:42:56,864 --> 00:42:59,132
Yeah. Yeah.
1008
00:42:57,032 --> 00:42:58,593
in their seventies now, right?
1009
00:42:58,593 --> 00:42:59,593
And they're like,
1010
00:42:59,594 --> 00:43:02,405
he just played these this music-y noise.
1011
00:43:02,405 --> 00:43:04,346
We didn't know what it was, you know,
1012
00:43:04,346 --> 00:43:05,866
because there was no jazz, you know,
1013
00:43:05,866 --> 00:43:06,887
and they were inventing it.
1014
00:43:06,625 --> 00:43:07,625
Yeah.
1015
00:43:06,965 --> 00:43:09,887
I mean you listen to like in a mist or
something and you're like,
1016
00:43:09,583 --> 00:43:10,583
yeah.
1017
00:43:09,987 --> 00:43:14,009
What it's like whole tones with mixed with
James P.
1018
00:43:14,009 --> 00:43:16,440
Johnson and you're like, Wh where is this
coming from?
1019
00:43:16,440 --> 00:43:20,992
Also, he's playing this on piano when he's
he's a cornet player.
1020
00:43:20,992 --> 00:43:23,103
Like it's incredible. Yeah.
1021
00:43:21,429 --> 00:43:23,230
Right, right. Yeah,
1022
00:43:23,230 --> 00:43:24,671
yeah. He was he was something.
1023
00:43:24,671 --> 00:43:26,752
But I mean Duke, like I you you know,
1024
00:43:26,752 --> 00:43:32,856
~ I mean some of the stuff, the later Duke
stuff is so advanced from you know,
1025
00:43:32,856 --> 00:43:34,797
from the A Train and things like that.
1026
00:43:34,701 --> 00:43:35,701
Right. Yeah.
1027
00:43:34,797 --> 00:43:35,797
But I
1028
00:43:35,398 --> 00:43:38,169
mean I mean nothing wrong with A Train or
Isfahan or any of the
1029
00:43:37,421 --> 00:43:38,421
Right, yeah.
1030
00:43:38,169 --> 00:43:39,169
Strayhorn stuff.
1031
00:43:39,040 --> 00:43:42,782
But ~ I I mean I'm a I'm a huge fan of
Worm Valley,
1032
00:43:42,782 --> 00:43:43,882
~
1033
00:43:43,361 --> 00:43:44,361
Mm.
1034
00:43:44,363 --> 00:43:47,465
which was I think from like maybe the
Queen Suite or something,
1035
00:43:47,465 --> 00:43:48,465
or I'm not sure.
1036
00:43:48,839 --> 00:43:51,173
I may have it confused with single petal
of a rose.
1037
00:43:51,173 --> 00:43:54,068
But those pieces, they're haunting,
1038
00:43:54,068 --> 00:43:58,204
you know. They're they're they're so
they're every bit as effective as
1039
00:43:58,204 --> 00:44:00,468
a Liszt piece written
1040
00:43:59,414 --> 00:44:00,458
Yeah. Yeah.
1041
00:44:00,468 --> 00:44:02,390
two hundred years beho a hundred years
before,
1042
00:44:02,390 --> 00:44:03,531
you know. ~
1043
00:44:02,955 --> 00:44:03,955
Yeah.
1044
00:44:04,126 --> 00:44:07,786
So I r I really wanted to kind of en
embody that that playing and
1045
00:44:07,786 --> 00:44:11,699
and I mean yes,
1046
00:44:11,699 --> 00:44:16,071
I I can I can do a lot of like the single
note Bebop and post bop stuff,
1047
00:44:16,071 --> 00:44:19,805
but like if you listen to ~ like ~ boy,
1048
00:44:19,805 --> 00:44:22,995
that also has kind of a epistrophe vibe to
it.
1049
00:44:22,995 --> 00:44:27,197
but like boy or Bampi doesn't like
crocodiles,
1050
00:44:27,197 --> 00:44:28,197
it'll
1051
00:44:27,958 --> 00:44:31,269
The yeah, Bampi is ~ not Bambi the deer,
1052
00:44:31,269 --> 00:44:37,322
but Bampi is the is the Welsh ~ endearing
term for a grandfather.
1053
00:44:37,322 --> 00:44:39,623
So my my wife is English Welsh.
1054
00:44:38,630 --> 00:44:40,396
~
1055
00:44:39,623 --> 00:44:40,623
So
1056
00:44:40,843 --> 00:44:46,306
when my ~ my my son was a toddler,
1057
00:44:46,306 --> 00:44:51,128
he was insistent that Bampi does not like
crocodiles.
1058
00:44:51,128 --> 00:44:52,148
So that was kind of the
1059
00:44:51,822 --> 00:44:52,822
~
1060
00:44:52,288 --> 00:44:55,810
the fun little title history for that.
1061
00:44:55,810 --> 00:44:56,810
~
1062
00:44:56,441 --> 00:44:57,441
That's
1063
00:44:56,855 --> 00:44:57,855
great.
1064
00:44:57,696 --> 00:45:04,370
Yeah. But but kind of channeling that
either epistrophe or or that Duke sound
1065
00:45:04,411 --> 00:45:09,014
where, you know, Duke wasn't he wasn't
gonna pull out a bop line ever.
1066
00:45:09,005 --> 00:45:10,005
Right.
1067
00:45:09,014 --> 00:45:10,014
You're not
1068
00:45:09,350 --> 00:45:10,995
gonna really hear him and play that,
1069
00:45:10,995 --> 00:45:15,818
but he comes up with a lot of creativity
through block chords and dissonance.
1070
00:45:17,079 --> 00:45:20,281
so yeah, if people are a fan of that kind
of sound,
1071
00:45:20,281 --> 00:45:24,484
I I I recommend they they check out those
tunes off the record.
1072
00:45:24,484 --> 00:45:25,995
~ yeah.
1073
00:45:25,229 --> 00:45:26,229
Yes, yes,
1074
00:45:26,209 --> 00:45:29,470
indeed. ~ well, yeah, it's funny.
1075
00:45:29,470 --> 00:45:33,931
I just sort of talking about we were
talking about people that we listen to.
1076
00:45:33,931 --> 00:45:38,403
And I mean I'm guilty of going to music
for comfort,
1077
00:45:38,403 --> 00:45:41,814
you know what I mean? Going I I go back to
some of the same recordings I've been
1078
00:45:41,814 --> 00:45:43,414
listening to since I was a teenager.
1079
00:45:43,414 --> 00:45:50,375
You know, if I wanna hear Sonny Rollins ~
on ~ you know ~ from nineteen fifty seven,
1080
00:45:50,375 --> 00:45:53,136
you know, ~ The Sound of Sonny or one of
those albums.
1081
00:45:53,542 --> 00:45:58,645
And ~ but ~ I've just sort of I'm late to
the party,
1082
00:45:58,645 --> 00:46:00,216
of course, because I'm late with
everything,
1083
00:46:00,216 --> 00:46:04,538
but I I'm I'm sort of getting into ~
Sullivan Fortner.
1084
00:46:04,538 --> 00:46:05,859
And
1085
00:46:04,945 --> 00:46:05,945
Mm, mm-hmm.
1086
00:46:06,239 --> 00:46:11,302
you know, he's he's it's it's funny 'cause
he's got like a he's almost
1087
00:46:11,302 --> 00:46:16,295
got like a Tatumesque vibe to his playing
that just sort of shoots off
1088
00:46:16,295 --> 00:46:18,546
the rails all the time. And I I
1089
00:46:17,341 --> 00:46:18,393
Yeah, yeah.
1090
00:46:18,546 --> 00:46:21,197
like it, you know, it's it's he's he's
very,
1091
00:46:21,197 --> 00:46:22,428
very hip. ~
1092
00:46:22,707 --> 00:46:23,707
Yeah.
1093
00:46:23,336 --> 00:46:28,379
but I yeah, I you're doing great stuff and
it's it's right it's right up my alley.
1094
00:46:28,379 --> 00:46:29,620
You know what I mean? It's
1095
00:46:28,955 --> 00:46:29,955
Yeah.
1096
00:46:30,340 --> 00:46:33,042
I don't I don't want to disparage anybody,
1097
00:46:33,042 --> 00:46:37,215
you know, ~ certainly not an old get off
my lawn old man type
1098
00:46:37,215 --> 00:46:43,179
stuff. But I don't really I don't the
music that there's some guys that
1099
00:46:43,179 --> 00:46:45,512
are like merging hip hop with jazz.
1100
00:46:45,780 --> 00:46:46,780
Mm.
1101
00:46:46,365 --> 00:46:49,118
in electronic stuff that it's just not w I
mean,
1102
00:46:49,118 --> 00:46:51,711
they're great at it and it's I'm sure it's
really good,
1103
00:46:51,711 --> 00:46:53,513
but I don't ever want to listen to it.
1104
00:46:53,513 --> 00:46:58,118
You know what I mean? It's it's I it's
it's different for me,
1105
00:46:56,227 --> 00:46:58,912
Yeah, yeah. I I I
1106
00:46:58,118 --> 00:46:59,118
you know, I'm
1107
00:46:58,919 --> 00:46:59,919
old.
1108
00:46:59,413 --> 00:47:01,617
yeah, I can sympathize with that.
1109
00:47:01,617 --> 00:47:05,724
And and it's interesting 'cause like I I
was thinking about this.
1110
00:47:05,724 --> 00:47:09,007
I I can understand why
1111
00:47:09,667 --> 00:47:13,439
you're merging or why people would merge
hip hop because I mean it it
1112
00:47:13,439 --> 00:47:16,999
is the the popular drum accompaniment of
the
1113
00:47:16,421 --> 00:47:17,421
Mm-hmm.
1114
00:47:16,999 --> 00:47:18,972
day. And if you think about swing,
1115
00:47:18,972 --> 00:47:21,634
that was the popular drum accompany of the
day.
1116
00:47:21,634 --> 00:47:26,927
But you know, I I love jazz that swings
and I
1117
00:47:26,957 --> 00:47:30,439
try to make new jazz that swings.
1118
00:47:30,439 --> 00:47:35,042
Try to say like, hey swing there's there's
still plenty to say within
1119
00:47:35,042 --> 00:47:37,085
the swing idiom. ~
1120
00:47:36,857 --> 00:47:37,857
Right.
1121
00:47:37,793 --> 00:47:41,485
And and some of my favorite guys are are
guys that that can do that.
1122
00:47:41,485 --> 00:47:46,048
Like I mean, I was just yesterday
listening to Ari Honig,
1123
00:47:46,048 --> 00:47:49,150
his T for three album. And it's so good.
1124
00:47:46,821 --> 00:47:49,978
Mm-hmm. Right. Yeah,
1125
00:47:49,150 --> 00:47:50,230
It's and and they're
1126
00:47:49,978 --> 00:47:50,978
yeah.
1127
00:47:50,230 --> 00:47:53,472
saying so many new, exciting,
1128
00:47:53,472 --> 00:47:55,594
creative things on that record.
1129
00:47:55,594 --> 00:47:58,455
~ but it it's still within the swing
idiom.
1130
00:47:58,455 --> 00:48:03,398
So but like you said, like it's not to
disparage other people's music.
1131
00:48:02,703 --> 00:48:04,494
No, I mean, everything
1132
00:48:04,494 --> 00:48:07,685
goes off in directions and it's really
great.
1133
00:48:07,685 --> 00:48:12,167
It just it doesn't enter my it doesn't
enter my consciousness.
1134
00:48:12,167 --> 00:48:13,314
You know what I mean? I
1135
00:48:12,943 --> 00:48:13,943
Right.
1136
00:48:13,314 --> 00:48:18,516
I mean I think that swinging in jazz is
important.
1137
00:48:18,516 --> 00:48:20,247
~ it's
1138
00:48:18,774 --> 00:48:20,243
Mm-hmm. Yeah.
1139
00:48:20,247 --> 00:48:24,613
not the only thing, but it's a foundation
for me of of what I want to hear.
1140
00:48:24,613 --> 00:48:26,754
and ~
1141
00:48:25,114 --> 00:48:26,114
Right. Yeah.
1142
00:48:27,013 --> 00:48:29,754
And the fact that guys like you and and
you know,
1143
00:48:29,754 --> 00:48:33,627
there I mean there are plenty of younger
guys that are keeping the tradition alive,
1144
00:48:33,627 --> 00:48:37,369
but I, you know, I think that it's
important.
1145
00:48:37,369 --> 00:48:43,952
~ and I I don't I don't know what the the
future will bring,
1146
00:48:43,952 --> 00:48:46,043
but I as long as like you know,
1147
00:48:46,043 --> 00:48:47,955
guys like you and even I mean I'm old,
1148
00:48:47,955 --> 00:48:50,140
but you know, I try to
1149
00:48:50,814 --> 00:48:56,096
present music that's of that era but with
1150
00:48:55,613 --> 00:48:56,613
Mm-hmm.
1151
00:48:56,937 --> 00:48:59,137
but modern. You know what I mean?
1152
00:48:58,621 --> 00:48:59,643
Yeah. Yeah.
1153
00:48:59,137 --> 00:49:00,137
~
1154
00:49:00,058 --> 00:49:03,339
I mean fresher ideas, not as a museum
piece,
1155
00:49:02,110 --> 00:49:04,658
Yeah. Right. Yeah.
1156
00:49:03,339 --> 00:49:04,810
you know, not as a, you know,
1157
00:49:04,810 --> 00:49:06,460
and I'm not we're not playing,
1158
00:49:06,460 --> 00:49:09,622
you know, ~ because the guys that are on
my latest record,
1159
00:49:09,622 --> 00:49:15,484
Alex Frank and Graham Dechter they're
they're like us.
1160
00:49:15,484 --> 00:49:18,332
I mean they're between y our ages.
1161
00:49:18,770 --> 00:49:19,770
But they're
1162
00:49:18,803 --> 00:49:19,803
Mm-hmm.
1163
00:49:19,410 --> 00:49:22,511
they grew up, you know, I Alex study with
John Clayton,
1164
00:49:22,511 --> 00:49:24,713
so he came out of Ray Brown. So he,
1165
00:49:24,713 --> 00:49:30,365
you know, that that foundational style of
the Oscar Peterson trio and the and the,
1166
00:49:30,365 --> 00:49:33,337
you know, ~ and Paul Chambers and you
know,
1167
00:49:33,337 --> 00:49:34,957
I mean when I was at Berklee in the
eighties,
1168
00:49:34,957 --> 00:49:36,458
there were guys that thought
1169
00:49:36,458 --> 00:49:38,580
that Ron Carter invented jazz bass.
1170
00:49:38,580 --> 00:49:42,482
You know, and I mean I love Ron Carter and
he's a monster
1171
00:49:41,487 --> 00:49:42,487
Yeah, yeah.
1172
00:49:42,482 --> 00:49:44,283
player, but they never heard of Jimmy
Blanton,
1173
00:49:44,283 --> 00:49:45,493
they never heard of Paul Chambers,
1174
00:49:45,493 --> 00:49:46,493
and they're at Berklee.
1175
00:49:45,648 --> 00:49:46,648
Yeah.
1176
00:49:46,862 --> 00:49:52,086
You know? So you know, so as the years go
by and it gets farther and farther
1177
00:49:52,086 --> 00:49:56,579
in the past, I I'm glad that like guys
like you are keeping
1178
00:49:56,619 --> 00:49:58,300
the monk thing especially. I mean,
1179
00:49:58,300 --> 00:50:02,882
I'm I'm a huge fan. it's one of the few
movies that I when I went
1180
00:50:02,882 --> 00:50:05,514
and saw Straight No Chaser when it came
1181
00:50:04,890 --> 00:50:05,890
Mm.
1182
00:50:05,514 --> 00:50:08,426
out, I stayed and watched it a second
time.
1183
00:50:08,426 --> 00:50:11,708
It was so good, you know. But ~
1184
00:50:08,919 --> 00:50:10,179
Nice. Yeah.
1185
00:50:12,309 --> 00:50:13,309
but
1186
00:50:13,217 --> 00:50:19,644
So, what are your plans? I mean when well
how long ago did retro future come out?
1187
00:50:19,644 --> 00:50:20,811
Is it like just stuff?
1188
00:50:20,782 --> 00:50:21,782
It
1189
00:50:20,992 --> 00:50:24,264
it so it came out in twenty twenty-four,
1190
00:50:24,264 --> 00:50:27,416
which feels which is crazy. ~ so
1191
00:50:24,869 --> 00:50:27,342
Okay. Mm-hmm.
1192
00:50:27,416 --> 00:50:30,708
I've got ~ probably an EP in the pipeline.
1193
00:50:30,708 --> 00:50:31,708
~ I've
1194
00:50:31,153 --> 00:50:32,153
Mm-hmm.
1195
00:50:31,468 --> 00:50:35,691
got some stuff with my trio, some
recordings from our concerts,
1196
00:50:35,691 --> 00:50:36,811
some really
1197
00:50:36,273 --> 00:50:37,273
Yeah.
1198
00:50:36,951 --> 00:50:42,074
just awesome energetic recordings of us
playing standards.
1199
00:50:42,074 --> 00:50:43,315
So it's just a really
1200
00:50:43,018 --> 00:50:44,018
wow.
1201
00:50:43,375 --> 00:50:46,497
fun way for people to hear.
1202
00:50:47,117 --> 00:50:49,667
Our approach to standards. And I mean,
1203
00:50:49,667 --> 00:50:51,338
you're talking about Ron Carter.
1204
00:50:51,338 --> 00:50:56,120
I got a chance to talk with him earlier
this year about him and
1205
00:50:56,120 --> 00:51:00,421
the second great quintet and how they just
go off the rails.
1206
00:51:00,421 --> 00:51:06,142
And and ~ I'm in no way trying to compare
myself to their level,
1207
00:51:06,403 --> 00:51:11,234
but you know, with the trio, I enjoy also
that that concept of like,
1208
00:51:11,234 --> 00:51:12,964
hey, we're we're gonna see where it goes.
1209
00:51:12,964 --> 00:51:13,991
Like, we we don't just
1210
00:51:13,445 --> 00:51:14,445
Right.
1211
00:51:13,991 --> 00:51:14,991
have to stick to
1212
00:51:15,573 --> 00:51:19,486
~ you get your two courses, then I'll get
my two courses and then we'll wrap this
1213
00:51:19,486 --> 00:51:25,616
up. So ~ so yeah, I I'll probably be
putting out some some of that just
1214
00:51:25,616 --> 00:51:32,084
to to keep some more recent stuff ~ out
for people to listen to.
1215
00:51:32,084 --> 00:51:34,776
~ but then I as I kind of alluded to,
1216
00:51:34,776 --> 00:51:40,190
I do have this this project that I'm
really excited about that centers around
jazz
1217
00:51:40,190 --> 00:51:44,633
in the twenties. Cause I mean you talked
about how people are are how the
1218
00:51:45,473 --> 00:51:48,436
~ the great American songbook is starting
to diminish.
1219
00:51:48,436 --> 00:51:52,489
There are some traditions from the 20s
that are almost completely gone,
1220
00:51:52,489 --> 00:51:55,142
like stride piano. And and I
1221
00:51:53,969 --> 00:51:55,011
Sure, sure.
1222
00:51:55,142 --> 00:51:57,924
I love stride piano myself. ~
1223
00:51:57,585 --> 00:51:58,585
Mm-hmm.
1224
00:51:58,025 --> 00:52:02,609
like trying to trying to figure out how do
we how do we present that in
1225
00:52:02,609 --> 00:52:06,142
a way where people don't say that that
sounds corny or are you playing
1226
00:52:05,746 --> 00:52:06,746
Yeah.
1227
00:52:06,142 --> 00:52:08,855
Scott Joplin? And it's like, no I'm not
playing Scott Joplin.
1228
00:52:08,572 --> 00:52:10,563
Right, right, right. It's funny.
1229
00:52:08,855 --> 00:52:10,236
~ yeah
1230
00:52:10,563 --> 00:52:11,684
~
1231
00:52:11,845 --> 00:52:16,928
just to just I just did ~ a great ~
interview with Judy Carmichael,
1232
00:52:16,928 --> 00:52:17,928
who
1233
00:52:17,236 --> 00:52:18,236
Mm.
1234
00:52:17,849 --> 00:52:20,651
is an you know, I don't know if you know
Judy's playing,
1235
00:52:20,651 --> 00:52:24,794
but she is like one of the best stride
pianists alive.
1236
00:52:24,794 --> 00:52:26,955
And she's had a wonderful career,
1237
00:52:26,955 --> 00:52:31,759
but she does the same thing. She does she
she manages to present stride
1238
00:52:31,959 --> 00:52:32,959
as not corny.
1239
00:52:33,312 --> 00:52:34,323
Yeah. Yeah.
1240
00:52:34,006 --> 00:52:35,006
You know,
1241
00:52:34,407 --> 00:52:36,284
and it's really it you should check her
out,
1242
00:52:36,284 --> 00:52:37,418
definitely. She has a show
1243
00:52:36,865 --> 00:52:37,865
Yeah.
1244
00:52:37,418 --> 00:52:40,489
on NPR called Jazz Inspired. ~
1245
00:52:40,192 --> 00:52:41,192
Then maybe
1246
00:52:40,534 --> 00:52:43,137
I have come across for stuff. Maybe.
1247
00:52:43,137 --> 00:52:44,925
Yeah, I'll have to check it out.
1248
00:52:44,180 --> 00:52:45,180
~ I heard
1249
00:52:44,925 --> 00:52:49,589
but ~ yeah, she's great. ~ Judy's I've
known her for many years,
1250
00:52:49,589 --> 00:52:50,589
but she
1251
00:52:49,999 --> 00:52:52,561
had me on Jazz Inspired to talk about my
new record the other day,
1252
00:52:52,561 --> 00:52:58,407
but we're two of the only living people
that both made piano rolls.
1253
00:52:59,783 --> 00:53:00,889
Whoa, really?
1254
00:53:00,657 --> 00:53:01,657
You know,
1255
00:53:01,238 --> 00:53:06,627
yeah, yeah. I made a bunch of for the QRS
piano roll company.
1256
00:53:06,627 --> 00:53:10,055
~ yeah, yeah. And ~
1257
00:53:06,929 --> 00:53:10,132
Really? That's awesome. I'm I'm
1258
00:53:10,313 --> 00:53:14,017
reading a a biography that just came out
about James P.
1259
00:53:14,017 --> 00:53:17,020
Johnson and you know, digging into his
stuff.
1260
00:53:14,953 --> 00:53:18,315
~ Yeah. Yeah.
1261
00:53:17,020 --> 00:53:18,121
So
1262
00:53:18,455 --> 00:53:23,518
I I was lucky enough to be good friends
with Dick Wellstood who was like James P.
1263
00:53:23,518 --> 00:53:26,819
Johnson's last student. And ~ you know,
1264
00:53:25,521 --> 00:53:26,640
Wow. Yeah.
1265
00:53:28,841 --> 00:53:33,564
I love Dick's playing. if you ever if you
ever look just look up Stride Monsters,
1266
00:53:33,564 --> 00:53:35,985
it's him and Dick Hyman playing two
pianos.
1267
00:53:36,395 --> 00:53:37,395
Really?
1268
00:53:36,745 --> 00:53:39,697
~ yeah, it's an amazing, amazing record.
1269
00:53:40,860 --> 00:53:44,582
he in a room with with Dick Wellstood
playing stride,
1270
00:53:44,582 --> 00:53:49,205
it was it was earth shattering when
1271
00:53:48,889 --> 00:53:49,889
I bet.
1272
00:53:49,205 --> 00:53:51,037
he would dig in, even on an upright,
1273
00:53:51,037 --> 00:53:53,468
he but he would just start to dig in.
1274
00:53:53,468 --> 00:53:54,468
It was it
1275
00:53:53,985 --> 00:53:54,985
Yeah.
1276
00:53:54,409 --> 00:53:58,872
was a level of authenticity that I assume
standing next to James P.
1277
00:53:58,872 --> 00:54:01,243
Johnson would have been like. And you
know,
1278
00:54:01,243 --> 00:54:04,275
I love Dick Hyman, but it's more studied.
1279
00:54:04,275 --> 00:54:05,356
His
1280
00:54:04,780 --> 00:54:05,780
Yeah.
1281
00:54:05,356 --> 00:54:07,127
his his stride is more studied.
1282
00:54:07,615 --> 00:54:09,607
And which is not a bad thing, it's just
different.
1283
00:54:09,607 --> 00:54:12,470
But but Wellstood had that authentic,
1284
00:54:12,470 --> 00:54:14,852
like you know, down in the mud,
1285
00:54:14,852 --> 00:54:17,435
deep stuff that ~
1286
00:54:15,011 --> 00:54:17,364
Yeah. ~ that's
1287
00:54:17,435 --> 00:54:19,305
it we it really was but anyways,
1288
00:54:19,305 --> 00:54:23,410
~ so I'm excited for your to check this
20s thing out.
1289
00:54:23,410 --> 00:54:26,953
what you is there a timeline or
1290
00:54:27,975 --> 00:54:28,975
Well,
1291
00:54:28,455 --> 00:54:33,719
~ I I it it I'm not sure I'm I'll probably
1292
00:54:33,719 --> 00:54:38,403
be testing out pieces f over the next
twelve months,
1293
00:54:38,403 --> 00:54:39,403
~
1294
00:54:38,686 --> 00:54:39,686
Mm-hmm.
1295
00:54:39,163 --> 00:54:44,337
before I I really do kind of a a full a
full thing.
1296
00:54:44,337 --> 00:54:46,198
But you know, I also love Jelly Roll,
1297
00:54:46,198 --> 00:54:47,770
Jelly Roll Morton. Like he's
1298
00:54:46,827 --> 00:54:47,827
Sure. yeah.
1299
00:54:47,770 --> 00:54:52,353
got some great tunes and and ~ some of the
stuff I'm gonna be arranging for trios,
1300
00:54:52,353 --> 00:54:54,114
some stuff I might keep as solo.
1301
00:54:54,114 --> 00:54:55,114
~
1302
00:54:54,624 --> 00:54:55,624
Right.
1303
00:54:55,295 --> 00:54:59,348
But yeah, so I I know listeners to this,
1304
00:54:59,348 --> 00:55:02,510
they might not keep track of what I'm
doing in sixteen months or twelve months.
1305
00:55:02,510 --> 00:55:09,464
So at least I will be putting out some
some some fresh trio stuff soon while
1306
00:55:08,085 --> 00:55:09,189
Right. Good.
1307
00:55:09,644 --> 00:55:12,496
I kind of get together this new concept.
1308
00:55:12,448 --> 00:55:13,448
Right.
1309
00:55:12,496 --> 00:55:13,496
But
1310
00:55:13,447 --> 00:55:19,090
but you know, it it's all about that thing
of of just like joyfully presenting jazz.
1311
00:55:18,027 --> 00:55:19,388
Right. That's
1312
00:55:19,388 --> 00:55:23,530
that that's you know, I I I that's where
that's why when I saw you,
1313
00:55:23,530 --> 00:55:27,262
I realized you're like one of us.
1314
00:55:27,262 --> 00:55:30,865
You know what I mean? Like that music is
supposed to be fun
1315
00:55:30,865 --> 00:55:32,556
and entertaining and enjoyable.
1316
00:55:32,556 --> 00:55:37,658
And you know, there's room for for maudlin
horrible songs about death
1317
00:55:37,658 --> 00:55:39,419
and destruction if you want it.
1318
00:55:38,818 --> 00:55:40,193
Yeah. Yeah.
1319
00:55:39,419 --> 00:55:40,419
But
1320
00:55:40,400 --> 00:55:42,681
you know, but as as a rule, you know,
1321
00:55:42,681 --> 00:55:44,022
I want I want
1322
00:55:44,396 --> 00:55:47,278
I d she has to swing and have a good time
listening to it.
1323
00:55:47,203 --> 00:55:48,364
Yeah, I'm glad I'm
1324
00:55:47,278 --> 00:55:48,278
~
1325
00:55:48,364 --> 00:55:52,187
glad you brought that up. Like you you
mentioned the kind of the thing about
1326
00:55:52,347 --> 00:55:54,919
~ like the hip hop thing isn't for you.
1327
00:55:54,919 --> 00:55:59,863
For me, some of it like the ethereal sad
stuff isn't for me.
1328
00:55:59,863 --> 00:56:00,863
Like some of the
1329
00:56:00,218 --> 00:56:01,218
Right.
1330
00:56:00,794 --> 00:56:04,716
the pieces that are just a whole bunch of
dark ambient chords,
1331
00:56:04,696 --> 00:56:06,634
Yeah, yeah. Yeah, it doesn't
1332
00:56:04,716 --> 00:56:06,638
like that's not
1333
00:56:06,638 --> 00:56:09,660
for me. ~ but like I love Errol Garner.
1334
00:56:09,660 --> 00:56:11,842
Like what a joyful piano player.
1335
00:56:10,168 --> 00:56:12,239
Yeah. Don't
1336
00:56:12,360 --> 00:56:14,442
get me started on Erl Garner. I mean,
1337
00:56:14,442 --> 00:56:18,772
one of my biggest influences and again,
1338
00:56:18,772 --> 00:56:22,990
I I just so s I mean,
1339
00:56:22,990 --> 00:56:24,912
all natural and
1340
00:56:24,344 --> 00:56:25,344
Mm-hmm.
1341
00:56:24,912 --> 00:56:29,716
effortless. I mean how he plays those
sixteenth note runs with a full hand,
1342
00:56:29,716 --> 00:56:31,968
you know, octa thing filled
1343
00:56:31,968 --> 00:56:33,670
in, like flawlessly.
1344
00:56:33,902 --> 00:56:38,480
Yeah, the fill it in just the just the
chord lines and also being self taught
1345
00:56:36,668 --> 00:56:39,949
Yeah. Yeah. Yeah.
1346
00:56:38,640 --> 00:56:40,984
and like which yeah is great.
1347
00:56:39,949 --> 00:56:41,219
It was yeah,
1348
00:56:41,219 --> 00:56:44,581
yeah. I've told this before and I'll I'll
be make it brief,
1349
00:56:44,581 --> 00:56:50,092
but one of the defining moments of my life
was probably when I was I don't know,
1350
00:56:50,092 --> 00:56:51,663
~ seventeen, eighteen years old.
1351
00:56:51,663 --> 00:56:57,955
I was driving around listening to the jazz
station and there was a record,
1352
00:56:57,955 --> 00:57:01,936
Errol Garner put out a record called
Encores and Hi Fi.
1353
00:57:02,607 --> 00:57:03,607
Mm.
1354
00:57:03,132 --> 00:57:08,036
And it was all these sort of show pieces
that he would do as encores.
1355
00:57:08,036 --> 00:57:09,036
~
1356
00:57:08,483 --> 00:57:09,483
Okay.
1357
00:57:09,357 --> 00:57:12,670
but there's this version of the man I love
that is
1358
00:57:12,336 --> 00:57:13,336
Mm.
1359
00:57:12,670 --> 00:57:14,541
probably seven or eight minutes long,
1360
00:57:14,541 --> 00:57:17,123
starts out completely as a ballad,
1361
00:57:17,123 --> 00:57:23,689
then doubles the tempo, and he plays
chorus after chorus after chorus after
1362
00:57:23,689 --> 00:57:30,031
chorus of that right hand stuff where
you're just saying how and I I mean I
1363
00:57:30,034 --> 00:57:31,705
I I had to pull the car over.
1364
00:57:32,206 --> 00:57:33,206
Yeah.
1365
00:57:32,432 --> 00:57:33,432
To
1366
00:57:32,602 --> 00:57:36,094
listen to it because it was so swinging
and it was so,
1367
00:57:36,094 --> 00:57:39,416
you know, I you're thinking, How are his
hands not bleeding?
1368
00:57:39,416 --> 00:57:43,028
You know? And ~ yeah,
1369
00:57:39,777 --> 00:57:42,282
Yeah. They're four arms of steel.
1370
00:57:43,028 --> 00:57:45,575
yeah. You yeah, check that out if you have
a chance.
1371
00:57:45,445 --> 00:57:46,997
Man, that's awesome.
1372
00:57:45,575 --> 00:57:47,340
~ Errol Garner,
1373
00:57:47,950 --> 00:57:51,743
it's out now, but at the time it was only
a a Japanese import.
1374
00:57:51,743 --> 00:57:55,124
And so I remember paying like seventy
dollars for the record,
1375
00:57:55,124 --> 00:57:59,127
you know. ~ that yeah,
1376
00:57:55,558 --> 00:57:57,955
Yeah. But sometimes those records are
worth it,
1377
00:57:57,955 --> 00:57:59,761
you know. You you just gotta that again.
1378
00:57:59,127 --> 00:58:00,127
yeah.
1379
00:57:59,848 --> 00:58:00,848
Yeah.
1380
00:58:00,067 --> 00:58:01,067
One of my
1381
00:58:00,467 --> 00:58:02,830
favorite purchases was ~ Herbie Hancock,
1382
00:58:02,830 --> 00:58:05,293
the piano, which is now streaming.
1383
00:58:05,293 --> 00:58:11,680
I mean, but at the time it was it was
recorded for Japanese Sony over
1384
00:58:10,996 --> 00:58:11,996
Okay.
1385
00:58:11,680 --> 00:58:13,882
in Japan and never was released in
America.
1386
00:58:13,882 --> 00:58:18,337
And it's just solo piano album by Herbie
that's some of the most beautiful playing
1387
00:58:18,337 --> 00:58:20,446
you'll ever hear. ~
1388
00:58:19,442 --> 00:58:20,442
That's awesome.
1389
00:58:20,742 --> 00:58:24,777
I I did ex one of those things where you
have to like stop and and just listen
1390
00:58:24,777 --> 00:58:29,330
to whoa, ~ I think it was Oscar Peterson's
put on a happy face.
1391
00:58:29,330 --> 00:58:30,330
And
1392
00:58:29,694 --> 00:58:30,694
~
1393
00:58:30,151 --> 00:58:36,436
it was just just chorus after chorus of
just like the most blues saturated stuff.
1394
00:58:35,922 --> 00:58:39,379
Yeah, yeah, yeah. Yep.
1395
00:58:36,436 --> 00:58:40,129
It's it's it was like a kind of medium up
swing,
1396
00:58:39,379 --> 00:58:40,676
Yep.
1397
00:58:40,129 --> 00:58:41,129
but just
1398
00:58:41,060 --> 00:58:44,923
just like the bluesiest block chords and
runs and and it was just
1399
00:58:44,457 --> 00:58:45,457
Yeah.
1400
00:58:44,923 --> 00:58:47,826
like I'm just stopping whatever I'm doing
just to to
1401
00:58:48,272 --> 00:58:50,708
P put on that face of what is that?
1402
00:58:50,622 --> 00:58:51,622
What well yeah, yeah,
1403
00:58:51,542 --> 00:58:55,883
yeah. Yeah. I well there's if you wanna if
you wanna have your mind bent,
1404
00:58:55,883 --> 00:59:02,715
~ may I subtly recommend ~ a on I think
it's called
1405
00:59:02,715 --> 00:59:07,206
~ it's an Oscar album on ~ verv what's it
called?
1406
00:59:07,206 --> 00:59:09,507
They put it out as a two record set now.
1407
00:59:09,507 --> 00:59:10,507
~
1408
00:59:09,833 --> 00:59:10,833
Mm.
1409
00:59:10,727 --> 00:59:13,888
but it's Affinity, the the trio album
Affinity.
1410
00:59:12,521 --> 00:59:14,575
Okay. Mm.
1411
00:59:13,888 --> 00:59:14,888
Get
1412
00:59:14,848 --> 00:59:17,259
to ~ Yours is my heart alone.
1413
00:59:18,367 --> 00:59:21,319
And listen, you don't even have to listen
to the whole tune,
1414
00:59:21,319 --> 00:59:25,301
which it w is is frightening. But the
1415
00:59:23,919 --> 00:59:24,919
Yeah.
1416
00:59:26,061 --> 00:59:32,435
the last the last minute of that where
they're closing
1417
00:59:32,435 --> 00:59:37,978
out the tune, he starts this like
rhapsodic thing that's like that it's
1418
00:59:37,978 --> 00:59:42,760
a stride thing that's like then and he's
slowing down and speeding up
1419
00:59:42,760 --> 00:59:46,772
and they lock back together and it will it
it'll it'll hurt you.
1420
00:59:46,772 --> 00:59:47,772
I mean it
1421
00:59:48,247 --> 00:59:53,779
It's one of those things that I I heard 20
years ago and I and I just kept picking
1422
00:59:53,779 --> 00:59:55,610
up the needle to the record and putting it
back.
1423
00:59:55,610 --> 00:59:58,981
And I'm like, is this a skip in the what
what the hell are they doing?
1424
00:59:58,981 --> 00:59:59,981
You know?
1425
01:00:00,185 --> 01:00:01,185
Yeah.
1426
01:00:00,582 --> 01:00:02,623
They were so tight. It was amazing.
1427
01:00:02,623 --> 01:00:06,344
But yeah, Affinity, yours is my heart
alone.
1428
01:00:06,344 --> 01:00:08,975
Check that out. But ~ anyways,
1429
01:00:08,975 --> 01:00:11,427
well, I'm gonna thank you so much for
doing this.
1430
01:00:10,807 --> 01:00:12,382
Yeah. Thank you for inviting me.
1431
01:00:11,427 --> 01:00:12,537
And we
1432
01:00:12,537 --> 01:00:15,388
could do another couple hours on ~ on on
this stuff.
1433
01:00:15,388 --> 01:00:16,809
~ but
1434
01:00:15,545 --> 01:00:16,545
I'm sure we could.
1435
01:00:17,387 --> 01:00:19,270
It's really, really wonderful to have you,
1436
01:00:19,270 --> 01:00:23,405
Quentin. And ~ and I look forward to the
twenties thing.
1437
01:00:23,770 --> 01:00:24,770
Yeah.
1438
01:00:24,066 --> 01:00:26,139
Thank you. Thank you. I really appreciate
it.
1439
01:00:26,139 --> 01:00:28,933
I love the podcast and yeah, thanks for
having me.
1440
01:00:28,933 --> 01:00:32,998
And it was a lot of fun diving into all
this all this jazz history and and just,
1441
01:00:32,998 --> 01:00:35,511
you know, going over over and over these
great recordings.
1442
01:00:36,284 --> 01:00:37,284
thanks, man.