Full Transcript for Simon Oslender: On A Roll

a different game. 00:02:24.560 --> 00:02:37.439 It's I mean you of course you'll find good coffee in every city uh or every bigger city in Germany, but uh the standard in general is not nearly as as good as it is in in Italy, for example. 00:02:37.680 --> 00:02:42.000 So uh Italian espresso, I think, is would be my preference. 00:02:42.319 --> 00:02:46.639 I've never been to Italy, but all my good friends that have been there say the same thing. 00:02:46.800 --> 00:02:55.199 They say because the water is so clean and tasty, and Tony Levin said by far espresso in Italy. 00:02:55.280 --> 00:02:56.159 There's no better way to go. 00:02:56.400 --> 00:03:09.280 It's true, and it's it's literally when you as soon as you cross the border from from any other country, across the border, you can just take the first exit and just uh have an an espresso at the first gas station, and it's gonna blow your mind. 00:03:09.680 --> 00:03:11.439 I can't I can't wait to try that. 00:03:11.759 --> 00:03:12.800 One year old. 00:03:12.960 --> 00:03:14.960 It's it's wonderful, it really is. 00:03:16.400 --> 00:03:30.000 All right, before we get deep into your music, if it's okay with you, I'd like to go way, way back in time to when you were a little boy, and I would like to know what is your first creative memory? 00:03:30.159 --> 00:03:33.599 It doesn't have to be piano or playing music. 00:03:33.759 --> 00:03:41.360 When is the first time that you had an idea in your head, executed it, brought it to the physical realm, and said, Whoa, where did that come from? 00:03:41.759 --> 00:03:42.960 Very, very good question. 00:03:43.199 --> 00:03:44.000 Let me see. 00:03:44.159 --> 00:03:56.000 I think the first thing that I can really picture in in my head is uh a situation where I was visiting my dad during a sound check that he he did for a concert because he he plays the drums. 00:03:56.159 --> 00:03:56.400 Wow. 00:03:56.639 --> 00:04:00.400 And he always had a couple bands that he would play with every once in a while. 00:04:00.639 --> 00:04:05.199 And I was I must have been around probably two years old, I think. 00:04:05.360 --> 00:04:16.240 And uh he would let me sit behind the the drum kit when sound check was over, and uh my legs couldn't reach the pedals, but I can still see that you know, see that view from behind the kit. 00:04:16.720 --> 00:04:29.199 And uh that was such a fascinating experience to me, and especially the sound of the bass drum, even though I couldn't really reach it, he would you know take me down from the yeah from the drum throne and and and let me play the the kick drum pedal. 00:04:29.360 --> 00:04:35.920 And that round, warm sound of the of the kick drum, that really inspired me to do something. 00:04:36.000 --> 00:04:42.240 And then what followed was that that I wanted a bass drum for Christmas and I wouldn't stop talking about it. 00:04:42.480 --> 00:04:43.759 You just want the bass drum. 00:04:44.000 --> 00:04:44.720 Yeah, exactly. 00:04:44.800 --> 00:04:48.240 I wasn't I was not yet interested in any of the other parts of the kit. 00:04:48.319 --> 00:04:50.639 But yeah, the bass drum was it. 00:04:50.800 --> 00:05:05.519 And um that's the first first time uh the first memory I have of actually making a sound with a musical instrument, and that was really addictive to me at it you know already at that point, and that's that's pretty much where where it started. 00:05:05.680 --> 00:05:05.920 Yeah. 00:05:06.240 --> 00:05:07.040 That's interesting. 00:05:07.199 --> 00:05:28.000 I'm a drummer and I also do private drum lessons, and I love when I start teaching like a four or five-year-old, and the same thing, they can't reach the pedals, so we have to get them one of those really little tiny kits, but of course, you know, the hardware is mostly awful, and uh but they've got to do that for a few years until they can reach the pedals. 00:05:28.079 --> 00:05:33.199 And I also use Cajone a lot with kids, but I had the company can do that. 00:05:33.360 --> 00:05:38.560 I endorse make a kid's one because same thing, their feet can't reach the ground. 00:05:40.160 --> 00:05:40.959 That's right. 00:05:43.680 --> 00:05:46.240 Were your parents creative when you were growing up? 00:05:46.399 --> 00:05:51.839 And do you think their creative identity was passed on to you at all genetically? 00:05:52.319 --> 00:05:53.600 I think so, yes. 00:05:53.759 --> 00:06:00.720 Uh my parents, there was always music around, whether they were just playing a record or or making music themselves. 00:06:00.879 --> 00:06:09.759 Uh, my mom played uh well, she still plays every once in a while, but she especially played in high in a high school band, uh played guitar and bass. 00:06:10.480 --> 00:06:18.879 And um my dad, as I said, is uh is a drummer and he plays a little bit of guitar as well, a little bit of keys, and he he's got great ears. 00:06:18.959 --> 00:06:22.480 You know, he can he can sing and play anything he he hears. 00:06:22.879 --> 00:06:25.680 So just a very very musical guy. 00:06:26.000 --> 00:06:32.800 And then my um my grandfather on my dad's side um was also extremely musical. 00:06:32.879 --> 00:06:40.480 He played accordion and he was in a in a choir and he was all he had the same ears pretty much, and he would improvise and and all of that. 00:06:40.639 --> 00:06:48.000 So I think there's there there's been quite some influence from the from the family, genetically, I I guess so. 00:06:48.399 --> 00:06:52.480 And uh yeah, my parents would always surround me with music. 00:06:52.560 --> 00:06:54.160 There was always music in the house. 00:06:54.399 --> 00:06:57.279 My mom would sing to me, dad would play the guitar. 00:06:57.519 --> 00:06:57.839 Yeah. 00:06:58.000 --> 00:07:01.360 So we we would all we would make music together a lot of the time. 00:07:01.759 --> 00:07:02.480 Oh, that's beautiful. 00:07:03.360 --> 00:07:03.759 Yeah. 00:07:04.160 --> 00:07:04.879 Family dance.

00:07:05.199 --> 00:07:06.480 Uh yeah, absolutely. 00:07:06.800 --> 00:07:07.120 Yeah. 00:07:07.279 --> 00:07:09.040 And we we we still play together every week. 00:07:09.360 --> 00:07:10.319 That's what's my next question. 00:07:10.480 --> 00:07:12.480 Yeah, do you guys still get together and jam? 00:07:12.639 --> 00:07:14.800 What type of music do you like to play together? 00:07:15.120 --> 00:07:21.519 Well, mostly the stuff that I grew up listening to that my my dad was always in love with, which is mostly blues music, yeah. 00:07:21.680 --> 00:07:28.800 Uh, but also, you know, a really really broad cross-section of the the best music of the last couple decades. 00:07:28.879 --> 00:07:32.160 He had always had a great collection, and uh I grew up with that. 00:07:32.319 --> 00:07:45.120 So from whether it be Beatles or uh jazz records from the 40s and 50s or uh Deep Purple or whatever, just you know, great stuff, all kinds of things. 00:07:45.199 --> 00:07:50.240 And so I grew up with a very broad, yeah, musical collection that was there. 00:07:50.560 --> 00:07:52.639 Now I know you're a fan of Eric Clapton. 00:07:52.720 --> 00:07:55.279 What type of blues does your family like to play? 00:07:55.439 --> 00:07:56.319 From what era? 00:07:57.120 --> 00:08:08.959 Well, my dad uh loves England and he he lived in England for a while, so what he had in his collection was mostly British blues at at that time when I was growing up, so it was a lot of Clapton. 00:08:09.199 --> 00:08:13.040 First record that made me fall in love with the Hammond organ was the John Mayle record. 00:08:13.120 --> 00:08:17.519 Ooh, wow, live live DvB, which also had Clapton as a special guest. 00:08:17.600 --> 00:08:18.639 That was beautiful. 00:08:18.959 --> 00:08:29.600 But then there were also BB King records from the 50s and 60s, and I mean that's just that's you know, doesn't get much better than that for me. 00:08:30.240 --> 00:08:31.199 Can't go wrong with that. 00:08:32.000 --> 00:08:37.679 It wouldn't tell a whole the story of a whole book with just one note, but yeah, unbelievable. 00:08:38.240 --> 00:08:40.639 So yeah, that would have been pretty much that. 00:08:41.039 --> 00:08:47.679 Well, that's that's interesting because we'll get into this later, but one thing I love about your music is you leave so much space. 00:08:48.240 --> 00:08:53.840 I feel like a lot of your songs, especially the first two albums, you're not afraid to not play. 00:08:54.000 --> 00:09:02.639 You're gonna leave some space, and you can be subtle, but you can also play fancy stuff, but you really know how to read the room musically. 00:09:03.120 --> 00:09:03.519 Thank you. 00:09:03.679 --> 00:09:05.360 I appreciate it very much. 00:09:05.759 --> 00:09:15.919 The way I see it is always that playing together is always like a conversation, and it would be so annoying if one person would just keep talking all the time, you know? 00:09:16.960 --> 00:09:20.240 So I try to avoid that at at all costs. 00:09:20.799 --> 00:09:21.679 Very wise. 00:09:21.840 --> 00:09:22.799 Very wise. 00:09:23.279 --> 00:09:25.519 I'm uh I'm a high school music teacher. 00:09:25.759 --> 00:09:34.240 One thing I always teach the kids is when someone's trying to figure out a song, don't make sure no one else is playing at the same time. 00:09:34.399 --> 00:09:37.519 Like people that fiddle around when we're trying to get the song ready. 00:09:37.600 --> 00:09:40.080 I was like, yeah, you're gonna get fired. 00:09:40.879 --> 00:09:41.519 Yeah. 00:09:45.759 --> 00:09:47.919 So here's a very serious question. 00:09:48.159 --> 00:09:56.639 Do you think creativity could be implemented in curing people or helping people with mental health struggles such as depression, anxiety? 00:09:56.879 --> 00:09:59.519 Any insight with yourself or with others? 00:10:00.000 --> 00:10:00.720 Uh definitely. 00:10:01.120 --> 00:10:01.759 Absolutely. 00:10:01.919 --> 00:10:03.519 I I think it's uh yeah. 00:10:03.840 --> 00:10:05.919 I mean, Steve Gatt talks about it all the time. 00:10:06.080 --> 00:10:07.759 Music is is uh healing. 00:10:08.240 --> 00:10:26.799 And uh I I I see it the same way, and I also have a lot of experience with it myself because I have a lot of anxiety and um I struggle with with uh you know always you know never never thinking I'm good enough and and all of that stuff. 00:10:27.120 --> 00:10:31.519 And uh it's it's been getting better, but it's still you know, it's still a thing. 00:10:32.000 --> 00:10:44.000 And um music has always been there to help me, and it's it's really carried me through so many tough times and uh and so many problems uh that I had. 00:10:44.080 --> 00:10:45.360 It's it's unbelievable. 00:10:45.440 --> 00:10:52.480 So definitely, and I think it should be explored a lot more to to use music in in in that context. 00:10:55.919 --> 00:10:59.039 Well, I'd like to go through your four albums. 00:10:59.279 --> 00:11:01.519 I've been listening to them a lot lately. 00:11:01.679 --> 00:11:10.720 I I'm very familiar with the ones with Steve and Will, but I'd like to go back and tell everybody that although you're doing this and touring that now, your first two albums are really amazing. 00:11:10.960 --> 00:11:17.519 The first thing I want to ask you is the sound quality of all four of your albums is very consistent and beautiful and lush. 00:11:17.679 --> 00:11:19.279 What do you attribute that to? 00:11:19.360 --> 00:11:20.399 Is that what you're looking for? 00:11:20.559 --> 00:11:21.759 Do you have a good producer? 00:11:21.919 --> 00:11:24.879 What helps make the sound so amazing? 00:11:25.200 --> 00:11:28.159 It was it's always a uh a team effort. 00:11:28.399 --> 00:11:29.039 Definitely. 00:11:29.279 --> 00:11:36.960 On the first three albums, we we recorded them at uh Hanza House Studios that's in in Bonn, that's a city close to Cologne over here. 00:11:37.120 --> 00:11:41.840 And it that's a legendary studio that many, many great

records made there. 00:11:42.000 --> 00:11:47.519 A lot of Maccio Parker records, a couple of Jill Zavano records, wow, and and a lot more. 00:11:47.679 --> 00:11:53.440 And it's a beautiful old school studio, great sounding rooms, and uh a beautiful SSL desk. 00:11:53.519 --> 00:12:01.279 And then what makes it sound uh great, uh what's the biggest factor is the guy that that's there that used to own the studio. 00:12:01.360 --> 00:12:02.960 Now he he sold it, but he still works there. 00:12:03.120 --> 00:12:07.840 Kalowski Inwit, he's the the engineer that recorded and mixed those uh three albums. 00:12:08.000 --> 00:12:08.240 Wow. 00:12:08.399 --> 00:12:09.039 The first three. 00:12:09.200 --> 00:12:10.879 And he is just a genius. 00:12:11.039 --> 00:12:17.600 He's uh I always kind of view him as the the German version of somebody like Al Schmidt. 00:12:17.679 --> 00:12:17.919 Yeah. 00:12:18.080 --> 00:12:26.559 As somebody who really really takes a lot of pride in capturing exactly, you know, the magical part of music making. 00:12:26.720 --> 00:12:32.879 And uh he always says he doesn't do anything, but uh that's you know I don't believe him. 00:12:33.840 --> 00:12:41.120 He knows exactly how to you know set up the mics and how to capture the make everybody sound the best they can. 00:12:41.519 --> 00:12:43.360 And um it's unbelievable. 00:12:43.519 --> 00:12:46.320 He's he's uh he's a treasure of a guy. 00:12:46.399 --> 00:12:50.879 And so the first three albums, that's definitely on him, the way that sounds. 00:12:50.960 --> 00:12:53.120 And it's a great vibe in that studio. 00:12:53.279 --> 00:12:55.039 We always feel at home there. 00:12:55.519 --> 00:12:58.559 A great, great uh grand piano that I really like. 00:12:58.720 --> 00:13:00.639 So that's it's wonderful. 00:13:00.879 --> 00:13:08.240 And then the fourth album is is a live record, and uh it was one of my first tries of actually mixing a record myself. 00:13:08.480 --> 00:13:14.799 In the end, I I'm happy how it turned out, but it took me a while to be two months to get it to a point where it sounded alright. 00:13:14.879 --> 00:13:16.960 But I I think it turned out okay. 00:13:17.200 --> 00:13:24.639 And uh since I'm um I love mixing and I love studio work, and and you know, I learned so much doing that. 00:13:24.879 --> 00:13:42.879 Um but then also we have a great crew on the road, great sound engineers, uh dear, dear friends of ours that you know have the same kind of approach, you know, to capture the music, so that really helps when you just open up your faders and the signals all sound good, and that's a that's a great start. 00:13:43.200 --> 00:13:44.159 That helps, yeah, yeah. 00:13:44.320 --> 00:13:48.799 Do you want to name drop any of those guys in your crew that make your life easier? 00:13:49.120 --> 00:13:49.759 Absolutely. 00:13:50.000 --> 00:13:54.000 Yes, uh let me talk about all of them because they're they're heroes. 00:13:54.159 --> 00:13:56.639 Without them, we would be nowhere, you know. 00:13:56.720 --> 00:13:56.879 Yeah. 00:13:57.039 --> 00:14:04.559 Uh we have a our uh technical director, pretty much, and our from the house engineer is Dominic Arnold, dear friend of mine. 00:14:04.639 --> 00:14:09.679 I met him through uh working with Wolfgang Hoffner, the wonderful drummer. 00:14:10.000 --> 00:14:13.200 And uh Jochen Etze is our monitoring engineer. 00:14:13.279 --> 00:14:22.240 He always makes sure everything sounds it's it really sounds like a studio on stage because he's so so dedicated and uh really takes care of us there. 00:14:22.399 --> 00:14:27.759 Then we have a wonderful guy who takes care of the drums for Steve and and all the back line and the instruments. 00:14:27.840 --> 00:14:30.639 Uh Benji Yol is his name, Benjamin. 00:14:30.799 --> 00:14:33.679 And our tour manager, York Tuska, he's the greatest. 00:14:33.759 --> 00:14:40.080 He always has I don't know how he keeps all that stuff in his head at all times, but he he's really good. 00:14:40.399 --> 00:14:48.559 And then our uh our producer or my producer, Joachim Bekka, who also owns the label that we uh released the stuff on, he's always on tour with us. 00:14:48.639 --> 00:14:59.120 He's a wonderful human being and and a great supporter of all of this, and you know, he he really it's it's a wonderful c collaboration doing this stuff with him. 00:14:59.279 --> 00:15:00.559 He's unbelievable. 00:15:00.799 --> 00:15:05.360 And then one more guy who's is responsible for all the great video stuff that's that's coming out. 00:15:05.600 --> 00:15:06.879 Yeah, that's amazing work. 00:15:06.960 --> 00:15:07.279 Yeah. 00:15:07.519 --> 00:15:08.000 Yeah. 00:15:08.240 --> 00:15:12.559 People always ask me, is that like a do you have a camera crew on the road with you? 00:15:12.720 --> 00:15:14.000 No, it's just one guy. 00:15:14.159 --> 00:15:17.360 And it's uh it's a wonderful, wonderful human being. 00:15:17.519 --> 00:15:29.519 Uh I met him I think around two two or three years ago through uh Thomas Stiger, uh, who's the bass player in in Wolfgang Hoffner's trio, and we play together a lot, dear friend also. 00:15:30.320 --> 00:15:37.840 And um he recommended me this this guy, Claudius, and he um he's just he's a genius. 00:15:38.320 --> 00:15:45.759 Absolutely, and uh the way he captures the vibe of that band and and what's going on on stage, it's it's so much fun. 00:15:45.919 --> 00:15:57.679 So it's you know, I always have to pinch myself again to be surrounded by by such great uh people, you know, human beings, and also just such geniuses at what they do. 00:15:57.919 --> 00:16:00.240 It's that makes everything really, really easy. 00:16:00.399 --> 00:16:02.720 So I'm very grateful for all of them. 00:16:02.960 --> 00:16:03.759 Thanks, guys. 00:16:04.159 --> 00:16:06.879 If you if you listen to this, I love you all. 00:16:07.200 --> 00:16:15.840 I thought I had seen all your stuff until this morning I woke up and on YouTube

the video popped up between two plants, and it's that's hilarious. 00:16:16.080 --> 00:16:26.080 Uh and I see what you you say about him capturing the vibe because I know Steve, yeah, I know Steve really well, and I know Will pretty well, and you definitely got you got it down. 00:16:26.480 --> 00:16:31.600 There's like this moment you can't tell if they're serious or sarcastic, and I love that. 00:16:32.080 --> 00:16:35.759 Yeah, it's wonderful, it's hilarious with these guys. 00:16:35.919 --> 00:16:41.200 You can only I mean you can imagine how it how it is on the bus when we have a long drive. 00:16:41.440 --> 00:16:42.080 Yeah. 00:16:42.559 --> 00:16:45.519 The jokes that keep on coming from from the back seat. 00:16:45.759 --> 00:16:47.600 It's really it's unbelievable. 00:16:47.840 --> 00:16:52.399 Wait, now you probably heard this on the Willie interview, but have you seen Steve juggle salt? 00:16:52.480 --> 00:16:54.000 That is one of his biggest dance. 00:16:54.720 --> 00:16:56.879 You gotta watch very closely, right? 00:16:57.440 --> 00:17:04.799 Oh man, he he did that on the on our first tour, and we were just on the ground on the floor laughing. 00:17:06.079 --> 00:17:08.799 His delivery is impeccable, yeah. 00:17:11.759 --> 00:17:13.359 Let's go to your first album. 00:17:13.519 --> 00:17:18.000 I was saying when I first called you this morning, lullaby for Tom. 00:17:18.079 --> 00:17:28.799 It's so spacious and beautiful, and I love that you're not only evoking moods, but you're taking your time, and it's just so emotional. 00:17:29.039 --> 00:17:30.319 I absolutely love it. 00:17:30.400 --> 00:17:36.799 And it's like I've listened to Steve Gad my whole life, and I've been lucky enough to watch him play up close. 00:17:37.039 --> 00:17:47.519 And of course, he can play rings around anybody if he wants to, but the thing that always gets the crowd is when he simplifies it, takes his time, and just it's like a vortex. 00:17:47.599 --> 00:17:55.119 He sucks everybody into it, and everybody just can't help but just start clapping and groove along with him. 00:17:55.279 --> 00:18:00.799 But I see this piece, lullaby for Tom, is just the same thing. 00:18:00.880 --> 00:18:12.319 It's to do something simple and pull it off and have the same strong emotions as a very powerful song while being subtle, I think is a challenging thing to do. 00:18:12.480 --> 00:18:16.240 Tell me a little bit about how you got that song together, where it came from. 00:18:16.559 --> 00:18:18.640 First of all, thank you for for the kind words. 00:18:18.799 --> 00:18:19.680 Appreciate that. 00:18:20.000 --> 00:18:29.279 It originated, you know, Tom used to be my uh my my like a cuddly toy, a stuffed animal, uh whatever you would call it when I was a kid. 00:18:29.359 --> 00:18:29.599 Yeah. 00:18:29.839 --> 00:18:36.640 So uh that was kind of you know, I didn't have anyone else to write a lullaby for, so I I wrote it for for that little guy. 00:18:36.799 --> 00:18:43.759 So it was already kind of an emotional thing, and uh try to remember when and where I wrote that. 00:18:44.079 --> 00:18:45.200 How old were you? 00:18:45.599 --> 00:18:51.680 It's it i I it wasn't much it wasn't long before the first record was recorded, maybe 2018. 00:18:51.920 --> 00:18:52.079 Yeah. 00:18:52.400 --> 00:18:53.920 Might have written it, you know. 00:18:54.160 --> 00:18:58.400 I think that was during the time where I was still uh living in the Netherlands. 00:18:58.559 --> 00:19:01.279 I was uh I studied music there in in Rotterdam. 00:19:01.519 --> 00:19:07.440 Yeah and I think I wrote it just you know, some some songs just write themselves. 00:19:07.599 --> 00:19:20.000 Some uh some you have to work on for three months before they're ready, but um this one was just uh I think it was a one-take playthrough of an idea that I had in my head, and uh it was just it just came out. 00:19:20.160 --> 00:19:24.960 Some it's uh I got lucky, you know, uh that that happened. 00:19:25.599 --> 00:19:29.119 And um yeah, I didn't even think about it. 00:23:29.680 --> 00:23:34.960 One of my favorite piano players is Mike Garson, who's most known for playing with David Bowie. 00:23:35.440 --> 00:23:43.359 And I got to meet him a couple times, and we got to discuss how he does live composing, which kind of blows my mind. 00:23:43.599 --> 00:23:46.720 And he's got one of those keyboards that writes it out while he's playing it. 00:23:46.960 --> 00:23:48.640 So do you do that sometimes? 00:23:48.880 --> 00:23:54.480 Do you just have an idea sit down and and it just appears out of a cloud sometimes? 00:23:54.799 --> 00:24:00.559 Well, sometimes I might catch a lucky moment like that, but it's not you know, it doesn't happen too often. 00:24:00.720 --> 00:24:04.400 Every once in a while uh a tune comes out that that's like that. 00:24:04.559 --> 00:24:04.720 Yeah. 00:24:04.880 --> 00:24:13.359 And it's always it's a wonderful thing because it's just uh you get the feeling that you're just a really just a vessel for the music to come through. 00:24:13.519 --> 00:24:18.799 And that's that's it's an incredible experience, but you can't really force that. 00:24:18.960 --> 00:24:25.599 It might happen, you know, might happen twice in a week, it might happen just once a year, or you know, in five years or whatever. 00:24:25.759 --> 00:24:27.359 So it's it's it's really interesting. 00:24:27.680 --> 00:24:32.400 What do you do if you're like in the car or taking a walk and you have a great idea for a song? 00:24:32.480 --> 00:24:33.759 Do you ever feel like me when that happens? 00:24:33.920 --> 00:24:37.359 I'm like, oh my god, I gotta get it down, I'm gonna forget it by the time I get home. 00:24:37.519 --> 00:24:38.079 What do you do? 00:24:38.160 --> 00:24:41.039 Do you do you do voice memos or yeah? 00:24:41.279 --> 00:24:42.480 Absolutely, always. 00:24:42.640 --> 00:24:54.319 I think I have I I recently went through my my voice memos and

I thought, oh man, I have to get rid of some of them or at least you know transfer them to my to my computer or something because it's such a mess. 00:24:54.480 --> 00:24:59.279 And then you listen to some and you remember that that you thought that idea was brilliant. 00:24:59.359 --> 00:25:01.839 Yeah, and it's so terrible. 00:25:02.799 --> 00:25:04.960 I always say, I always say you gotta sleep on it. 00:25:05.119 --> 00:25:09.599 Sometimes you wake up and you're like, whoa, and sometimes you're like, oh, this is awful. 00:25:09.839 --> 00:25:11.039 Yeah, that's true. 00:25:11.119 --> 00:25:18.079 And then then sometimes also you when you don't have the chance to record something, but you have an idea that you think is good, and then then you lose it. 00:25:18.240 --> 00:25:20.720 I mean, that that happened to me a couple of times. 00:25:20.880 --> 00:25:26.720 I guess it happens to everybody, and uh, but I always think or if it's good enough, it's gonna show up again in some way. 00:25:26.880 --> 00:25:29.680 Yeah, and uh sometimes it has, sometimes it hasn't. 00:25:29.759 --> 00:25:33.119 I don't know, but it's uh I try to always capture everything. 00:25:34.880 --> 00:25:38.079 I also like on the first album some of the covers. 00:25:38.160 --> 00:25:42.319 I love fragile and I love feel like making love. 00:25:42.640 --> 00:25:44.880 On Fragile, what is the instrumentation? 00:25:44.960 --> 00:25:47.759 There's a really beautiful I don't know if it's guitar. 00:25:47.920 --> 00:25:48.720 What is the instrument? 00:25:49.680 --> 00:25:50.000 Oh my god. 00:25:50.240 --> 00:25:54.720 So nylon, nylon swing guitar played by Peter Fessler, who's also singing on the guitar. 00:25:55.279 --> 00:25:56.000 Fantastic. 00:25:56.319 --> 00:25:59.039 He's he's a like a national treasure here in Germany. 00:25:59.119 --> 00:26:00.079 He's unbelievable. 00:26:00.160 --> 00:26:02.319 What a crazy musician, really. 00:26:02.400 --> 00:26:04.559 He's uh he's very special. 00:26:04.799 --> 00:26:18.079 And um, he just did a one-take of wow uh of guitar and guitar and vocals, and um I think then he then he did a an overdub with just some like vocal effects, this kind of wind sound that's just yeah. 00:26:18.559 --> 00:26:19.039 I love that. 00:26:19.119 --> 00:26:20.240 I was like, what is that? 00:26:20.319 --> 00:26:24.000 Yeah, that's a very spooky, haunting, magical part of the song. 00:26:24.160 --> 00:26:28.720 Yeah, it's almost like a bridge way before the bridge is supposed to happen. 00:26:29.039 --> 00:26:31.039 Yeah, that's right, that's right. 00:26:31.279 --> 00:26:36.720 And then I just put a couple of little piano touches on it, and that's that's it, pretty much. 00:26:36.880 --> 00:26:43.039 As far as I remember, I think there's and that loop, you know, I I we had that loop uh before we recorded that. 00:26:43.119 --> 00:26:46.640 I had prepared that, so we played to that loop pretty much. 00:26:46.880 --> 00:26:47.519 Yeah. 00:26:48.400 --> 00:26:53.519 One thing I really love about your playing and your music, I know you're a fan of Herbie Hancock. 00:26:53.839 --> 00:26:57.920 Listening to a lot of your stuff, it made me think of the song Maiden Voyage. 00:26:58.079 --> 00:27:00.559 I remember the first time I learned it in jazz bands. 00:27:00.799 --> 00:27:10.400 You can't really rely on this ongoing rhythm, it's like this sporadic, floating, you just kind of hit the head and there's nothing under there. 00:27:10.480 --> 00:27:12.799 And I've noticed that you're not afraid to do that. 00:27:12.960 --> 00:27:17.039 And when you added Steve and Will, there was more of that. 00:27:17.519 --> 00:27:17.920 Mm-hmm. 00:27:18.319 --> 00:27:19.039 Absolutely. 00:27:19.200 --> 00:27:20.720 Yeah, that is that is true. 00:27:20.799 --> 00:27:29.599 I mean, they have such a such an incredible uh rhythmic identity that's such a such a strong foundation to to build on. 00:27:29.759 --> 00:27:35.279 It's uh I I've never experienced anything that's easier than playing with these guys. 00:27:35.680 --> 00:27:36.559 It's unbelievable. 00:27:37.119 --> 00:27:38.559 They make it look easier than it is, right? 00:27:39.680 --> 00:27:40.960 Yeah, they really do. 00:27:41.119 --> 00:27:43.279 And it's uh it's crazy. 00:27:43.759 --> 00:27:48.640 It really carries you to musically to a point where you thought you would never be able to go. 00:27:48.799 --> 00:27:52.000 And it's that's uh unbelievable, really. 00:27:53.920 --> 00:27:58.559 So let's move on to peace of mind, and that's when Will Lee joined you, correct? 00:27:58.880 --> 00:27:59.519 That's right. 00:27:59.680 --> 00:28:00.400 That's right. 00:28:00.640 --> 00:28:13.839 One thing I like is um on each song, are are you giving composition credit or saying who's playing when I listen to it on like Apple Music or Spotify, it'll have everybody's name on there. 00:28:14.079 --> 00:28:18.799 Do you guys collaborate with compositions or do you go into there with everything ready to go? 00:28:19.039 --> 00:28:25.200 Uh for that album, I had everything ready to go beforehand, but we started writing together a little bit after that. 00:28:25.279 --> 00:28:32.400 Uh, I think none of the stuff has has been released, but there's still some uh cool things that we uh started writing together. 00:28:32.559 --> 00:28:36.960 So Will, if you hear this, let's work on it. 00:28:37.599 --> 00:28:42.319 No, but but for for peace of mind, I uh I had everything uh prepared. 00:28:42.400 --> 00:28:45.200 But because that was during uh COVID times, right? 00:28:45.440 --> 00:28:52.319 I had started writing some stuff and uh had been sending it to Wolfgang, and he would send me some some drum tracks back. 00:28:52.480 --> 00:28:52.640 Right. 00:28:52.799 --> 00:28:54.079 And that was incredible. 00:28:54.160 --> 00:28:55.839 That that was so inspiring to work. 00:28:56.079 --> 00:29:02.640 And he he's he he was co-producer on that album, and he also helped me a lot

with with arranging this the stuff. 00:29:02.880 --> 00:29:07.759 So uh he was very involved involved in that uh preparation. 00:29:08.559 --> 00:29:19.440 And um we had pretty much everything prepared, and I even had uh most of the the synth tracks and and additional keyboards and pads and all of that. 00:29:19.599 --> 00:29:28.240 I I just uh took all of that from the demos that I had and uh took it along to the studio so we could play along to what was already there. 00:29:28.559 --> 00:29:29.920 Oh, so you've done that before. 00:29:30.000 --> 00:29:33.039 You've taken a demo and then everybody adds stuff after that. 00:29:33.519 --> 00:29:34.000 Absolutely. 00:29:34.160 --> 00:29:49.759 And I was planning on on replacing all that stuff and and replaying it, but it ended up, you know, we we had all heard these demos for so many times that it it really yeah, I mean it's some people call it demo itis, you know, you get too used to it. 00:29:50.079 --> 00:29:55.440 But in that case, it really I tried re-recording some stuff and it it it kind of lost something. 00:29:55.519 --> 00:29:57.359 It lost some of the vibe that it had. 00:29:57.599 --> 00:30:04.000 So we ended up pretty much keeping almost everything from from the demos except for you know what what we were playing. 00:30:04.240 --> 00:30:10.960 So bass drums and and uh the main keyboards on on every song, so grand piano or whatever it would be. 00:30:11.200 --> 00:30:18.880 But the rest, the synthesizer stuff, additional keyboards and all of that, some of the percussion stuff we kept, uh we ended up keeping. 00:30:18.960 --> 00:30:21.440 And that was an an interesting process. 00:30:21.599 --> 00:30:26.640 But yeah, that because I had so much time during that COVID uh period, right? 00:30:26.799 --> 00:30:31.440 That was it turned into a very, very uh planned out album. 00:30:31.519 --> 00:30:43.839 It's like a very, very conceptual thing and and and not really not very open, not too much space for for uh crazy improvisation in the studio, which was very interesting, and it was it was a great experience at the time. 00:30:43.920 --> 00:30:52.079 But then for the next album with with Stephen Will, I wanted to have more space for that again, you know, for just uh musical interaction. 00:30:52.240 --> 00:31:01.279 And but I think you know, both is is fun and both can be really inspiring, and it's a it's a great balance to you know do one project like that, one project like that. 00:31:01.440 --> 00:31:03.599 It's it's interesting, keeps it fresh. 00:31:03.920 --> 00:31:06.240 I love that you do that and bring in the demos in. 00:31:06.319 --> 00:31:13.200 And I you know, I'm 56, so I grew up in the 80s, and what you just described was very big back then, like Peter Gabriel. 00:31:13.279 --> 00:31:20.480 So you might have an album that has Menu Cachet and Jerry Murata playing together, or Stuart Copeland doing the hi-hat. 00:31:20.799 --> 00:31:23.359 That was a way to compose in the studio

then. 00:31:23.519 --> 00:31:47.519 And I'm glad that you liked both, but your example made me think of I'm a big fan of Sting and the police, and I remember reading Sting came into the studio with every little thing she does is magic, and there was already a French piano player on there, I forget his name, but the police had to play to that, and as much as I love I love them playing live in a room, I also like how they did that. 00:31:47.599 --> 00:31:53.200 I thought it was a magical vibe, and if they hadn't brought in Sting's demo, it wouldn't have been the same. 00:31:53.279 --> 00:31:54.960 And then when they play live, it's different. 00:31:55.119 --> 00:31:56.640 So it's good to have both, right? 00:31:56.960 --> 00:31:57.599 Absolutely. 00:31:58.000 --> 00:32:05.039 Matter of fact, I I talked to uh Manu a couple of days ago because we we played a show together in Italy and we Oh my god, you gotta tell me more. 00:32:05.119 --> 00:32:05.839 I'm such a fan. 00:32:05.920 --> 00:32:06.880 I'm sorry to interrupt. 00:32:07.119 --> 00:32:09.119 He is he is unbelievable. 00:32:09.200 --> 00:32:18.240 It was the first time I I met him, and we're gonna play a lot together this this year, um, with a wonderful uh Danish bass player, Chris Mendoki, and his band. 00:32:18.720 --> 00:32:23.680 And uh man, it was such a wonderful, such a big pleasure to meet Manu. 00:32:23.839 --> 00:32:29.119 Also, I mean, of course, I've been a fan for such a long time, but he's also just the greatest guy. 00:32:29.279 --> 00:32:30.480 He's so wonderful. 00:32:30.720 --> 00:32:38.240 And uh and we were talking about that, or he he told us the story about you know the three-drummer thing on the Peter Peter Gabriel record. 00:32:38.480 --> 00:32:40.559 And yeah, it that was interesting. 00:32:40.640 --> 00:32:42.160 I I didn't know about that before. 00:32:42.240 --> 00:32:56.400 So that's and then if you I can't remember what album it is, but there's a sting album where he brought in Vinnie Coleuta and Manu, and he would just be raising the faders in different parts and whose ever track worked, right? 00:32:56.799 --> 00:32:57.920 Yeah, I heard of that. 00:32:58.079 --> 00:32:58.960 I heard of that. 00:32:59.119 --> 00:33:00.480 That is crazy. 00:33:00.720 --> 00:33:03.759 So on your second album, I want to compare two tracks. 00:33:03.920 --> 00:33:07.440 I love Fall of Hope and First Dance. 00:33:07.680 --> 00:33:15.200 Fall of Hope is very haunting to me, but first dance is very buoyant and really lifted my spirits. 00:33:15.519 --> 00:33:16.480 Very joyful. 00:33:16.799 --> 00:33:21.119 I love that you have you run the whole gamut of emotions on your albums. 00:33:21.440 --> 00:33:28.880 How important is that to you to have a variety of grooves and emotions and things like that in one album? 00:33:29.279 --> 00:33:38.160 Very important, absolutely, because I I see it as or at least I'm trying to to uh to create a journey for whoever's listening. 00:33:38.480 --> 00:33:47.759 And uh if every song would just be a happy upbeat groovy thing, it would it would really get boring after a while. 00:33:48.000 --> 00:33:59.920 So I I'm not great at at composing you know sad music or you know stuff with that's that's maybe associated with a little more negative emotions. 00:34:00.319 --> 00:34:02.160 That that's always been kind of hard for me. 00:34:02.240 --> 00:34:08.000 I I find it really uh much easier to to write you know joyful melodies and and stuff like that. 00:34:08.159 --> 00:34:14.320 But it's just necessary to have a little bit of contrast and and and different colors on on a record. 00:34:14.880 --> 00:34:18.559 Especially during that time with COVID and everything going on. 00:34:18.960 --> 00:34:24.400 Definitely made it a little easier to write some melancholy stuff or something. 00:34:24.719 --> 00:34:36.639 But if if I write something that's a little more a little darker, maybe I think there's always it always ends up having a little bit of a like a silver lining somewhere. 00:34:36.800 --> 00:34:40.480 You know, a little bit of hope still remain in there. 00:34:40.800 --> 00:34:45.760 And that's uh also what uh what I think uh uh happened with uh with Fall of Hope. 00:34:45.920 --> 00:34:46.239 Yeah. 00:34:47.280 --> 00:35:06.079 I haven't heard that in a while, but I think there it's a very dark vibe, and then that bridge happens once or twice where it sort of opens up and goes into a more into a brighter, you know, almost like the sun, you know, shows up for for a couple seconds and then goes back down to the cloudy, cloudy winter woods of Germany. 00:35:06.480 --> 00:35:09.760 Wait, that sounds like where Steve Gadd and I grew up, Rochester, New York. 00:35:10.880 --> 00:35:12.639 That's like the weather almost every day. 00:35:12.719 --> 00:35:15.039 It's like almost like a London fog, right? 00:35:15.440 --> 00:35:16.320 Oh man. 00:35:16.400 --> 00:35:17.039 Yeah. 00:35:18.559 --> 00:35:22.960 Let's go on to all that matters when you bring Steve and Will in. 00:35:23.119 --> 00:35:33.360 When you first met these guys and you ended up planning this album, was there anything different you wanted to accomplish compared to your first two albums? 00:35:33.440 --> 00:35:34.960 Did you want to go somewhere different? 00:35:35.280 --> 00:35:43.920 Yeah, I wanted to focus a little bit more on uh just getting to this into this uh studio and just just playing and just playing live. 00:35:44.880 --> 00:35:47.440 Playing live, not too many overdubs. 00:35:47.519 --> 00:35:56.320 You know, I I had done that on the peace of mind album that was you know a lot of overdubs, a lot of additional tracks and and horns and synths everywhere. 00:35:56.480 --> 00:36:00.400 And that was a lot of fun, but I just wanted something, you know, keep it simple. 00:36:00.639 --> 00:36:11.599 The only overdubs that are on the record are just you know some percussion, and I might have put maybe a synth pad here or there, but

it's it's very uh it's not a lot. 00:36:11.840 --> 00:36:16.639 Most of the stuff that you hear is is uh was played like that in the studio. 00:36:17.119 --> 00:36:34.159 And um yeah, I want to just especially with a with a band like that, you know, I've had incredible musicians on all of the albums, but uh especially with a with such a such a special combination with Stephen Will and also with Bruno on guitar, I just wanted them to play, you know. 00:36:34.239 --> 00:36:40.079 I I didn't want anybody to feel limited by by having you know tracks pre-produced or anything like that. 00:36:40.159 --> 00:36:49.679 I just wanted to, you know, whatever happens, happens, and wanted to have the you know uh provide the space for the music to actually really go somewhere. 00:36:49.920 --> 00:36:52.719 And uh and that that plan worked, man. 00:36:52.880 --> 00:36:55.199 It was it was unbelievable. 00:36:55.360 --> 00:37:04.320 I uh the music kind of wrote itself once I knew who was gonna play on on the date, I I I knew what it was gonna sound like in some way. 00:37:04.480 --> 00:37:16.239 I you know, I I I can imagine it very, very clearly, but still uh until the moment that we actually started playing in the studio, I was so unsure of you know, have I written the the right kind of stuff? 00:37:16.400 --> 00:37:18.400 Is this no pressure? 00:37:18.800 --> 00:37:20.239 Are they gonna like the music? 00:37:20.400 --> 00:37:22.960 Are they gonna you know feel comfortable with that music? 00:37:23.039 --> 00:37:24.239 Is it you know, is it cool? 00:37:24.320 --> 00:37:30.559 Is it too much, you know, is it too similar to you know stuff or the gadgang or or whatever? 00:37:30.639 --> 00:37:32.800 Because it's very inspired by that, obviously. 00:37:33.039 --> 00:37:33.519 Yeah. 00:37:33.840 --> 00:37:42.559 But I think it's yeah, I I was lucky to kind of maybe hit the right balance between being inspired by that and also adding some some new stuff. 00:37:42.719 --> 00:37:47.920 And it man, it just from the first take that we did, it we were flying. 00:37:48.239 --> 00:37:49.920 I see a lot of laughing in the studio. 00:37:50.079 --> 00:37:51.599 You guys look like you're having a good time. 00:37:51.760 --> 00:37:54.480 Yeah, absolutely, such a good time. 00:37:54.719 --> 00:37:56.559 Who played percussion on that album? 00:37:56.639 --> 00:37:57.360 Was it Steve? 00:37:57.519 --> 00:37:58.400 It was me, actually. 00:37:58.639 --> 00:37:58.880 Really? 00:37:59.199 --> 00:38:05.360 Oh, I forgot you're a drummer, and actually wanted to bring up how is it to be in a band with three drummers? 00:38:07.039 --> 00:38:08.239 I know your secrets. 00:38:08.320 --> 00:38:09.280 I know, I know. 00:38:09.599 --> 00:38:11.039 It's fun, yeah. 00:38:11.280 --> 00:38:14.880 Well, at least, you know, you already know everybody's got good time. 00:38:15.199 --> 00:38:17.199 Yeah, that's kind of important, right? 00:38:18.000 --> 00:38:18.159 Yeah. 00:38:18.559 --> 00:38:19.760 Do you guys ever switch? 00:38:19.920 --> 00:38:23.440 Do you ever let do you ever sit on the drums or let Will sit on the drums? 00:38:23.840 --> 00:38:24.639 We haven't really. 00:38:24.719 --> 00:38:26.480 I maybe at a at a sound check. 00:38:26.559 --> 00:38:26.719 Yeah. 00:38:26.800 --> 00:38:31.760 I think I I I did sit behind Steve's drums after he was uh after he had left the studio. 00:38:31.840 --> 00:38:35.760 Yeah, because I just wanted to feel how he sets up stuff. 00:38:36.000 --> 00:38:37.199 And it's incredible. 00:38:37.360 --> 00:38:43.679 Will also did that once, and and he also he he agreed that everything is just you know it's in the perfect place. 00:38:43.920 --> 00:38:46.159 Everything is just so ergonomical, right? 00:38:47.119 --> 00:38:48.239 It's unbelievable. 00:38:48.480 --> 00:38:53.280 But yeah, so far, maybe maybe we should do uh some instrument switching on stage, that would be fun. 00:38:53.519 --> 00:39:01.599 I know that the the talking heads did that on a song, I can't remember which one it was, but it doesn't matter your level or experience, it often brings out something different. 00:39:01.679 --> 00:39:09.280 So even if you you know try to compose a song with people outside their comfort zone and then you switch back, you never know what you're gonna get. 00:39:09.760 --> 00:39:11.039 Absolutely, yeah. 00:39:11.280 --> 00:39:12.400 Especially composing. 00:39:12.559 --> 00:39:16.719 I I I love to compose or at least compose melodies on guitar, for example. 00:39:16.800 --> 00:39:21.920 I'm really not a guitar player at all, but I can play a couple chords and and that, but not much more. 00:39:22.159 --> 00:39:26.159 But it's it's so inspiring to be limited sometimes, it's so great. 00:39:26.239 --> 00:39:35.119 And I I really uh yeah, I I think I have some some of the better ideas on on guitar or bass, uh the instruments that I don't really play. 00:39:35.280 --> 00:39:37.519 So that's uh makes it really interesting. 00:39:37.840 --> 00:39:39.119 I think that's very important. 00:39:39.280 --> 00:39:41.360 I always tell my students that I'll never forget. 00:39:41.519 --> 00:39:48.559 My favorite drummer growing up was Bill Bruford, who even if you know who he is, most people don't know he's a jazz, great jazz drummer. 00:39:48.800 --> 00:39:51.119 In fact, he's back to playing jazz now. 00:39:51.519 --> 00:39:58.159 And I remember so in the late 80s was the advent of bringing melody back to drums. 00:39:58.320 --> 00:40:08.480 Uh yeah, I know that it originally people like Max Roach inspired Bill, but what Bill was doing on the Simmons drums, he was programming chords. 00:40:08.719 --> 00:40:16.239 So when he had his band Earthworks, a lot of times he was playing the chord changes while everybody soloed, or he could play the melody. 00:40:16.320 --> 00:40:22.719 Oh, and for me, composing in that way, of course it's gonna be different than keyboards or guitar. 00:40:22.880 --> 00:40:27.519 It's gonna be so

awkward and abstract, but you come up with things you never would have, right? 00:40:27.840 --> 00:40:29.199 Absolutely, totally. 00:40:29.360 --> 00:40:30.639 It's it's inspiring. 00:40:30.880 --> 00:40:31.360 Yeah. 00:40:31.599 --> 00:40:34.880 I love quite logical on all that matters. 00:40:35.119 --> 00:40:38.400 Okay, and it's it's such an unorthodox groove. 00:40:38.480 --> 00:40:40.800 I'm like, is it a funk groove or is it a march? 00:40:40.960 --> 00:40:47.440 You know, it's just like hovering somewhere in between there in these huge gaps that only Steve can do. 00:40:47.760 --> 00:40:59.679 And then the way because Will and Steve have played so long together, I was thinking in the car when I was surrounded by the sound, Will's bass and Steve's kick drum is just one thing. 00:40:59.840 --> 00:41:02.719 It's like a kick drum that has a pitch on it. 00:41:02.960 --> 00:41:12.559 They're so close and so in the pocket, it's almost like a rap thing when you pull up to a corner and someone's like their whole car is shaking from the bass. 00:41:12.639 --> 00:41:15.199 I I feel like that with Steve and Will. 00:41:16.000 --> 00:41:16.480 Yes. 00:41:17.199 --> 00:41:17.920 Absolutely. 00:41:18.079 --> 00:41:19.119 I feel the same way. 00:41:19.280 --> 00:41:21.440 It's it's scary sometimes. 00:41:21.599 --> 00:41:23.039 Yeah, I really have to say. 00:41:24.239 --> 00:41:36.159 When I was uh working on on the stuff and and and doing the overdubs here, I had you know all the I had the multi-tracks, and then I I would just listen to to drums and bass for hours because I I just couldn't believe it. 00:41:36.320 --> 00:41:38.400 It's yeah, it's so magical. 00:41:38.559 --> 00:41:45.280 And Will always says, you know, there's a lot of good drummers, but Steve Gadd always lands where you want him to land. 00:41:45.519 --> 00:41:52.159 Whatever happens, he's always right there with you where where you want it, and that's yeah, it is that way. 00:41:52.400 --> 00:41:54.960 It's that's really it's it's unbelievable. 00:41:55.119 --> 00:41:56.079 Yeah, there's nobody like Steve. 00:41:57.840 --> 00:42:00.800 Yeah, yeah, and that that's a big part of it. 00:42:01.039 --> 00:42:02.639 I also love Donkey. 00:42:02.719 --> 00:42:04.320 What a weird song. 00:42:04.719 --> 00:42:12.719 It's got like I know it's gonna sound crazy, but like the bass line, it's like Will is like a spy creeping around the corner. 00:42:12.880 --> 00:42:16.800 Yes, the yes, the song is so swampy. 00:42:16.960 --> 00:42:19.360 I was like, what word can describe this? 00:42:19.519 --> 00:42:22.400 And uh the wah guitar solo. 00:42:22.639 --> 00:42:26.079 It's like everything's underwater, it's like the creature from the black lagoon. 00:42:26.320 --> 00:42:27.920 I love, love, love this song. 00:42:28.400 --> 00:42:29.440 Creeping around. 00:42:29.519 --> 00:42:30.400 Yeah, absolutely. 00:42:30.639 --> 00:42:34.400 How did that how did that change from when you wrote it to when these guys played? 00:42:34.559 --> 00:42:35.920 Was it vastly different? 00:42:36.239 --> 00:42:50.800 It sort of got a different drive, especially in the in the solo section, because that was also a little bit of a of a you know, I was hoping for that when I was when I proposed it, that Steve would go into that into that, you know, slow blues riot group. 00:42:50.960 --> 00:42:51.440 Yeah. 00:42:52.000 --> 00:43:00.079 Uh with a hiat, you know, uh I I think he does kind of like a almost like a Grady Tate thing. 00:43:00.320 --> 00:43:05.440 I'm not sure if I remember it correctly, but like the Hyatt on the on the third triplet. 00:43:05.679 --> 00:43:06.079 Yeah. 00:43:06.400 --> 00:43:08.639 That wonderful oh man. 00:43:08.800 --> 00:43:16.000 And that's the kind of group I heard him play so many times with Clapton on all these records and and and live recordings. 00:43:16.159 --> 00:43:20.559 And I was kind of hoping for you know something like that to happen, and it it did. 00:43:20.719 --> 00:43:24.960 And when we were doing that in the studio, I just I freaked out. 00:43:25.039 --> 00:43:26.960 It was so it felt so good. 00:43:27.440 --> 00:43:34.320 I don't think a lot of people are comfortable playing that slowly, but also right in the pocket. 00:43:34.400 --> 00:43:37.119 I mean, it was just like you said, it's magical. 00:43:37.599 --> 00:43:39.519 It really is, it really is. 00:43:39.840 --> 00:43:44.719 And it's it's always uh it's it's it's always the right feel. 00:43:44.960 --> 00:43:46.559 It's unbelievable how he does that. 00:43:46.719 --> 00:43:53.920 Whatever he plays, it always feels good, it never feels rushed or you know, it never drags nothing. 00:43:54.000 --> 00:43:59.679 He's it was funny because we we did a lot of that stuff, actually, most of the songs with. 00:44:00.239 --> 00:44:04.000 with the click track uh because Steve preferred that in the studio. 00:44:04.480 --> 00:44:07.039 And um it was so interesting. 00:44:07.199 --> 00:44:13.840 Sometimes I would look at my little monitoring uh desk there and try to turn up the click because I thought it was gone. 00:44:14.000 --> 00:44:14.159 Yeah. 00:44:14.320 --> 00:44:21.760 But it was just it it would disappear because Steve was so on it but he made it feel so good regardless. 00:44:22.159 --> 00:44:25.920 Some some drummers when as soon as they play to a click it the vibe is gone. 00:44:26.239 --> 00:44:29.280 The grooves just start to starts to fade. 00:44:30.000 --> 00:44:33.599 But he he made it sound like the clique was listening to him. 00:44:33.920 --> 00:44:44.880 And that was an unbelievable well and the ironic thing is when I talked to Tony Levin we were talking about how Steve and Tony were playing before there were click tracks. 00:44:45.119 --> 00:44:58.000 And you go back and hear that stuff it still sounds as solid and as good as it is now and you're right I I often tell my students if you're playing the drums to a click track you shouldn't be able to hear

the click because you're right on the money. 00:44:58.159 --> 00:44:58.400 Right. 00:44:58.559 --> 00:46:33.679 Yeah right let's move ahead to your live album on a roll oh and actually before we move there there's all that matters there's two versions right is there like a deluxe version of all that matters there's some extra tracks is that what's on there I think there is uh uh one or two I think there's just one no two bonus tracks that's that's correct yes I think that was released a a couple months uh months later yeah yeah yeah so everybody should check that out so on a roll live I think my favorite track these days lately is cruising it's very off kilter right it's a brilliant like lilting shuffle and it's kind of like a strut I was listening to it with one of my my cats was walking by and she walks kind of like a cat walk you know like a fashion show and I was like this fits perfectly to this song I just I see or I I feel someone strutting yes absolutely absolutely from what I read you've been a child prodigy you played from a very early age and I'm guessing some things came easy to you my question is have you ever tried to teach someone piano because when I started teaching you know my friend Sarah who really influenced me a lot she was sick and she let me get up and teach and I was like this is hard and she said yeah it's one thing to know something but to figure out how to break it down and teach someone else is a real challenge. 00:46:33.840 --> 00:46:36.880 So have you ever had that experience and what was it like for you? 00:46:37.280 --> 00:47:21.360 Well I haven't taught that much um I I think I can count the a couple times on on one hand uh and it's always been private lessons um with people that were already a little more advanced but I still found it so so hard and uh I was really anxious to always really anxious to to try to teach somebody because I from you know from from my what I feel I'm not even close to a level where I you know would be suited to to teach somebody or you know I feel like it's I'm I'm not at a point where I I'm ready to to tell anyone what to do or even you know inspire anyone what to do. 00:47:21.599 --> 00:47:25.920 I I really have a lot of respect for for music teachers and teachers in general. 00:47:26.079 --> 00:48:07.760 My girlfriend is a is a music teacher in high school for example and so that's that's really uh interesting to hear uh see you know hear about her view of the whole thing and uh I have so much respect it's unbelievable and I I hope I get to the point where I feel comfortable teaching but I'm I'm definitely not there yet so that's that's why I don't really do it at the moment but who knows you know yeah time will tell I think you you'll find out a lot more about yourself and playing a lot of times I might play a show and something really cool comes out of nowhere and then I want to show it to a student and I go I don't even know how to count this I don't know what I'm doing and I have

to like video it and watch it. 00:48:08.159 --> 00:48:16.320 You know and I'm sure you playing with Steve and Will and all the other guys there's probably stuff that happens and you listen back and you're like where did that come from? 00:48:16.800 --> 00:48:25.199 Yeah yeah absolutely and that's that's the other thing it's so hard for me to put music into words it's it's really a a big challenge. 00:48:25.280 --> 00:48:32.159 Yeah and uh I've I struggled so much the few times that I I tried to teach somebody I really struggled with that. 00:48:32.400 --> 00:48:42.159 And uh I I I mean I did have a lot of theory lessons when I was studying and and stuff like that but I I don't think about that very much when I'm when I'm making music. 00:48:42.239 --> 00:48:49.199 You know it's it's it's good to have some knowledge but I you know I forgot a lot of a lot of that stuff already. 00:48:50.079 --> 00:48:51.039 That's what you're supposed to do. 00:48:51.119 --> 00:49:16.559 You're supposed to learn it all and throw it away and be in the moment right absolutely yeah I I have one teacher that said a great great thing he said uh music theory is just there to to uh you know help you understand it's never there to tell you what to do and I I I really agree I love that you know it's great to have the knowledge and to be able to understand everything but it's it shouldn't be the you know it shouldn't be the the motivation to do something. 00:49:16.800 --> 00:50:55.119 Exactly tell me about Pimpy Panda what is that ah that was the band man you you were digging deep I don't mess around man yeah yeah yeah that's great that was a really fun band um that I was in for a couple years I think we started started in 2015 it was right before I finished high school and um the bass player in that band he was the band leader he put that thing together he was uh one of my closest friends at that time and um yeah he uh he asked me if I wanted to be part of that and that was sort of the time when bands like Snarky Puppy were uh or Wolfpack were were really popular I mean still are absolutely and rightfully so but that was when that that kind of thing came up yeah or became very popular especially here in Europe and um yeah that that band was kind of you know musically it went into that direction a little bit maybe a little more gospel and soul oriented because we always had singers changing singers on on that in that band and it was a lot of fun but looking back there was also a lot of notes flying around yes I remember that era yes absolutely and I mean I was I was uh seventeen yeah or sixteen seventeen and I was just having the time of my life though those were some of my first touring experiences and uh we were like a family that band was it was a a really close family and it was a lot of fun. 00:50:55.199 --> 00:51:32.400 I learned so much on that gig and uh yeah just a great time and then I think we played our our last show shortly before COVID hit and then um it kind of yeah we c everybody went went their own way and you know some of the guys uh had kids and we we don't live that close close by anymore you know everybody sort of spread all over the country and so uh yeah that Ben hasn't hasn't really done anything in in a long time but man if we if we were ever to do a reunion or something like that I think it would be fun. 00:51:32.639 --> 00:51:53.280 You never know you never know never know never know that's right I saw you recently in an interview and you're talking about how some of your music is based on what you learn from classical music and it made me think of two artists I really admire Dan Reynolds from Imagine Dragons and Billy Joel. 00:51:53.679 --> 00:52:31.519 Both of those guys often talk about how a lot of pop music is based on blues changes RB gospel but these two guys grew up playing classicals so that led them in different directions compositionally and tell everybody a little bit about how what that means to you well it's so interesting because uh when you look at you know a Bach piece take take any any bock piece for example there is so much to so many parallels to to that's happening now it's unbelievable I mean if you want to learn about Bebop you better start with with Mr. 00:52:31.679 --> 00:52:32.239 Bach. 00:52:34.079 --> 00:53:05.920 And and then sometimes you find moments in the in the Chopin piece or Debussy or whatever that that make you think okay that that sounds like it was recorded sometime in the in the 1950s you know hear these these incredible harmonic things happening that that really are so close to what we would call something jazzy or you know it's it's so interesting and it's there's so much to be to be learned about about harmony and voice leading especially for me that's that's a big big thing. 00:53:06.239 --> 00:53:27.280 Arrangement use of of colors and and so yeah everything inspires everything really for me and uh classical music especially classical piano music is a is a big I'm not a great classical piano player at all and I really admire people who can who can do that and and the discipline that's needed for that it's unbelievable. 00:53:27.440 --> 00:53:46.239 Yeah and I'm a big fan of of so many great piano players but it's it's not really for me you know I I love listening to it and I love diving deep into the music and and and trying to understand it and learn what I can from it but I'm not gonna be the guy who's gonna play any classical piece in public. 00:53:46.400 --> 00:55:26.320 I have done that and failed miserably I heard the story where you you went out on stage and you blanked out I've had that happen that's terrifying right yes yeah and that's uh that's the moment when it was uh when that decision was made yeah well I think some people are more comfortable playing classical music or things that are written out and some people are more comfortable with improvising I'm a big fan of Genesis and I remember when Bill Bruford was playing with the

band it ultimately didn't work out because Bill played differently every night and Phil likes things to be exactly the same and I said to myself I'm not taking sides I like both I remember being shocked the first time I saw Sting live because every song he did was completely rearranged yes everything even the melodies were different and I was like I was young I was like wait what and now I like that I like when I when I really dig an album and go see it live and then play it differently I think that's fun but it drives my wife crazy yeah I understand both sides I I actually saw Sting live uh two days ago yeah here in uh in Belgium and I was talking to to Chris uh Chris Moss the the incredible drummer that's that's touring with him at the moment oh yeah I've read about him I haven't heard him he's fantastic you should check him out really just Dominic and Dominic and Sting and and Chris yeah and he we were also talking about that and it was so interesting and you know they they try something different every night and uh it's almost sometimes like a like a jazz approach here and there and it's it's it's so fun it's great. 00:55:26.480 --> 00:55:30.639 You know you have tunes that are songs that have to be exactly what they are. 00:55:30.800 --> 00:55:50.639 You know it's an interesting uh interesting combination yeah I think it helps when you're someone like Sting and you're on the road all the time you could probably get bored oh yeah doing everything the same way so it's a good way to keep your mind sharp probably challenge you and I've got to put this out there the more I listen to your music you got to play keys for Sting you'd be perfect. 00:55:50.880 --> 00:56:13.599 Oh my goodness there's a long line of great piano players like Kenny Kirkland but I think you would be something really fresh yeah let's put it out in the universe very kind of you that would be if if that ever happens uh you know even if I get to play one chord with Sting or one note I will retire right afterwards. 00:56:13.920 --> 00:56:15.840 That's like a John Cage thing. 00:56:16.000 --> 00:56:27.840 Oh that was so me all right I always like to end with people reacting to quotes and I know you're a fan of George Duke. 00:56:28.159 --> 00:56:33.360 I mostly only do one quote but both of these are so good I'd like you to respond to both of them. 00:56:33.440 --> 00:56:53.679 So here's the first one first one's a little lengthy artists whether they're classical musicians or pop musicians they have always been the reflection of society and in many ways a healthy part of whatever is wrong in society and I think it's important for us to continue to do that and I don't see enough of it today. 00:56:55.039 --> 00:57:07.760 Oh yeah not much to say about that one I just agree yeah from front to from front to back that's start to finish that's that's yeah yeah that's the truth yeah we we really need that today. 00:57:08.000 --> 00:57:12.800 The other one he said is I work with many jazz artists such as Miles Davis. 00:57:13.119 --> 00:57:17.920 One of the things all these artists had in common is that they had no fear. 00:57:18.239 --> 00:57:20.000 Oh yeah what does that mean to you? 00:57:20.320 --> 00:57:23.760 Well I think it's just uh you need to just go for it. 00:57:23.920 --> 00:57:47.599 Yeah and uh I I keep you know that's that's a lifelong challenge because you know all of us we have all our so many things going on everybody has their their anxieties and everything but you know when you're creating there's just there's no right or wrong just go for whatever you're feeling in that moment and um don't hold back. 00:57:47.760 --> 00:57:51.280 I think that's yeah at least try to do that. 00:57:51.440 --> 00:57:57.760 You know that's that's what I try and I I I'm still learning so much especially from from guys like Steven Will. 00:57:58.000 --> 00:57:59.599 And they're the best example. 00:57:59.840 --> 00:58:07.199 You know there's if if they if they say yes to a project or whatever if if they do something they they do it 100%. 00:58:07.679 --> 00:58:07.920 Right. 00:58:08.159 --> 00:59:13.119 Full dedication no fear just go for it and and you know dedicate all of your energy and really focus on just you know in this case making them making the music speak and and that's yeah uh that's what we all try to do and and one night it might might work out better than the other but uh that's a great quote oh man getting to work with Simon has been such a pleasure uh not only is he a super wise for his age great grooving talented writing musician he's just a great guy and it's really fun to hang out with him and we have a wonderful time on the road and we have a great time in the studio and I'll never forget the first time I heard him and and met him he was just so nice and and then he starts to play and and and I just about drop my instrument in the studio because it was so great. 00:59:15.599 --> 00:59:43.519 Every time we get together we have an amazing experience and uh everybody in Germany and a lot of the European countries know about Simon but I'm really happy to find out you know every every day new people in America are discovering him and falling in love with his music and uh actually replicating his music, starting to copy it and starting to put it in as part of their set lists and stuff. 00:59:44.480 --> 00:59:56.400 Covering his tunes the stuff that we did with uh with him, Steve Gadd, myself and Bruno Muller in the studio uh is starting to catch on. 00:59:57.679 --> 01:00:02.239 And I think his father is an incredible musician. 01:00:02.480 --> 01:00:20.480 So I believe that when Simon was being raised he was hearing all the stuff that was coming out literally stuff the band stuff and just stuff that was coming out of America and uh embracing it all and and just internalizing it and now he kinda owns it. 01:00:20.719 --> 01:00:24.800 I mean not kinda owns it he's kind of a master he's he's a true master.

01:00:25.519 --> 01:00:40.239 One of the most fun moments of our set is when he goes into a Richard T style breakdown on piano and Gad gives me that look and we both know what that look is about. 01:00:40.320 --> 01:00:50.079 It's like yes we've been there and that is just incredible to hear this guy playing the Richard T style stuff. 01:00:51.119 --> 01:00:52.079 Get a kick out of that. 01:00:53.199 --> 01:01:07.039 Anyway I'm always looking forward to the next uh hang with Simon and the next time playing and we keep trying to plan everything we can to fit to squeeze ourselves together into a into a time slot where everybody's available. 01:01:07.840 --> 01:01:44.480 And we do have another tour coming up and we're planning ones beyond that in other parts of the world and so it's really exciting to to look forward to that and uh I love Simon he's he's he's my bro and he's he's my Freund and uh great to be able to talk about Simon it's he's just a total pleasure so how can people follow you and find out what you're up to I see you have a website. 01:01:44.880 --> 01:01:50.079 Mm-hmm that's correct that's probably a good hub and then what social media are you on? 01:01:51.360 --> 01:02:08.079 Uh I'm on Instagram and Facebook I'm not on TikTok I haven't uh haven't dared to do that yet I I might I don't know I I'll think about it but uh I also think that TikTok might not be the right audience maybe for the music that I'm doing. 01:02:08.159 --> 01:02:08.639 Who knows? 01:02:08.880 --> 01:02:41.199 And then one more little thing that I just uh tried or just started is a little online shop where I'm selling uh some of my sheet music to a lot of I saw that on your website yeah gonna be there in a few days and uh yeah um let's see how that works out but uh if anybody wants to check that out feel free to do that I'm always gonna you know expand the collection yeah and add some more over time yeah yeah I think that's great and what's coming up next are you gonna work more with Steve and Will or are you doing something different? 01:02:41.440 --> 01:02:42.800 What's on the horizon? 01:02:43.119 --> 01:03:38.480 Um this week I think on Wednesday actually I'm uh I'm doing another gig with with Manu and and that band with the uh Chris Mindoki's band and uh what's the band called it's uh Chris Mindoki and the nomads wow I gotta check that out my respect there and that's a that's a really fun project I hope we uh we actually get to record something it's it's a pretty new band we just had our first gig last week in Italy and uh yeah it's it's a lot of fun man I think uh I think a lot of people don't know that Manu is also a great jazz player and if I remember correctly back to the whole classical music orchestral I read that he grew up playing orchestral music and when I listen to him play I hear that from being a drummer myself and playing in an orchestra whether he's playing with Robbie Robertson or Peter Gabriel whoever that that really comes out would you agree? 01:03:38.719 --> 01:05:08.800 Yes absolutely it's a it's a completely different approach to pretty much all drummers that I've played with uh up until now and it's really inspiring he's got such I mean of course he got amazing pocket amazing sound everything but there's uh a really some some very special kind of openness to to what he does a lot of space it's hard to describe yeah a lot of space and and a lot of great ideas flying around and and really responsive and just unbelievable it was so much fun to play with him and uh yeah so there's a uh a wonderful thing that's gonna happen on the second week of weekend of August Wolfgang Hoffner the the drummer that uh talked about already yeah he's great he's he's from uh Nuremberg Germany a town in in the south of Germany and he always does a a huge open air concert every every two years I think every second year and um it's an incredible event he always has wonderful guest artists and there's a a big band that he handpicks from all the German uh radio big bands and all of that so it's a it's a really big uh wonderful you know meeting of so many great people and and great musicians and because it's an an open air thing in his hometown sometimes if the weather allows for it as many people as 60 70 thousand will show up so it's it's an incredible beautiful thing. 01:05:09.119 --> 01:05:23.519 Good God and yeah and you know we play funk and jazz and big band music for that kind of audience that's a really rare thing and I think it's the it's actually the the biggest jazz open air event in in Europe as far as I know. 01:05:23.679 --> 01:05:34.480 And he's the the musical director you know he he uh he announces everything he's like the the yeah the leader of the whole thing and it's it's wonderful to be a be a part of that. 01:05:34.559 --> 01:05:35.760 So that's coming up as well. 01:05:35.840 --> 01:05:39.440 I'm really looking forward to that sounds like the jazz version of Glastonbury. 01:05:39.519 --> 01:05:40.320 That sounds really exciting. 01:05:40.559 --> 01:05:49.280 That's right that's yeah that's kind of what it is yeah absolutely well listen Simon I really need you to get Steve and Will in the band and come play the West Coast. 01:05:49.440 --> 01:05:50.400 So make some calls. 01:05:50.800 --> 01:05:57.760 I would love to if you come play out here I will bring the espresso oh man that's that's enough of a reason to do it. 01:05:58.000 --> 01:06:18.880 Yeah man we we tried already to to to make something happen in the States but the because Bruno and I are German citizens we only have a German passport it's so hard to get a uh an artist visa it's it's devastating we wouldn't love to do that but it's it's very very expensive and it's it's gotten worse over the last couple years. 01:06:19.360 --> 01:06:38.320 And um no comment yeah yeah exactly and uh you'll need a a lawyer from the states oh my god to take care of that and it it can cost so much money and then you still don't know whether you're gonna get it so we would love to make it happen but it's with the situation the way it is right now it's it's it's hard. 01:06:38.880 --> 01:06:39.679 Very challenging. 01:06:40.719 --> 01:06:47.840 Yeah you know if uh anyone still wants to make it happen you know we we would love to but it's uh it's it's crazy. 01:06:48.079 --> 01:06:58.239 I was gonna say if there is anybody financially abundant out there listening we gotta get Simon out to LA and we need the right band too I'm gonna make some calls. 01:06:58.559 --> 01:07:02.960 Hit us up that sounds good man it would be fantastic it would be so great. 01:07:03.199 --> 01:07:10.159 All right Simon it was an honor talking to you thank you so much and I didn't even get through all my questions so maybe could we do this again in the future? 01:07:10.400 --> 01:07:20.320 Please absolutely what a pleasure man thank you so much wonderful to meet you likewise and uh please keep up the good work and thanks for your great podcast man I really enjoy listening to it. 01:07:20.480 --> 01:07:21.440 That's fantastic. 01:07:21.599 --> 01:07:22.480 Thank you. 01:07:40.960 --> 01:07:55.199 Hello my name is Jefferson DeLeon and I am a scientist in the biotech sector and a comedy musician and I am a proud sponsor of the Creativity is the cure podcast because creativity is central to who I am and what I do. 01:07:55.440 --> 01:08:05.440 Check out my creations on my website JeffersonDeleon.com that is J E F F E R S O N D E L E O N E dot com.