He was like, my johnsen's hanging out,
I work
really hard to get that,
OK?
Good afternoon.
Critics have said about Michael Brecker
that his musicianship is the
strongest in the last decade, maybe
the strongest influence since John
Coltrane.
I know that you'll be amazed and enjoy
his musicianship, but I
think you'll also see a
very personal side of Michael and
a very quiet side, honest
and very sincere.
Please welcome Michael Brecker.
Is this on?
Hello, everybody.
Um, wondering.
And do something with this.
Is anybody there sound person back this
is reminiscent
of.
OK.
First lesson is never leave coffee on
piano
or he made that mistake
one too many times.
OK, we're going to start off just playing
a tone and then maybe
I'll talk for a while and, uh, and then,
uh, play a little more and then
find out what, you know, what you want to
say.
OK.
The plane was.
Would be fine. I guess I want
to want to put,
uh.
So.
O
o o o
o o.
Oh.
Oh,
oh,
oh, oh oh
oh oh
oh.
O
o o o
o o
o
o.
Boom, boom, boom, boom, boom,
boom, boom, boom,
boom, boom.
O o
o
o o
o.
This is kind of a funny situation because
I really feel like playing is great
musicians, you it's just fun.
But the whole point of me coming here is
to talk, I think, you know.
All right. Well, we'll split the
difference. We'll split the difference
and.
You know.
Uh.
I'll tell you a little about my life, I
guess, and and what I'm doing right now,
and then we'll play a little more and
maybe take some questions.
OK.
I'm not used to having a
microphone here,
and this is I'm
on TV
hello, uh,
I'll run through a brief history real
quickly.
I was born in Philadelphia.
I came from a musical family.
Every one of my family plays some
instrument or another. My father's a
pianist.
My mother's a pianist.
My sister's a pianist.
Uh,
I play a little piano.
And when I was a kid, I thought everyone
was a musician. Know it was the kind of
family I grew up in.
It was a shock to me to find out that we
were kind of an oddity,
I began on clarinet at a very young age
and played it not
too well and
was more interested in sports.
Really.
My first influences were that
I can remember where Clifford Brown
and
Jimmy Giuffre.
I remember learning clarinet solos
for Jimmy Giuffre Records when I was
about six years old. I used to play into
a, uh, into a garbage
can forever, you know,
and I had a little gold wastebasket,
and that's where I practiced, you know.
And to this day, I still love reverb,
you know?
And if I do an album, they always have to
turn my echo down in the mix, you know,
uh,
I
switched to saxophone after hearing
Cannonball Adderley play, um,
and began to take it seriously, I guess,
in in in junior high school,
also playing basketball.
That was my major pastime.
And I started playing professionally,
really in high school.
I started listening to a lot of Coltrane
and was playing with a lot of musicians
that were older than me.
And I studied privately, which
I generally always did and still do.
Uh, and I
played a lot around Philadelphia and
eventually went to Indiana University
initially to be a music major.
And I switched my
major at the last minute.
This is my one of my moments of
rebelling. I realized that I had been
playing music half my life, half my life,
partially to compete, you know,
to for my parents approval,
you know, because that was the way my
family was.
So I switched. I was at Indiana
University and I switched to premed
was a brilliant decision.
And now I was stuck out there and premed
and that wasn't working too well.
So I tried fine arts, you
know, and meanwhile, all the time, all I
did was spend time in the music school
practicing and my fine arts teacher,
I had some talent and drawing.
I became friends with one of my teachers
and he just told me to move to New York
and play music.
So
he he dropped a subtle hint.
Uh, so I did that.
I moved to New York when I was 19 and
my older brother Randy
was had been living in New York
for about two to three years at that
point and was playing beautifully and
starting to work quite a bit.
He did really well very quickly.
And he was very nice to me when I
went there and introduced me to a lot of
people.
And, uh, I didn't have to scuffle
real hard, uh, because
I did have some connections through him.
Uh, of course, I you know, I scuffled
for a couple of years, uh,
but I always managed to work.
I just took any gig I could get, uh
uh, you know, any kind of weird
rehearsals. I didn't pay anything, you
know, and I always was fortunate to meet
people, you know, particularly the
weirdest rehearsals.
That's where I met some sometimes the
people that became most important
later on.
Um, I also
continued to study privately
with various people. I tried all kinds of
I studied the Shillinglaw system and, uh,
and, uh, took some lessons from Joe
Henderson and studied with Joe Alad,
who uses me as an example of what not to
do when a saxophone and,
uh.
Looking off camera, where's the camera?
There's the camera I
have
I at
that point,
I neglected to mention, I guess, that I'd
always been playing Rock and Roll and RMV
in Philadelphia.
I grew up listening to Ray Charles and
had always been, you know,
listening to AM radio, much
to the dismay of my parents, you know.
And so I began
really getting into into rock
music in college and
was very serious about it.
Uh, and I
really listened to a lot of blues and
studied that idiom and checked
out a lot of guitar players.
And by the time I moved to New York, it
just happened to be that kind of timing
where there was a kind of a, uh,
a need for horn players
that
wanted to play on records that that
could play something other than bebop,
which I also was able to do.
Uh, so I started getting
some work
on some albums, and
I formed a group with my brother and some
other people called Dreams, and we did
some recording for Columbia.
Um, the records were
an amazing failure. They were great
musically, but they didn't sell anything.
But we did get a reputation in the
business as a good horn section.
And Barry Rogers was playing trombone
with us.
So we started doing dates, a lot of dates
as a section.
And, uh,
I continued doing other things, playing a
lot in lofts in New York and jamming a
lot and just trying to stay active.
Uh, after dreams
broke up, I went with Horace Silver for,
uh, for about a year and a half.
And that was one of my favorite gigs,
uh, ever, because that was like going to
college for me.
And I really, really worked
hard. I practiced a lot during that
period all the time, you know, before
the gig. I don't know how I did it.
In retrospect. I had a lot of guts.
I always make amazing noise in
the hotel rooms and get complaints.
And I really wanted
it, you know, so
I stayed with Horace and
after that I went with a myriad of
different groups. I played with Billy
Cobham for a while, and then my brother
and I formed a group called the Brecker
Brothers, and
I made a bunch of albums for Arista
Records and, uh, and continued
to to tour a lot and practice a
lot and just, uh,
also do record dates.
Uh,
right now I'm playing, uh,
in a group called Steps Ahead.
We just did another album.
Uh, we finished it a couple of days ago.
Uh, and that should be out in a few
weeks, believe it or not.
And, uh,
I'm studying composition presently
and, uh, working
pretty hard on that.
Uh, and
I'm working around New York and I play on
Saturday Night Live every week, which is
fun.
Uh,
and I'm drawing
a complete blank. What else did I want to
say?
Um, yeah.
I'm going to throw it up open to
questions in a minute, because it's hard
to talk to a whole group of people not
knowing really where we're at.
You know, everyone's at a different
place. And it's silly for me to talk
about harmony and and improvization
because that's real well covered here.
This is really the best music school in
the world, I think, uh,
and, you know, I guess
I'm not really here to talk about that,
but I'll you know, if anybody has any
questions about that, I use this summer
saxophone
and it's a
Lavoie's medium read
and this happens to be dying.
This read and the
mouth piece is presently a Dukas
denied.
And I'm not suggesting
I'm not suggesting that at all.
Saxophone players use this.
This is what works for me.
Uh, everyone is different.
Everyone hears differently.
The only suggestion I can make is go for
what you hear and that
and if possible, try not
to let anyone sway you.
You know, if you're looking for a sound,
uh, stick
with it, unless it's really obviously not
working.
I know when I switched to this, I had
been playing a different setup for a long
time and I had to switch because of some
physical problems I had. And I found this
set up and I liked it a lot.
And a lot of people in New York, a lot of
the saxophone players told me to not not
to use this.
And now pretty much all of them are using
the same thing.
So of.
So I kind of learned a lesson from that.
You know, I just have to go with what I
think sounds good for me
and, you know, and hope
that it's OK.
Uh, well,
I made this list of things to talk about.
I don't really feel like looking at it.
So maybe, uh,
if you feel comfortable enough to ask
some questions, I'd be happy to, uh, you
know, to answer them the best I can,
you know.
Anybody want to put something into the
air? Yeah.
Hi. Yeah.
On the heavy metal, people found this
song called Monkey See Monkey.
Do you get free jazz today that
songs that you play, two saxophones.
What is actually happening?
Do you do that. So, uh,
what was happening
was that I was playing electric saxophone
and at that time
I was using a real cheap,
uh,
kind of a cheap effect, you know, cheap
thrills.
And there
really wasn't much I could use it when
that was in terms of electric, electric,
uh, things sometimes have changed quite
a bit now, but at that time, I think it
was called a frequency analyzer
and it cost forty dollars or something
like that. And I push a little button
and, uh, I found a good
use for it. It was kind of limited, but I
found a couple of things that I could do
that enabled me to play chords and
play along with it.
And I think I was using a, uh, an
envelope follower and some some
other things.
You know, I say they're cheap gimmicks,
but actually the trick is figuring out
how to use them. So they sound, you know,
so they sound good.
Thank you.
Yeah, you say you listen to it or do
that, you did listen to a lot of guitar
players. Yeah, um,
the question is, why did
I listen to guitar players?
Uh, I
did, because I liked the way they played.
Have.
But seriously,
I was looking for other
I mean, pretty much my playing is
generally mimicking other things that
I've heard. You know, I'm not
tremendously original.
You know, I just I listen to things
and then I learn them or I hear them
enough. Then they get into my psyche and
then I distort the hell out of them, you
know?
And what
what I was doing then was just I loved I
was very excited by guitar players,
particularly around in the beginning, in
the late 60s and
and early 70s.
It was just it was a whole excitement
happening on the instrument, you know,
the way they bent notes and when
they played the blues.
And I really I like what they
were doing. So I tried to figure
it out. Weird fingerings on the saxophone
to emulate, you know, the way
they would then notes and try and get in
between the major and the minor third,
you know, and.
And I was just experiment looking for
other avenues, you know, I still, you
know, I don't just copy saxophone
players, although I still have to copy
saxophone player.
Uh, if I hear anyone play
a phrase, you know, if it really gets my
ear, I try and figure out what it is.
You know, I find a record
that it's on and that, you know,
slow it down if I have to and
figure out what it is.
Uh.
You know, I think it's a real useful tool
also, you know, to to learn
solos or learn parts of solos.
I know that's a question that's often
asked me, did I learn solos?
And the answer is yes.
But I didn't have the discipline to learn
whole solos. And I did it occasionally.
But I found it helpful for
me if I was going to do it, to copy it
out myself and not
do it out of a book, because somehow it
sank in more.
And I also found
it helpful to once I learned how to play
it along with the record to figure out
how it lays over the rhythm section.
But more often I took pieces of guitars
or saxophones and trumpets,
piano solos, and if I heard a lick that
I like, I'd steal it,
you know, and
eventually, I mean, my memory is not so
good, so I forget it.
And it would come out in some other
weird, bizarre way.
A few months later, I found that it was
usually two months I worked on something
like two months later.
All of a sudden it would creep out.
I'd be playing somewhere and all of a
sudden, you know, that would come out.
And then, you know, it
was never really a conscious process.
I was never one of those people that
could learn something and I'd play it
that night.
I just I always have to trust that it's
going to come out somewhere in my psyche.
And it's music for me is
largely intuitive.
I was talking about that earlier.
I'm not a real intellectual kind of
player.
My mind doesn't work that way.
I think fairly quickly I'm aware of
the chords when I'm playing most of the
time.
I'm not real tuned into that.
Lately I've been more tuned into shapes
and pivot points and
melodies,
particularly when I'm recording.
I've been trying to concentrate on
playing a lot in melodically and less
less mechanical, playing looser
and just let you know what naturally
happens, happened without trying to color
it.
Um,
I wanted to do this. I was thinking about
this early. Maybe this
is a risk.
I was talking also earlier
about time, about rhythm.
For me, I think
the most important thing is, is time.
You know, I don't know the word to use
for it swinging or kukan or you
know,
without that, it doesn't matter what
notes you play.
Notes are important, too, for me.
But if I'm not
somehow really connected in a meaningful
way to what's happening and the rhythm
section, it really is pointless,
you know, in jazz music
or jazz related music,
uh,
I don't know how to paint.
I've never done this. I just want to do
this.
I don't know.
One way I worked on
it was to play to those to play the
drums. I was wondering if I could just
this could be real embarrassing.
Can you lift your seat a little bit?
Thank you.
Over the coffee.
Bear with me.
I haven't done this in
quite a few months.
We
want to just do a blues again to sing
this well, just to play a couple of
quarters, play for a minute,
and then I'll stop
around the, I guess, the same
tempo we went
and what
you want.
I did that, I guess just to show I'm
serious that, you know, that for me,
rhythm is the whole thing.
I'm real attached to the drums.
I don't play it too often anymore.
But, you know, when I was younger, I
really sat down and tried to figure out
how three goes against for, you know,
what makes music swing.
And then from playing with a lot of
saxophone players, I used to play drums a
lot with saxophone and they used to like
to play with me because I knew where they
were coming from.
And it
was like the reverse side
of the coin. You know, I suggest, you
know, I mean, it's just a suggestion if
anyone wants to learn more about that, to
take up a rhythm section instrument
and, you know, screw around with it.
And it's amazing what you learn.
Uh,
when I did that.
Hi.
Yeah, yeah,
I know I've been thinking
about it lately.
The question is, why do I still do
I study saxophone privately?
Not presently.
Uh, I took a
breathing lesson last weekend
from a trumpet player.
Um,
a lot of times, you know, I you know, I
end up getting together with saxophone
players in a couple of times.
I ask people, ask people for
lessons and they they don't take me
seriously.
Uh,
but, uh, I've been thinking of trying to
get back with Joe Alad a little bit also.
And I think you I.
Who with and where do you study
composition?
I studied with a guy named Edgar Granna,
who's a teaches at Juilliard in
New York, and
that's a kind of expansive thing.
It's going to be you'll probably be there
for a long time.
And part of it's just psychological
approach. You know, it's interesting.
Thank you.
I'll talk more about
that. Yeah.
It's kind of hard
to talk about because I don't know its
composition, it's giving me some basic
tools.
Uh,
we're going to start working on string
writing soon.
Right now, he has been working on
it's going to sound tequila's ersatz
lines. It's 12 tone writing,
making a matrix out of
it, out of a melody.
And then
I explain this exactly,
uh, getting
the
voicings from The Matrix.
And it's a whole other way.
It's just another way of thinking for me.
I'm used to chords
and and notes and lines,
and it's just a way for me to it's
another tool I've been using, you know,
just trying to voice lines,
uh, using kind of a different system,
using this guy's system, you know,
remains to be seen if it's going to, you
know, help me a lot.
And I've written a couple of compositions
on that based on that approach,
that help at all, I.
The
question is, how did I like working with
Hal Galper, I liked working with Hal
Galper, he's a great
pianist and
that was a chance to play a lot in an
acoustic setting because I was playing
with Brecker Brothers, like totally
electric. And I needed to you
know, I get crazy in either way if I get
too much one way or the other.
So we did quite a bit of playing
acoustically, did some touring and
made
a few albums.
Uh, and he's a wonderful pianist.
Thank you.
What's the what's the rehearsal schedule
for Saturday, but
the question is, what's the rehearsal
schedule for Saturday Night Live?
And it's a very, very hard
gig. I mean,
it's a tremendous test of will and
patience and persistence.
I get there at Saturday morning
and rehearse from 12 to one
and then I show up for the gig.
Well,
thank you.
OK, occasionally we do
we do a pretape, uh,
most of the playing we do on the show is
doing the commercials and we play the
theme in the closing theme.
And it's just it's fun.
It's fun. It's a fun
job just to, uh, to watch what goes on
in the studio.
And it gets really crazy.
And I enjoy it like
it was last week.
It was so strange that
it wasn't you.
Oh, that was a rerun.
That was from, uh,
uh,
I don't know his name. He's, uh,
he was good to watch.
Uh, you
know, he he's with the group.
He's with the stray cats.
Oh yeah.
Oh yeah. Yeah.
So I really I really didn't get to meet
him. Uh, that particular show though,
that was a rerun. We did a skit with, uh,
with Eddie Murphy, uh, playing
James Brown in the hot tub and
uh.
And there's two things that
I don't like to do,
that I always get embarrassed when I go
to the beach, right.
And that and the other one is dance
and both of them I'm real.
I always I do them, but I'm queasy about
it, you know.
And my friend was my first show,
you know, and what did I have to do but
get dressed up in a bathing suit and
dance.
All right, back out to
our series of very negative
degrees of comment on today's
contemporary effusions, obviously
thinking of possibly how you feel about
it. Could you elaborate on that?
And also, do you consider it?
Yeah,
uh, I think it's ballsiest fusion
right now. Just kind of.
That was from a review of Brecker
Brothers since.
In fact, that was a review of Brecker
Brothers, we weren't even playing on the
album that they reviewed, they
they just singled us out for some reason.
It was
my I guess
my only comment is that I'm
I never liked the word fusion, first of
all. I mean, there was a kind of a fusion
sound happening in the late 70s, you
know, and
right now, all I can say is I'm real
excited by what's happening
in the whole kind of techno world.
I know it freaks a lot of people out,
a lot of horn players and rhythm section
people who get paranoid because they
think that the machines are going
to take over.
You know, and I
really find it for me, it's a state of
mind with steps we're really working
now with with a lot of synthesizer
and a sequencer and and drum
machine. And we're trying to work it into
the music.
And and we've been really considerably
successful. I'm real pleased about it.
I said earlier, it's like all of a sudden
for me, it's like playing in Technicolor
instead of black and white.
We had we had a sequencer playing
behind us.
And
I know it's a tough question to answer
because it's you know, it's so general.
I mean, there's so many kinds of music
and there's so much good music happening,
you know, and some not so good.
And I really don't think that the issue
is a is electronics.
But the people who are playing it,
you know, uh,
I don't I guess that's my answer.
Thank you.
Hello.
In your album, Cityscapes was Plaza
was that it was a unique challenge, was
it a good project?
Um, yeah.
The question was, uh, was the album
Cityscape with class organizing a
challenge? Uh,
it was a challenge, yeah.
And
I, I loved the album.
I really am very proud of that album.
Uh, uh,
there was I
don't know, it was a real unique
experience. I hope we do it again.
Um, class argument is it really
is a really unique
kind of arranger.
Uh, next time we do it, I'd like to spend
more time. We did it fairly quickly.
And, uh, and the music
was difficult, particularly the chords
that he writes. You know, I really what I
did was I just threw the sheets away,
you know, and use my years because I
couldn't figure out what the heck, you
know, he'd write the chord and then the
strings would be playing something really
bizarre.
So I really I had to, uh,
throw the music away.
What I tried to do also was leave some
space and some of it, you know,
and, uh,
you know, that was a it was a great
experience.
Thanks a lot.
Yeah. Can you tell us a little bit about
how you used to share
this with yourself?
Yeah, well, all of the above
everything you mentioned, uh,
I practiced
with a metronome.
I've never been real good in discipline.
I hate to say it.
You know, I know I'm supposed to stand up
here and say, well, you know,
practice, practice, practice, discipline,
eight hours a day.
Uh, I've always gone
in spurts.
Um, I
have at times used a metronome on two and
four.
I get depressed when I do it because I
rush, you know, um.
It does help, you know, uh,
I used
to do a lot of arpeggios, you know, I'd
figure out a series of notes
I'd like to phrase write a four notes.
You know, I put it in major.
You know, I do it I do it in whole steps
and do it. Minor thirds do it.
Major third's backwards,
you know, just string a bunch of things
together.
And and that helped me quite a bit.
Uh,
you know, as I said, I learned solos for
me. The trick was I played as much as I
could.
Uh,
I played along with records, you know,
and, uh,
I spent a lot of time wasting time
in a certain way, you know, practicing.
I have a bizarre there's no system.
I had no system.
I just sit around and
get something in my head and then work
on it for a while and then maybe the next
day, if I was lucky, I'd work on it, you
know, and, uh,
somehow it would sneak into my playing.
Uh, I try to practice things that are
going to be practical.
Um, certain licks
I was talking about earlier, certain
licks or certain phrases only sound
good and certain keys. I'll learn them in
every key, you know, just to
know it. But I have to stay aware that
that I'm really not going to play a
certain thing down at the bottom of the
horn because it sounds like crud.
You know, uh
uh, playing with other saxophone players
has helped me a lot.
Playing with drummers, just tenor and
drums was a real good, good
tool for me. That's really kind of a
saxophone thing.
I don't know how well that works on other
instruments, but, you know, uh,
that helped me a lot.
And I also keep a notebook.
Uh, I always
write the date.
And and when I practiced,
you know, or the ideas that I came up
with and
like,
um, the book
is only one page long.
So
now it's gotten kind of, uh, it's been a
little thin lately.
You know, I look back at, you know,
and I see like the last time was like two
months ago. And I thought, oh, my God,
uh, as I said, I practice in spurts.
Will be a whole series of a few weeks
will really be hitting it.
And then I stop and I play
and I and other things come up.
I should also say right now in my life,
you know, my priority was always music,
music, music, you know, before everything
and nothing else really mattered.
And that's kind of turned around for me
in the past two or three years.
So it's not that it's taking a backseat,
but it is taking a backseat a little bit.
It's still very important to me.
But I kind of found through
trial and error that, uh.
The rest of my life directly affects
the way I play spiritually and mentally,
and so I've been
trying to keep, you know, trying to stay
healthy and keep a good balance, you
know, on a spiritual and mental and
physical level.
And, uh, and then music fits
in and it's a lot more healthy, you know,
I'm just not into killing myself anymore.
I tried that route and
it was was not happy.
You know, I sometimes played well, but
I was very miserable.
Thank you.
Yeah. Why didn't any record brothers
never done a tour of the United
States or where were you
the recent. Since I was.
I never heard of you coming
to where I used to be.
I've never heard of any of them coming
after the blue was the last time
that happened.
We stay away from Detroit.
No.
Know, we played we have played Detroit,
um, uh,
we haven't toured in a in a good,
uh, two or three years
really. So I don't know where that puts
you chronologically.
Again, it's not trying to say I hope
soon as I've seen you by yourself,
like probably ten times and I see
myself like, oh
yeah, yeah, it's in the works.
There's nothing definite planned.
We needed to take a little bit of a break
because we've been playing together for
years, you know, and, you
know, just for the for our own health, we
wanted to just, you know, kind of do
separate projects for a minute, which,
you know, we've done.
And we're in the process of doing it.
He's making an album right now
and it's real good.
And he and his wife are expecting a baby.
And, you know, it's exciting things
happening there
in the future. I really suspect we'll you
know, we'll do some touring and playing
together, you know, because I love
to play with him. We have a, uh,
I guess from being brothers and
growing up playing in the bathroom
together.
Uh, we have we have some
kind of weird, intuitive communication.
I don't I never have to ask how he's
going to phrase something like, we have
to play a part. You know, I just we can
just play it right off, you know?
And I suspect Wynton has that with
Branford, you know, and who
knows, uh,
uh, trying to think of another.
Thank you.
You catch my drift, right.
Uh, Jimmy and Tommy
Dorsey. Right.
Can I ask you about
that one lady that she
be
primarily the reason she.
The question was a personal question.
Why did why did Eliane Elias,
uh, my brother, Randy's wife,
leave steps?
And, uh, it was
I forget there were a couple of reasons.
One was that that she was going to have a
baby and they had just gotten married.
And, uh,
I think she wanted to stay in town,
actually forget the
they were forming a group to and that
was. Oh, that was. Yeah, yeah.
That's the answer to that.
What was it like playing with,
uh,
the question is, what was it like playing
with Pat Metheny?
And
the answer is it was one of the best
experiences I ever had.
You know, we did a tour with Joni
Mitchell together, and that's where we
really found we had an affinity
and, uh, since recorded
with him and toured with him.
And we played really well together.
There was talk about us doing something
in Japan together over the summer.
I don't know if it's going to crystallize,
but I, uh, I love his
playing and his conception and and
maturity and his playing.
And he's really a phenomenal musician.
I didn't know.
No,
it hasn't come up lately,
uh, but I'd certainly, you know, I mean,
if if the situation came up, I would love
to do that, you know.
Thank you.
Actually, I was wondering what you had to
say about James Taylor as a
songwriter musician, David.
OK.
Yeah, that's actually a good question.
You know, a couple of my favorite
subjects, the question is how I feel
about playing with James Taylor and
how I feel about Dave Sanborn.
I respect James tremendously because he's
a he's a he's a very innately natural
musician, extremely talented
and creative.
He's a he's a real brain in
every way.
Uh, and I liked the recording
I did with him because he let us get
involved in making up parts and
determining where the music was going to
go. And
whenever a musician does that, you know,
that is
in the kind of sales bracket
that he's in. It's always it's fun.
You know, it becomes real creative and
we enjoy it. As far as Dave Sanborn, he's
one of my favorite living musicians
and I'm a complete fan
of his. You know, man can say more than
one note, you know,
than than a lot of people in ten.
You know, he, uh, he
just plays amazingly well.
Uh, he's a real voice.
You know, there's something very, uh,
you know, the word, uh.
Again, another word I'm looking for, uh.
Like,
he has a unique sound, you know,
and that gorgeous way of playing
lyrically passionate,
you know, and,
you know, freaks me out.
It's a real pleasure to stand next to him
and listen to him play.
And he's also pretty much my
favorite player to play with
in a section, because we have a real nice
kind of way.
We are. Sounds fun.
You would think that they wouldn't blend,
but they kind of blend real nicely.
You know, I've learned a lot from him.
Thank you.
Meeting with
Puedes.
What do replacer.
I've had enough.
OK, is that like the.