Vollständiges Transkript von Omnidirectional From Lucas And Lukas Raising Of The Level Of Free Jazz Movement

considered jazz 38 00:02:03.329 --> 00:02:07.560 sides by Jelly Roll Morton or Louis Armstrong, Hot Five, 39 00:02:08.349 --> 00:02:12.159 they have a real gut bucket quality, very bluesy. And 40 00:02:12.340 --> 00:02:16.159 so it satisfies me to be, to feel part of 41 00:02:16.199 --> 00:02:17.219 that tradition, I guess. 42 00:02:17.340 --> 00:02:17.500 Yeah. 43 00:02:17.840 --> 00:02:21.599 Well, your exploration is something that is so inviting. And 44 00:02:21.699 --> 00:02:23.599 what I love about it is that I can go 45 00:02:23.699 --> 00:02:26.919 from listening to it from, let's say, YouTube, and then 46 00:02:26.960 --> 00:02:30.159 I'll go to Alexa, and then I'll jump on to Spotify. 47 00:02:30.599 --> 00:02:33.830 And every one of them have a different vibration. And 48 00:02:33.849 --> 00:02:36.229 I've always wondered, what does the artist think about that? 49 00:02:36.530 --> 00:02:39.530 Because each one has different compression. They've got different ways 50 00:02:39.830 --> 00:02:41.810 of getting it out there on the platform. And it 51 00:02:42.000 --> 00:02:44.500 always sounds different to me. Or is it just me? 52 00:02:45.889 --> 00:02:46.449 No, I don't know. 53 00:02:46.490 --> 00:02:49.050 You know, I've never really AB'd it that way because 54 00:02:50.189 --> 00:02:52.710 if I do go back and listen to my own music, 55 00:02:52.789 --> 00:02:55.550 which is rare, and I really like to do that, 56 00:02:57.460 --> 00:03:01.319 I'm generally going to listen to it off iTunes or, 57 00:03:01.439 --> 00:03:04.639 you know, YouTube through my computer. 58 00:03:04.780 --> 00:03:05.639 Yes. 59 00:03:05.840 --> 00:03:08.199 And then it goes through the amplifier, so it has 60 00:03:08.259 --> 00:03:11.900 a whole different sound if you listen on, let's say, the. 61 00:03:13.949 --> 00:03:15.310 the speaker in the. 62 00:03:15.550 --> 00:03:19.180 MacBook, which I have, there's two speakers, little ones, or 63 00:03:19.240 --> 00:03:21.719 if I, you know, run it through the stereo system, 64 00:03:22.460 --> 00:03:27.199 then suddenly there's subwoofers in there, it's all bassy. So 65 00:03:27.360 --> 00:03:30.759 I don't know what's the correct answer here. And, you know, 66 00:03:30.800 --> 00:03:32.969 the atmosphere also has a lot to do with it. 67 00:03:32.990 --> 00:03:36.430 You know, if it's like a really humid atmosphere, if 68 00:03:36.569 --> 00:03:40.770 it's that kind of high-pressure day in the, you know, 69 00:03:41.469 --> 00:03:43.310 With a lot of moisture in the air, it's going 70 00:03:43.330 --> 00:03:44.030 to sound different. 71 00:03:44.110 --> 00:03:46.710 You are so right about that because I was listening 72 00:03:46.729 --> 00:03:48.810 to you while walking through this forest and I thought, 73 00:03:48.909 --> 00:03:51.400 oh my God, they must have lived here before because 74 00:03:51.439 --> 00:03:54.439 they have got the atmosphere perfectly set for me as 75 00:03:54.520 --> 00:03:56.939 I walk through here. I mean, just what you guys 76 00:03:56.960 --> 00:03:58.719 do with your music. And the thing about, I always 77 00:03:58.780 --> 00:04:01.289 call it Easter egg music because every time you go 78 00:04:01.310 --> 00:04:03.509 in there to listen to it, you pick up something new. 79 00:04:03.909 --> 00:04:05.389 I don't know how you guys are doing that. 80 00:04:05.979 --> 00:04:10.919 Yeah, I think it's when you're doing improvised music, sometimes 81 00:04:11.319 --> 00:04:14.250 you have to overcome certain constraints. 82 00:04:15.250 --> 00:04:17.430 This record, I didn't have a clear. 83 00:04:18.329 --> 00:04:21.970 I was basically listening to him through headphones, which normally 84 00:04:21.990 --> 00:04:25.589 I find very cumbersome. He was in an isolation booth 85 00:04:25.689 --> 00:04:29.620 in East Side Sound, so he wasn't directly visible to 86 00:04:29.660 --> 00:04:32.060 me as he was playing, which is what I prefer. Yeah. 87 00:04:32.779 --> 00:04:34.180 I think it's a different thing. 88 00:04:34.199 --> 00:04:36.959 You know, I mean, we're still reacting to each other 89 00:04:37.000 --> 00:04:40.019 in real time. And that's sort of the beauty of 90 00:04:40.060 --> 00:04:43.379 this kind of improv. You can look at a clip 91 00:04:43.480 --> 00:04:45.000 of us, I think, on the. 92 00:04:46.259 --> 00:04:48.740 Press release Ann Layton has sent out. 93 00:04:49.500 --> 00:04:54.860 There's a clip of us improvising together at The Stone, 94 00:04:55.060 --> 00:04:58.759 which is now in the New School, situated there. And 95 00:04:58.819 --> 00:05:01.439 so there we're right next to each other. And we can, like, 96 00:05:01.500 --> 00:05:05.740 see how we're you know, reacting if we're happy or 97 00:05:05.779 --> 00:05:10.220 sad or smiling while we're playing. And so that triggers 98 00:05:10.259 --> 00:05:14.720 different kinds of emotions as you play, you know. So 99 00:05:15.540 --> 00:05:17.439 every time it's going to be a little bit different, 100 00:05:17.699 --> 00:05:20.939 but I think the main thing is to try and 101 00:05:21.079 --> 00:05:27.709 just breathe together, you know, it's a synchronicity of sort of, 102 00:05:28.029 --> 00:05:33.240 I guess, where like suddenly you're locked in And so 103 00:05:33.339 --> 00:05:35.779 you can't make a wrong move there. Right. 104 00:05:36.079 --> 00:05:41.500 And whatever direction you move in, your partner is also there. 105 00:05:41.519 --> 00:05:44.420 I mean, he might play something counterintuitive to what you're 106 00:05:44.439 --> 00:05:48.959 playing too, but it's like he's processing in real time. 107 00:05:50.160 --> 00:05:53.560 The moment just as you are. You know, we're trying 108 00:05:53.600 --> 00:05:54.319 to live. 109 00:05:54.139 --> 00:05:57.970 In the moment here, which is a great prescription for life. 110 00:05:58.009 --> 00:05:59.829 You know, if you do live in the moment, you 111 00:05:59.870 --> 00:06:03.430 may never get... sad

about anything really. 112 00:06:03.189 --> 00:06:06.129 Isn't the art of listening what really is one of 113 00:06:06.170 --> 00:06:08.569 your greatest tools in the chess because I mean to 114 00:06:08.689 --> 00:06:10.810 improvise like that I mean you've really got to be 115 00:06:10.829 --> 00:06:13.439 tapped into each other's vibration. 116 00:06:13.180 --> 00:06:15.519 Yeah oh definitely I mean. 117 00:06:17.120 --> 00:06:21.839 We do have philosophical differences sometimes there was a piece 118 00:06:22.720 --> 00:06:26.519 where we discussed doing it together what it was was 119 00:06:26.779 --> 00:06:31.509 I worked out a very complicated arrangement of the music 120 00:06:31.589 --> 00:06:36.329 from Richard Wagner's The Flying Dutchman, The Overture, which you 121 00:06:36.389 --> 00:06:37.810 may know the main theme. 122 00:06:38.149 --> 00:06:39.009 That's how it starts. 123 00:06:39.829 --> 00:06:42.009 And then there's a lot of development in there now. 124 00:06:43.750 --> 00:06:47.910 I spent some time on the first recording day laying 125 00:06:47.970 --> 00:06:54.110 down my arrangement. And then I wanted Lucas to embellish this, 126 00:06:54.310 --> 00:06:55.250 you know, with percussion. 127 00:06:56.319 --> 00:06:58.540 But he was like, he just, he didn't really want 128 00:06:58.579 --> 00:06:59.379 to work it out. 129 00:06:59.540 --> 00:07:02.279 And he was like, I think I'm just going to 130 00:07:02.319 --> 00:07:05.160 play it as if I was like a total primitive 131 00:07:06.060 --> 00:07:10.120 coming across this in a forest, you know, in the primeval. 132 00:07:11.600 --> 00:07:18.019 Era of the world. Actually, you know, like an aboriginal tribe. 133 00:07:19.050 --> 00:07:22.769 Where he might be just encountering a tape of this. 134 00:07:22.870 --> 00:07:23.519 I don't know how. 135 00:07:24.290 --> 00:07:28.709 So he was doing a lot of small percussion and triangles. 136 00:07:29.829 --> 00:07:31.360 And I thought it was a good idea, but I 137 00:07:31.399 --> 00:07:35.920 was like, listen, the problem is without footnotes explaining what 138 00:07:35.959 --> 00:07:39.199 it is you're trying to do, I'm not sure that 139 00:07:39.259 --> 00:07:42.180 the listener is going to really come away. 140 00:07:43.180 --> 00:07:45.040 With what we're trying to do. 141 00:07:46.769 --> 00:07:51.459 You, by playing in this sort of reactive mode with 142 00:07:51.480 --> 00:07:56.300 a few instruments, instead of doing full-on orchestral-type percussive embellishments, 143 00:07:57.220 --> 00:07:59.540 you know, this is a different thing altogether. 144 00:07:59.560 --> 00:08:02.509 They may not get it, and I'm not sure it 145 00:08:02.529 --> 00:08:03.930 comes off. I put it out. 146 00:08:03.949 --> 00:08:07.250 You can hear it on YouTube. It was one of 147 00:08:07.290 --> 00:08:10.250 my first digital-only releases. 148 00:08:11.399 --> 00:08:14.000 Well, you can definitely feel that when you're listening to 149 00:08:14.040 --> 00:08:16.480 it as well as watching it because the simplicity of 150 00:08:16.540 --> 00:08:19.509 your stage, I swear that when we're watching it, it 151 00:08:19.569 --> 00:08:23.629 puts us in a completely different mindset because of that simplicity. 152 00:08:24.009 --> 00:08:27.490 And that to me is exactly what free jazz is, 153 00:08:27.589 --> 00:08:29.949 is it not? It's the simplicity of it all. 154 00:08:30.680 --> 00:08:33.519 Well, maybe I was wrong to do that. 155 00:08:33.580 --> 00:08:36.980 No, I just thought from this thing because I'd invested 156 00:08:37.000 --> 00:08:40.500 a lot of time to make it sound orchestral. Yeah. 157 00:08:41.210 --> 00:08:42.629 The other thing, like going. 158 00:08:42.470 --> 00:08:45.850 Against it, just seemed to take it into a different sphere. 159 00:08:46.750 --> 00:08:50.809 And I wasn't sure that people would understand what it 160 00:08:50.909 --> 00:08:51.470 is we. 161 00:08:51.409 --> 00:08:52.700 Were trying to get across there. 162 00:08:52.720 --> 00:08:58.080 Lucas says I did, I think would work, again, if 163 00:08:58.139 --> 00:09:03.799 it was explained in advance. But obviously, people bring whatever... 164 00:09:04.600 --> 00:09:08.970 misconceptions or preconceptions that they have to our music and 165 00:09:08.990 --> 00:09:10.730 we sort of want to get have them get rid 166 00:09:10.769 --> 00:09:13.429 of that and and just take it all in with 167 00:09:13.470 --> 00:09:16.909 an open mind without footnotes you know so it's just 168 00:09:16.990 --> 00:09:20.129 washes over you as a musical experience. 169 00:09:19.870 --> 00:09:22.750 I was with some high school jazz performers this past 170 00:09:22.830 --> 00:09:24.470 weekend and dude i'm going to tell you we were 171 00:09:24.509 --> 00:09:27.450 talking about you i hope your ears were burning And 172 00:09:27.590 --> 00:09:30.289 one of the greatest things that these high school jazz 173 00:09:30.330 --> 00:09:33.909 musicians brought up was, is that you really do feel 174 00:09:33.929 --> 00:09:36.750 like we're in a moment of now while listening to 175 00:09:36.809 --> 00:09:40.350 your music. It's very spontaneous. And they were so charged 176 00:09:40.450 --> 00:09:42.690 up by your moment of now. 177 00:09:43.730 --> 00:09:48.259 Cool. Yeah, you know, I don't know. I think that's great. 178 00:09:48.440 --> 00:09:50.200 You know, that encourages me. 179 00:09:51.419 --> 00:09:54.960 Because sometimes, if I haven't played publicly for a while, 180 00:09:54.980 --> 00:09:59.289 I mean, I just had... Really a great gig at 181 00:09:59.350 --> 00:10:03.980 the bitter end. which is this legendary club in New York. Everybody, 182 00:10:04.360 --> 00:10:05.779 Dylan has played there. 183 00:10:06.620 --> 00:10:08.059 They go way back, Neil. 184 00:10:07.820 --> 00:10:10.440 Young, and the people passing through New York, it was 185 00:10:10.500 --> 00:10:14.240 a landmark folk club. That's sort of how

it started, 186 00:10:14.340 --> 00:10:18.009 but it's still going, and they have an open... Music policy, 187 00:10:18.070 --> 00:10:23.049 somehow we got on there. Well, there's less places to 188 00:10:23.070 --> 00:10:24.940 play in here, but I'm so glad we did because, A, 189 00:10:25.450 --> 00:10:29.600 it's still a beautiful space, really great PA, and people 190 00:10:29.629 --> 00:10:31.840 can hear everything, and the sight lines are beautiful. 191 00:10:32.980 --> 00:10:35.820 So I was nervous a little bit. 192 00:10:35.879 --> 00:10:39.139 I don't usually get nervous having done this for so 193 00:10:39.159 --> 00:10:42.639 many years, but because I'd been off for a few 194 00:10:42.679 --> 00:10:47.110 months and hadn't really done much playing before, either at 195 00:10:47.169 --> 00:10:48.950 home or gigging. 196 00:10:48.960 --> 00:10:51.539 You know, I was just like, I wonder how this 197 00:10:51.620 --> 00:10:55.059 is going to go. And I did some kind of 198 00:10:55.120 --> 00:10:59.679 word chatting to get prepared for it, but not a lot. 199 00:10:59.860 --> 00:11:05.049 And yeah, you know, I was just a bit, once 200 00:11:05.090 --> 00:11:06.250 I got on stage though. 201 00:11:07.190 --> 00:11:07.649 Oh yeah. 202 00:11:07.750 --> 00:11:08.789 And started to play. 203 00:11:08.830 --> 00:11:13.000 I just like the unconscious mind took over and, And 204 00:11:13.039 --> 00:11:16.419 it was all there. And I really just relaxed right away. 205 00:11:16.700 --> 00:11:20.720 First of all, in that project, I have like another 206 00:11:21.610 --> 00:11:28.090 fabulous couple of guys playing with me. I have Calvin 207 00:11:28.110 --> 00:11:31.769 Weston on drums, who's one of the best drummers in 208 00:11:31.809 --> 00:11:36.070 the world. Played with Ornette Coleman and James Bloodalmer and 209 00:11:36.110 --> 00:11:40.700 Lounge Lizards. And Ernie Brooks from the Modern Lovers and 210 00:11:40.820 --> 00:11:45.129 Arthur Russell. on bass, who I've worked with for many years. 211 00:11:46.269 --> 00:11:50.649 So I had a lot of support, and it gave me, 212 00:11:50.669 --> 00:11:56.580 it liberated me, so I was playing very fluidly. And so, yeah, 213 00:11:56.659 --> 00:12:01.879 I mean, I'm glad that your jazz friends, like, picked. 214 00:12:01.740 --> 00:12:02.799 Up on that, because, I. 215 00:12:04.279 --> 00:12:09.919 Don't know, sometimes the more, like, intellection I put on something, 216 00:12:11.000 --> 00:12:14.620 it inhibits the flow. Yep. If I can like really 217 00:12:14.679 --> 00:12:18.659 sort of like just relax enough, like the beetle said, 218 00:12:18.700 --> 00:12:22.370 you know, turn off your mind, relax and float downstream. 219 00:12:23.590 --> 00:12:26.649 I can channel all sorts of things. This energy comes 220 00:12:26.730 --> 00:12:30.190 through me, you know, from where I do not know, 221 00:12:30.210 --> 00:12:34.730 I guess maybe internally or, you know, I'm not, really 222 00:12:34.750 --> 00:12:37.909 orthodox or religious in any sense of the word, but 223 00:12:37.950 --> 00:12:41.019 maybe it could be from some higher power in the 224 00:12:41.080 --> 00:12:44.620 universe or a vibe in the universe. I'm a, you know, 225 00:12:44.639 --> 00:12:50.980 definitely a believer, but I wouldn't force my views on anybody. 226 00:12:51.000 --> 00:12:52.019 But anyway, I don't know. 227 00:12:52.340 --> 00:12:54.799 Yeah, wow. But I'm glad I can still do it, 228 00:12:54.840 --> 00:12:57.759 you know, because the trick when I was younger was like, 229 00:12:57.799 --> 00:13:01.120 I want to be able to do this when, you know, 230 00:13:01.440 --> 00:13:04.909 I'm at a ripe old age where most Other people like, 231 00:13:04.970 --> 00:13:07.009 you know, retire from their professions. 232 00:13:07.090 --> 00:13:09.090 I want to be able to keep doing this. Absolutely. 233 00:13:09.730 --> 00:13:13.350 Forever, you know, at least until I drop, hopefully playing 234 00:13:13.409 --> 00:13:14.750 on a stage somewhere. 235 00:13:15.610 --> 00:13:17.950 Please do not move. We're just getting started with Gary 236 00:13:17.990 --> 00:13:23.899 Lucas from Lucas and Lucas. The name of the album, 237 00:13:24.320 --> 00:13:27.720 Omni Directional. We are back with Gary Lucas from Lucas 238 00:13:27.860 --> 00:13:30.149 and Lucas. I got to tell you about that album 239 00:13:30.210 --> 00:13:32.820 cover because to me, it's got that classic kind of 240 00:13:33.039 --> 00:13:35.240 vibe about it that we've had as we've grown up 241 00:13:35.279 --> 00:13:36.860 through the years of the 60s all the way up 242 00:13:36.879 --> 00:13:38.820 to the present. And the thing that I picked up 243 00:13:38.919 --> 00:13:42.009 on that album cover, there's vibration to it. I mean, 244 00:13:42.509 --> 00:13:45.809 it's almost like it's like a little thing of water 245 00:13:45.909 --> 00:13:48.110 and I can feel the vibrations of your music and 246 00:13:48.149 --> 00:13:51.149 that's shaking that album. And that's what my imagination picked 247 00:13:51.240 --> 00:13:51.539 up on. 248 00:13:52.340 --> 00:13:54.700 We're talking about omnidirectional. Yeah, that's it. 249 00:13:54.779 --> 00:13:55.480 Omnidirectional. 250 00:13:55.519 --> 00:13:55.879 Yes, sir. 251 00:13:55.990 --> 00:13:56.279 Yeah. 252 00:13:56.570 --> 00:14:00.009 Well, that is my friend Steve Byram, who I worked 253 00:14:00.070 --> 00:14:01.889 with years ago. I had a day job. 254 00:14:01.909 --> 00:14:06.600 This is like an episode I don't talk about that much. 255 00:14:06.700 --> 00:14:10.179 But to make a living in New York City, I 256 00:14:10.279 --> 00:14:15.759 toiled in the vineyards of CBS Records for a few 257 00:14:15.820 --> 00:14:22.450 years there. writing really dumb advertising slogans and creating stuff 258 00:14:22.470 --> 00:14:26.789 with art directors and radio producers, TV producers. And I 259 00:14:26.830 --> 00:14:28.870 had a partner, Steve Byron, who's one of the

most 260 00:14:28.929 --> 00:14:33.889 talented artists I know as a graphic designer and just 261 00:14:33.929 --> 00:14:38.879 a great conceptual artist. And he's got a deft touch 262 00:14:39.019 --> 00:14:43.600 with everything. You know, he touches super artistic. So we 263 00:14:43.679 --> 00:14:47.629 gave him the record and it just engaged him Like, 264 00:14:47.649 --> 00:14:51.870 what do you, you know, go do your thing, man. 265 00:14:52.620 --> 00:14:56.059 Just present us something that the music inspired. So he 266 00:14:56.100 --> 00:14:58.360 came up with a couple of options, and we loved 267 00:14:58.399 --> 00:15:02.440 this one the best. And I think you're right. It definitely, 268 00:15:02.639 --> 00:15:06.620 it shows a pulsing energy is what I get, you know, 269 00:15:06.639 --> 00:15:10.980 when I look at it. It's a weird matrix of 270 00:15:11.080 --> 00:15:12.570 color and dots and colors. 271 00:15:13.220 --> 00:15:14.519 Yeah, it was great. 272 00:15:15.399 --> 00:15:18.419 Well, I love the idea that you guys don't do overdubbing. 273 00:15:18.559 --> 00:15:21.360 It's not pre-written hooks because I've been in the studio. 274 00:15:21.440 --> 00:15:22.899 I know what it's like to go in there to 275 00:15:22.990 --> 00:15:24.669 punch at it and I just feel like that that 276 00:15:24.710 --> 00:15:27.350 takes away from the emotion and that in a very 277 00:15:27.450 --> 00:15:29.809 invisible way, I think that listeners can pick up on 278 00:15:29.850 --> 00:15:31.850 that when you start doing the punch editing and things. 279 00:15:32.129 --> 00:15:35.070 But I love the idea that you guys put concentration 280 00:15:35.129 --> 00:15:38.980 on not doing overdubs. That it is your moment. 281 00:15:39.740 --> 00:15:39.980 Right. 282 00:15:40.860 --> 00:15:44.340 Well, and since the fact is The two of us 283 00:15:45.100 --> 00:15:48.789 having played as long as we have, and I have 284 00:15:48.950 --> 00:15:55.429 kind of an expanded tonal palette with several little boxes there, little. 285 00:15:55.250 --> 00:15:57.470 Effects, so I can do soundscape stuff. 286 00:15:58.389 --> 00:16:02.350 It makes for a very dense sound field when we're 287 00:16:02.389 --> 00:16:03.190 at full throttle. 288 00:16:03.389 --> 00:16:05.309 You know what I mean? I can get. 289 00:16:05.210 --> 00:16:09.100 Loops going and loops within loops and then jam on 290 00:16:09.139 --> 00:16:14.600 top of that ideas and other you know melodic lines 291 00:16:14.679 --> 00:16:17.919 and information that comes to me and Lucas can really 292 00:16:19.000 --> 00:16:24.049 go from like a you know the very tintinabulation of 293 00:16:25.090 --> 00:16:29.289 small percussion triangles and whatnot he has quite the arsenal 294 00:16:29.909 --> 00:16:34.600 of small percussion instruments too like thunderous drums and you 295 00:16:34.740 --> 00:16:37.500 know if the idea too is like really to do 296 00:16:38.539 --> 00:16:42.899 very dynamic playing. I think this is something that us 297 00:16:42.980 --> 00:16:46.000 rock and rollers, I, I don't count myself in that, 298 00:16:46.480 --> 00:16:51.200 that number sometimes forget, which is like dynamics. 299 00:16:50.700 --> 00:16:54.809 Are like really key to musical expression. 300 00:16:55.909 --> 00:16:58.450 And, uh, the tendency anyway in rock is to play 301 00:16:58.509 --> 00:17:02.590 full out, you know, bank up to 11, but it 302 00:17:02.629 --> 00:17:05.250 can be really, you know, it's like not only tedious, 303 00:17:05.990 --> 00:17:10.559 I think to listeners ears after a while, it's injurious. 304 00:17:11.319 --> 00:17:13.900 Going from a whisper to a scream kind of idea. 305 00:17:14.079 --> 00:17:14.599 Heck yeah. 306 00:17:15.160 --> 00:17:16.619 I would love to hear if you guys are going 307 00:17:16.640 --> 00:17:19.339 to work up with the people that do these VR goggles, 308 00:17:19.400 --> 00:17:20.940 because I would love to slip on a pair of 309 00:17:20.980 --> 00:17:23.769 those goggles and either walk through a museum with your 310 00:17:23.789 --> 00:17:27.569 music playing or to just experience it somehow, some way, 311 00:17:27.609 --> 00:17:31.390 because if I can visually really bring it in through 312 00:17:31.410 --> 00:17:33.990 those goggles, my God, I mean, you guys are there 313 00:17:34.309 --> 00:17:35.690 with every bit of that. 314 00:17:37.309 --> 00:17:40.549 Hey, that's a great idea. I got to talk to 315 00:17:40.589 --> 00:17:42.809 Lucas about that. I wonder how you can bring that 316 00:17:42.849 --> 00:17:43.650 to the masses. 317 00:17:44.589 --> 00:17:46.990 Well, I got to get a pair of those, too. 318 00:17:47.029 --> 00:17:50.349 You know, I don't think I've ever really done much 319 00:17:50.390 --> 00:17:51.750 in the way of checking them out. 320 00:17:52.170 --> 00:17:54.269 Well, I mean, we're talking about the goggles that have 321 00:17:54.309 --> 00:17:55.190 like presets. 322 00:17:55.250 --> 00:17:59.029 So they take you into different universes. 323 00:17:59.150 --> 00:17:59.630 And yeah. 324 00:17:59.910 --> 00:18:03.029 Yeah. Because, I mean, Charlotte has had so many of 325 00:18:03.089 --> 00:18:06.009 those different museum pieces right now. And the latest one 326 00:18:06.069 --> 00:18:10.009 is the Titanic. And you're experiencing it. And so after 327 00:18:10.049 --> 00:18:11.869 going through that and then I'm listening to your music, 328 00:18:11.930 --> 00:18:15.450 I'm going, my God, I want to do a VR 329 00:18:15.490 --> 00:18:19.039 experience with this music because it's really getting into my 330 00:18:19.099 --> 00:18:20.160 entire system here. 331 00:18:22.160 --> 00:18:25.259 Well, hey, you know, let's figure out a way to 332 00:18:25.299 --> 00:18:27.359 get that to the masses. I don't know. 333 00:18:27.400 --> 00:18:30.339 We have to hook up with the manufacturer and have 334 00:18:30.380 --> 00:18:33.289 like a preset system. So it's like you have the 335

00:18:33.430 --> 00:18:34.950 option to go to our track. 336 00:18:35.250 --> 00:18:35.730 Oh, that's true. 337 00:18:35.750 --> 00:18:38.450 Or make your own track. Yeah. Yeah. I don't know 338 00:18:38.490 --> 00:18:40.490 what people do. I mean, like, I have no experience 339 00:18:40.619 --> 00:18:41.460 using that stuff. 340 00:18:41.500 --> 00:18:46.940 I'm still, you know, my main visual excitement comes from 341 00:18:46.980 --> 00:18:51.579 going out to films. Oh. Actually going to theaters, which 342 00:18:51.599 --> 00:18:55.980 I've been doing for years and years. Going back to 343 00:18:56.410 --> 00:18:59.539 as a little boy, you know, I went to, Quite 344 00:18:59.559 --> 00:19:03.279 a few horror films, I was a big buff before 345 00:19:03.299 --> 00:19:06.900 I could even write my name in the early 60s 346 00:19:06.960 --> 00:19:10.519 and whatnot. And now I have a steady diet of 347 00:19:10.539 --> 00:19:16.029 film going. There's so many art cinemas in my neighborhood 348 00:19:16.069 --> 00:19:16.809 or around here. 349 00:19:16.730 --> 00:19:17.549 In the West Village. 350 00:19:19.329 --> 00:19:23.230 So it's easy for me to walk and then hunker down. 351 00:19:24.269 --> 00:19:28.319 Certainly during the week, it's great because nobody... Everybody else 352 00:19:28.660 --> 00:19:30.500 pretty much is in the workaday world. 353 00:19:30.559 --> 00:19:31.420 That's it. 354 00:19:31.460 --> 00:19:36.809 As a freelance musician, I can take the downtime afforded 355 00:19:36.869 --> 00:19:42.210 to me by having an irregular schedule of work to 356 00:19:42.549 --> 00:19:47.400 take advantage of situations like an empty movie theater. is 357 00:19:47.799 --> 00:19:51.720 delightful to me. There is something though, seeing a movie 358 00:19:51.759 --> 00:19:55.279 in a crowd, you feel like a collective spirit. Everybody's 359 00:19:56.519 --> 00:20:00.640 either awed by what they're seeing or mocking it. But 360 00:20:00.660 --> 00:20:03.170 it can be fun when you're sitting in that crowd. 361 00:20:03.910 --> 00:20:06.910 Where can people go to find out more about what 362 00:20:06.950 --> 00:20:08.990 you guys are up to? Because I want them to 363 00:20:09.049 --> 00:20:11.509 discover everything that you're bringing forward. 364 00:20:11.829 --> 00:20:13.589 My website's pretty simple. 365 00:20:13.730 --> 00:20:16.609 It's GaryLucas.com. 366 00:20:16.839 --> 00:20:21.240 One word, Gary Lucas. Then a lot of stuff, me live, basically. 367 00:20:21.980 --> 00:20:26.519 But some of my film scores, excerpts. And my website 368 00:20:26.640 --> 00:20:32.160 is loaded with information and archival stuff of excerpts of 369 00:20:32.279 --> 00:20:38.970 music I've done. SoundCloud, I've got a multitude of rare tracks. 370 00:20:39.869 --> 00:20:42.809 Some have been on albums, but mainly they haven't been. 371 00:20:43.970 --> 00:20:48.450 Some experimental work and some of my favorite work over 372 00:20:48.509 --> 00:20:52.339 the years that I thought didn't get proper attention when 373 00:20:52.839 --> 00:20:55.490 I put it out on CD. You know, I would 374 00:20:55.539 --> 00:20:58.819 put it up again on SoundCloud. A lot of, there's 375 00:20:58.839 --> 00:21:01.900 just a mixed, I mean, somebody wrote up that whole 376 00:21:02.759 --> 00:21:06.519 Website experience a couple of years ago and said, like, 377 00:21:06.660 --> 00:21:09.420 we can just live in Gary's club. 378 00:21:09.460 --> 00:21:09.720 True. 379 00:21:09.859 --> 00:21:12.599 I could I could see that. I could see that. Well, dude, 380 00:21:12.619 --> 00:21:14.059 you're going to have to come back to this show 381 00:21:14.180 --> 00:21:15.140 any time in the future. 382 00:21:15.220 --> 00:21:15.519 Yeah. 383 00:21:15.559 --> 00:21:17.240 If you guys are out on the road, man, you've 384 00:21:17.259 --> 00:21:19.460 got to come in and we've got to do a face-to-face, dude. 385 00:21:19.920 --> 00:21:22.990 We'd love that, man. Now, where are you broadcasting from? 386 00:21:23.029 --> 00:21:26.509 I'm down here in Charlotte, North Carolina. Oh, yeah, man. 387 00:21:26.869 --> 00:21:27.809 I'd love to come there. 388 00:21:28.069 --> 00:21:31.930 If you could invite me and have it coincide with 389 00:21:31.990 --> 00:21:33.019 a gig locally. 390 00:21:33.359 --> 00:21:34.819 Absolutely. That would be awesome. 391 00:21:35.059 --> 00:21:37.099 I've not played there and I would really, I think, 392 00:21:37.900 --> 00:21:40.920 you know, in general, I'd love to go down south. 393 00:21:42.109 --> 00:21:43.069 For any excuse. 394 00:21:43.170 --> 00:21:45.329 I mean, we did the Big Years. 395 00:21:45.109 --> 00:21:47.049 Festival in Knoxville. Yes. 396 00:21:47.769 --> 00:21:50.309 That was amazing with Gods and Monsters and people were 397 00:21:50.329 --> 00:21:51.009 coming up saying. 398 00:21:51.049 --> 00:21:53.430 That was the best we saw at the whole festival. 399 00:21:54.529 --> 00:21:58.059 So that felt good and we were, you know, I 400 00:21:58.119 --> 00:22:01.839 love to play in the southern region and I don't 401 00:22:01.880 --> 00:22:04.859 have like a reliable booking agent. If you know anybody 402 00:22:05.619 --> 00:22:08.799 who would like to book any of these things, I 403 00:22:09.000 --> 00:22:10.880 think with Lucas would be great. 404 00:22:11.630 --> 00:22:14.809 But he's situated in Belgium for a lot of time. 405 00:22:14.829 --> 00:22:21.599 He's a world traveler, but he's teaching at Russell's Music Conservatorium. Now, 406 00:22:22.380 --> 00:22:26.359 he teaches composition. He's quite a good composer, as well 407 00:22:26.460 --> 00:22:33.829 as being an excellent percussionist. So it's hard to schedule 408 00:22:33.869 --> 00:22:36.630 concerts with him. I'm not sure when we're going to 409 00:22:36.650 --> 00:22:39.910 play next, when he's going to be in town. Gods 410 00:22:39.930 --> 00:22:43.900 and Monsters, though, is based in New York and Philadelphia. 411 00:22:44.079 --> 00:22:47.190 Calvin is from Philly. So it's a lot easier. And 412 00:22:47.210 --> 00:22:49.910 then me solo is the easiest of all. It's like 413 00:22:50.069 --> 00:22:51.390 have guitar, will travel. 414 00:22:51.410 --> 00:22:52.430 That's right. 415 00:22:53.049 --> 00:22:56.049 I mean, it's like I can do solo acoustic is 416 00:22:56.130 --> 00:22:57.509 the easiest, easiest. 417 00:22:58.890 --> 00:23:02.529 But a lot of people like the effects. That's it. Yeah. 418 00:23:02.990 --> 00:23:06.670 So if you can come up with some names of 419 00:23:07.029 --> 00:23:10.109 possible clubs or booking agencies or venues. 420 00:23:11.049 --> 00:23:11.549 to let me. 421 00:23:11.490 --> 00:23:14.450 Know absolutely well please come back to this show anytime 422 00:23:14.490 --> 00:23:16.650 in the future the door is always going to be 423 00:23:16.730 --> 00:23:17.450 open for you I'd. 424 00:23:17.369 --> 00:23:20.619 Love to that's great man I appreciate. 425 00:23:20.059 --> 00:23:22.220 That you be brilliant today okay sir 426 00:23:23.240 --> 00:23:24.180 Oh thank you you too