April 30, 2025 • 30 mins
On this week's episode actor/musician Jeff Goldblum talks about his new jazz album, which includes duets with his Wicked co-stars Ariana Grande and Cynthia Erivo among others, his film work, tour plans and he and Sage Bava bond over their love of the Great American Songbook and sing several songs together.
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Speaker 1 (00:04):
Hey, it's Steve Balton and welcome to this week's end
service of Where Saves Bob and I are joined by
actor musician Jeff Goldbliam to talk about his new jazz album,
his film history, and so much more. A really fun
conversation that includes Jeff, who sings on the new album
with Cynthia Rivo Ariana Grande among others, and who has
(00:27):
a history in the past singing with Haley Reinhardt among others.
Speaker 2 (00:31):
This time takes.
Speaker 1 (00:32):
The liking to Save the Bava and the two of
them do several songs from the Great American Song Got Together.
Speaker 2 (00:38):
It's a lot of fun to.
Speaker 1 (00:39):
Hear and shows you a different side of Sage, who
is an up and coming recording artist in her own right.
So hope you enjoyed this one as much as we did.
We had a lot of fun doing it. Not as
much about as Sage did, but a great time for all.
(01:02):
It's funny that great collaborations on this album. I mean,
talk about what you look for in vocalists that you
work with.
Speaker 3 (01:10):
Well, you know, it's not as if we have or
that I have so much any strategy. I guess I
have a wish list. There are people I you know,
am you know, have a creative crush on you know. Uh,
and it's just it just kind of pops up. It happens.
I was doing that movie Wicked, and that's where Ariana
Grande and Cynthia revotes. So geez, I just think that
(01:33):
they're out of this world. I mean, of course they're
they're you know, eighth degree black belt, masters of music
and acting. As we know. Uh, they're just incomparable and
we just had a good time. I should have been
shy around them, but I was singing every song that
I knew from the American song Book and and we
all were singing. And then one day I was I
(01:54):
got to singing that song. I don't know why I
love you like I do. I don't know, I just do. Uh.
And Arianna said, well, why are you singing that song? Hey,
my grandfather sang that to me every day. That's a
very special song to me. I said, well, you know,
we have this band if you'd ever want to record,
and she I'll be done and said yes I would,
(02:14):
and Alex Frank and Joe Bagg arranged something for her.
I love what she does. And then Cynthia I said,
you know, boy, that would be a dream come true.
Any would you like to do it? She said sure,
and we said, well, let's think about it. And we said, well,
wait a minute. Cynthia is from England. Hey, you know
that song We'll Meet again? Very important over there in
(02:36):
England during World War Two. And Vera Lynn had that
big hit that Stanley Kubrick used at the end of
Doctor Strangelove movie that I adore. We suggested it and
she said, yes, that's perfect, and so we did what
we did. I love that and Scarlett Johansson, for instance,
I'd done those couple of Wes Anderson movies with and
at the.
Speaker 2 (02:55):
Premiere I've known her for years.
Speaker 3 (02:58):
Isn't she great? How did you meet her? Anyway? She suggested,
you know, the best is yet to come and that
Boston Nova version of it, and I'm crazy about what
she did with it. How did you meet Scarlette first time?
Speaker 1 (03:10):
I used to do film writing as well, and we
had lunch in New York and it was the most
surreal experience. And it's funny because I've gotten to know
her beyond this. The first time we met was right
after nine to eleven. I was in Europe with my
ex wife and I stopped back in New York to
interview her over lunch. She literally walked me down to
ground zero. And then a few years later I ran
(03:32):
into her at a Bowl Valley. We were both at
a bowling party and I was like, do you remember this?
And she's like, you know the name of the restaurant?
And I was like, dude, you literally walked me to
ground zero. I can't tell you shit about the restaurant,
but you know, I can tell you about the lunch.
And yeah, her album of Tom Waite's covers was amazing
because that's my favorite songwriter of all time.
Speaker 3 (03:52):
She's amazing and everything she does, yeah, she's I'm thrilled
to know her. I've known her for a long time
and we did those couple of west Anders some movies.
I'm crazy about what she does on this album. I
hope we can do it live. I don't want to
ruin any surprise, but we're going to be at the
as you may know, at the Carlisle Hotel. Our band
has played there before, but we're going to be in
(04:12):
that Bobby Short room and played that lovely piano. I'm
hoping that she can join us maybe and sing that
song with us, yore great and.
Speaker 1 (04:23):
Let's say it shake over in a second. She's an
expert on the great American song. But I just have
to say, my favorite vocal moment on the whole album, though,
is your version of every Time We Say Goodbye, because
the way it's enunciated is so interesting to me.
Speaker 2 (04:36):
You know, it's so clear and deliberate.
Speaker 1 (04:38):
The way you said the opening line of every Time
We Say Goodbye, I dialttle. I started to think about it,
and I was like, you know, if you can ever
feel that way, you're really lucky.
Speaker 3 (04:50):
If you're lucky. If what if you ever feel.
Speaker 2 (04:52):
If you ever feel that way about someone.
Speaker 3 (04:54):
Oh yeah, if you love them so much, if every
time we say it bye, I die a little. Yeah,
you are lucky. Well you've had I I you know,
I've been very lucky myself. I could draw literally for
my own life there. And I'm currently with Emily Goldbloom.
And she's just the just the uh you know, queen
(05:18):
of her species and the miracle of the cosmos. And
I'm lucky to have ever gotten to see her. And yes,
we say every time we say goodbye to her and
and the kids to a river and Charlie this morning.
That's you know. When I saw them off for school,
I say goodbye, have a have a good day, and
(05:39):
they say, have a good day to day. And it's
just it kills you in the worst in the best way.
And Emily says, we say goodbye, sweetie, I love you.
She says, I love you, and then we say goodbye.
It's delightful, isn't it. Life is musical if you're lucky enough.
Huh yeah.
Speaker 1 (05:59):
And I love the way saying it because it just
puts such an emphasis on that thought.
Speaker 3 (06:03):
Yeah, yeah, thank you. And how about what clever lyrics
when he says, what is it? You know it's changed?
And how strange the change from major to the minor,
at which point he changes the card from major to minor.
Very clever. I love that song.
Speaker 4 (06:25):
That's got to be one of the best songs of
the Great American Songbook for sure.
Speaker 3 (06:29):
Yeah, I love I think so. I know I do too.
How are you tell me everything? Are you well?
Speaker 4 (06:35):
I'm very well? Thank you? I love the Green my favorite.
We're math from there, but I'm excited to know that
you're coming to the Carlisle. I go there quite a lot.
My friend Tony Desar plays and I always sit in
with him, so that'll be very exciting. And I know
scart Scarlett is always there because she has placed right
up there. So very cool and love love the album.
(06:58):
I am such greatermer songbook fiend for my whole life.
And I was curious, like, there's so many beautiful songs.
I loved hearing the Ariana the Cynthia story of how
those songs kind of happened serendipitously. But was that the
truth for the whole project? You just kind of came
upon these songs or did you have a really good
think about, you know, which songs you were actually going
(07:19):
to choose to do?
Speaker 3 (07:20):
Well, you know, my band mates are experts, you know,
and so they know every recording made and what might
be you know, what we might be able to add
something to the continuum of you know, the of what's
been there. And there are things we particularly love or
that I love and that we've played live a bunch
(07:41):
of times, like well, you know, Grease Patrol we've played
a bunch of times, and Blue Mine or Sunny Clark.
You know it's from Pittsburgh, like I'm from Pittsburgh and
he's an unsung hard bop hero, you know, much respected
in the jazz world and sometimes not given enough credit.
And I love that song Blue Minor that he does,
(08:02):
which has a an unexpected Latin bridge to it that
I particularly like. And O by a you know, felonious Monk.
I've always when I was a kid, I remember when
his picture was on Time magazine? Was it? Yeah? I
was on the cover of Time magazine and I became
aware of him and I went, wow, what's that? Because
(08:23):
as you know, any two notes that he plays, you know,
you you know who it is. And I like his style.
You know, he had an individual style, didn't he with
his rings and his hats and uh you know, so, yeah,
we come upon It's kind of organic, how we you know, finally,
you know, choose this bouquet of songs? What do you
(08:46):
like from? But you like everything from the American Songbook?
What do you like? Now? Name a song and we'll
sing it together.
Speaker 4 (08:52):
Misty is always my first one. I say which one?
Speaker 3 (08:58):
Well, Errol Garner? I love Erler. A lot of people
have sung that. That was my dad's favorite song. He
brought home that vinyl Errol Garner plays Misty and pointed
out to me what he particularly appreciated about that song. Okay,
ready you pick a key, walk.
Speaker 5 (09:13):
My way files or it might be the son of
your Hello, that music, guy, I get misty the mold.
Speaker 3 (09:37):
Your need, if you will, I love that. Hey, you
sing up a storm. You're a nightingale. Thank you.
Speaker 4 (09:47):
That song is so stunning. And we did I think
in the original key e flat there.
Speaker 3 (09:52):
Yeah, that said you have perfect pitch.
Speaker 4 (09:54):
Really not perfect pitch, but I was just you know,
I love that song so much that it's just kind
of turned into the into my brain.
Speaker 3 (10:01):
That's so fantastic. And do play an instrument?
Speaker 4 (10:04):
Yeah, I play piano and guitar, a little dulcimer.
Speaker 3 (10:09):
Really. You could say that you're leading me on, but
it's just what I want you to do. So you
see how hopelessly I'm lost. That's why I'm.
Speaker 5 (10:20):
Yeah.
Speaker 4 (10:24):
Something I loved is you kept the music very pure,
you know, I I was. It was amazing to hear
Ariana and Cynthia singing this this music of a different
side to them, and I was curious, like going into
that approaching the Great American Songbook because it's such an
evolving music. It's you know, every generation it fits into.
(10:47):
But there's such a purity there that you really captured.
Speaker 3 (10:49):
Was that?
Speaker 4 (10:50):
Definitely? You know, something that you desire to do is
keep these songs.
Speaker 3 (10:55):
I love it. I'm deeply in love with it. Name
another song, Name another song that you're like from the
American song but well, I.
Speaker 4 (11:01):
Would die to hear you sing smile, which smile?
Speaker 3 (11:05):
So your heart is anything? Smile?
Speaker 5 (11:12):
Oh h.
Speaker 3 (11:21):
That's nice. You know Charlie Chaplin wrote that, you know
for I think they premiered that in City Lights, didn't they.
Speaker 4 (11:29):
I just love that he wrote that song. I mean
during the great Depression. That's that music will get you
through anything.
Speaker 3 (11:35):
That's right. Hey, you like that depression song brother, can
You Spare a Dime? You know that.
Speaker 6 (11:40):
Song run may Ra One's brother, Can You Spare a Dime?
Speaker 3 (11:56):
Mm hmmm, yeah, you can really act that song. Oh,
very depression song. I like it.
Speaker 4 (12:04):
Hey, well, good, Well, that's that's the beauty of the
great American songburg and Jazz. It's just it gets you
through any any despair and especially in your own life.
I feel like those songs they have different meaning depending
upon you know what you're going through. Like every time
you say goodbye, I'm sure has evolved for you and
has a different meaning. But you know, and now I've
(12:26):
gone through this very strange time, like it's cool to
see jazz as a resurgence and people are are really
locking into that music and that that authentic organic sound.
Speaker 3 (12:39):
I think so too. What other songs make you? If
you're blue? What or you're confused, or you're daunted or depressed?
What can what can get you through it?
Speaker 1 (12:51):
Uh?
Speaker 4 (12:52):
Summer of the Rainbow. I watched Wicked with my four
year old niece recently and she loved it. And then
we went back and watched a version of Wizard of
Oz that I did when I was nine, But I
played Dorothy and I sing that song with her all
the time.
Speaker 3 (13:05):
So you too, Yeah, you sing that great well? You
and Judy Garland. Boy, I'm crazy about that movie and
Frank Morgan was the Wizard and that Judy Garland singing that.
How about that little dog Toto when she sings a
couple of notes at the end of that day She's
reach He reaches out her hand and little Toto kind
(13:25):
of reaches his paw toward her, her hers and the
son's and the sun comes from behind the clouds. Oh
my gosh, that's a that's a killer. But Stephen Schwartz's
music in Wicked, how about that? And the way Ariana
and Cynthia knock that out of the park. Oh my golly,
that doesn't do it for you? And how and you're
(13:46):
you're so your child's name is Zeus. Did I hear
you say?
Speaker 4 (13:50):
No? Sorry? My niece her name is Lily.
Speaker 3 (13:53):
Oh so your niece, that's what I write, thought is
Zeus is And your niece's name is Lynn.
Speaker 4 (13:59):
Lily like the.
Speaker 3 (14:00):
Oh Lily, I miss hear everything? Okay, Lily, I love
the VALI. Yeah, Lucy's saying that once on an episode
of I Love Lucy. Oh her name is Lily and
you took her and she's four. Did she like the movie?
Speaker 4 (14:13):
Loved it?
Speaker 2 (14:14):
Yeah, she loved you.
Speaker 3 (14:17):
Oh good, Well, the second one's coming out, she might
like that.
Speaker 5 (14:21):
For sure.
Speaker 4 (14:30):
There's a lot of relationship between being an actor and
being a jazz musician. I imagine the improvesting in the moment,
the feeling. For sure, there's a lot of relationship between
being an actor and being a jazz musician. I imagine
the improvesting in the moment, the feeling.
Speaker 3 (14:47):
I think so I think so. I had good teachers,
and improvisation was the kind of cornerstone of Sandy Meisner's technique.
And yes, it's a matter of listening and being present
and receptive what the other saxophone or the other organ
player or bass player is doing, and letting that spark
(15:08):
something in you and then answering. In this case musically
or in acting, it's the same thing. Do you do
a lot of acting too, And have you studied acting too?
Speaker 4 (15:18):
I was in New York for five years pre pandemic
doing yeah, Broadway, off Broadway stuff you did?
Speaker 3 (15:25):
Yeah? Did you do any plays that I know or
shows that I know?
Speaker 4 (15:29):
I did a Jerry Mitchell show called My Very Own
British Invasion, It was off Broadway. I did some stuff
at Ours Nova, like pre production show and wrote a
show that was at fifty four below and the Time
Center just featured there. And then the pandemic and then
I like decided to focus on music. But it's cool,
(15:51):
you know, storytelling it's the basis of everything, whether you're
doing acting. This amazing jazz album that you have, it
just comes back to storytelling.
Speaker 3 (16:00):
I know, have you recorded a lot too? Well?
Speaker 4 (16:04):
I just made my first album that I got to
co produce with Larry Klein, who was such a dream
to work with. And yes, yeah.
Speaker 3 (16:11):
Of course, congratulations. What do you sing? Do I know
any songs that you do on that?
Speaker 4 (16:16):
The only cover that's on there as Wild as the Wind,
which is one of my other favorite songs, is what
you called Wild is the Wind.
Speaker 3 (16:25):
How does it go? I don't know if I know that.
Speaker 4 (16:29):
It goes h love me, love me, love me, say
you do, let me fly away with you? For my
love is like the wind and Wild is the Wind song?
Speaker 3 (16:48):
I can't When does it come out? The album?
Speaker 4 (16:51):
Hopefully this summer. I'm working on that release. We'll see.
Speaker 3 (16:54):
I can't wait to see it. Ours comes out April
twenty fifth, you know.
Speaker 4 (16:58):
Yes, very excited for that.
Speaker 2 (17:00):
It is amazing. And now I'm curious.
Speaker 1 (17:03):
I'm gonna jump back in, and I'm not to sing
because no one fucking wants to hear that.
Speaker 3 (17:07):
I want to hear you sing. I'd like to hear
you sing. Just look at you.
Speaker 1 (17:10):
You do not want to hear me sing. But what
I will say is I am curious for you. You know,
there are very few movies where you get to bring
in the musical element. How much did that then inspire
your creativity because you're seeing the creativity from the movie side,
which is also based around music. So did that come
into the recording of the album at all.
Speaker 3 (17:32):
The recording of this album of Still Blooming did did?
What kind of movie life or storytelling?
Speaker 1 (17:39):
I mean being around that creativity on a film, say yeah.
Speaker 3 (17:45):
Yes, yes, and particularly being around Ariana and Cynthia you
mean and Scarlett I mean no.
Speaker 1 (17:53):
Just being arounded in that vibe because again, when you're
doing a movie, very rarely do you get to incorporate music,
so you're seeing it from a different look. When I
talk about this as artists all the time, right when
you do a cover song, for example, you may know
a song your whole life. I talked to Brian Ferry
when he did his Bob Dylan album. You know those
songs forever, but when you sing them, you pick up
(18:15):
a whole different nuance, You hear them in a different way.
I imagine for you bring you music into a film,
it definitely, you know, stirred up different images and different ideas.
Speaker 3 (18:27):
Yes, you're so right. Well, I love music kind of
informs as always, and I'm always experimenting with how it
can impact acting and scenes. I'm always thinking I was.
I always ask directors, hey, do we know anything about
the score for this movie before as we're doing it,
because if I see it afterwards and I see the score,
(18:49):
sometimes I'll go, oh, that's the feeling they wanted from
that scene. I wish I'd known that music before. Or
I just on my own go hmm, what music do
I feel like is going on in me in my
thinking and feeling what would be right for this scene?
And I usually come up with ten or fifteen songs
(19:11):
or something. So I'm always interested in music in movies,
and I'm a big fan of movie scores, and I
can have strong opinions about them. I could be watching
a movie and go, ah, this music is kind of
ruining this movie for me, or I can go, oh,
(19:32):
my gosh, this music is so making this movie and
this scene. I mean, I've seen on the Waterfront a
lot of times, but Leonard Bernstein's score for that drives
it into a whole other place in me. You know,
the taxicab scene, you know, with Brando and Rod Steiger
(19:53):
is very good, They're wonderful nearly Casan's direction, but that
music hits you in places that you wouldn't go otherwise,
and likewise many other Bernard Hermann scores for Verdigo and
Taxi Driver and Psycho and and I love that Chinatown
score and all pt Anderson's movies. Those Johnny Greenwood's scores
(20:16):
kill me. And John Williams. Of course, I've been lucky
enough to be in a movie or two that he did,
and what a master he is. I was just listening
to the score of Close Encounters of the Third Kind
the other day. Oh my golly, just fantastic. And I
saw this. Did you see that documentary on Ennyo Morricone
(20:37):
called any I believe? Yeah? I love him and it's
you should see this documentary. It's it's long, and it
goes into everything that he's ever done. He talks a lot.
It's fantastic. Yeah.
Speaker 2 (20:48):
I think his most underrated score was The Mission.
Speaker 3 (20:50):
I love that movie The Mission, Yes, delightful. I do too,
Robert de Niro and Jeremy Irons.
Speaker 2 (20:59):
Question for you ever work with Cameron Crow?
Speaker 3 (21:02):
I have not. No, I'd love to do. You know
him if you talked to him.
Speaker 1 (21:06):
Oh, he's one of my close friends. I actually wrote
the forward to my book. But It's so funny because
as you're talking about the music and films, I'm like,
there is like a stage.
Speaker 2 (21:14):
Does'm well too?
Speaker 1 (21:15):
I mean the two of you guys would just like
make each other ecstatic.
Speaker 2 (21:18):
Your heads would explode with joy.
Speaker 3 (21:20):
Ah.
Speaker 2 (21:21):
Yes, he makes you the same way.
Speaker 3 (21:24):
He makes me ecstatic. Anyway. I love his work. I'd
love to meet him, give him a big hug and
a kiss for me, And I'd love to hang out
with you guys sometime anytime.
Speaker 2 (21:33):
Yeah, he's great.
Speaker 1 (21:34):
But I mean it's funny because like, yeah, just as
a music fan, you guys would get along so well.
Speaker 3 (21:39):
I'll bet, I'll bet I'd love to talk to him.
How did you get introduced?
Speaker 2 (21:44):
So I have to ask you for you?
Speaker 1 (21:47):
Is there one character you played where you have the
most fun some music? Is there one character where you
were like, you know, no one would expect this, but
the music that you picked for it was like, I
don't know, you can go as deep or as interesting
as you want. As I said, Tom Waits is my
favorite songwriter, but I mean, whenever it is. Was there
one character that just you know, musically you got to
(22:09):
have so much fun with?
Speaker 3 (22:10):
Well, I'm crazy about Tom Waits. I saw him live
at the will Turn Theater. Do that show where he
had the light bulb and he and what show was
it was? It have a name to it? Where he
was doing the Devil down in the hole, Get the
Devil down there?
Speaker 2 (22:27):
That was there. I see him.
Speaker 1 (22:28):
I've traveled so many times to see him because he
never plays live.
Speaker 3 (22:32):
Oh boy, he is fantastic and I loved him. He
worked with Robert Aldman too in short Cuts. Remember him
and Lily Tomlin in that fantastic of course, Down by
the Times from.
Speaker 2 (22:43):
The Raymond Carver book No Path through the Waterfall?
Speaker 3 (22:46):
Oh what about the Waterfall?
Speaker 1 (22:49):
This tattoo comes from that. I love Raymond Carver, so
of course Shortcuts is one of my favorite movies.
Speaker 3 (22:54):
Yeah, I do too. I love that. And how'd you
like Tom Waits In the Francis Co version of Dracula?
He was Renfield. The Renfield character, Oh master Master flies flies. Yeah,
I thought that is great. But a character that I
played that I had music. Well, I snuck music into
(23:16):
the fly that movie I did with David Cronenberg. I
had you know, we we we allowed the music to
the character to play a piano in his Uh you
know Science Loft there and in Earth Girls Are Easy,
I got to play the piano again, and but doing Wicked,
I'll tell you that was a thrill. I'd loved that
(23:37):
musical when I saw it on Broadway with Christian Jenna
with and a Dina Monzelle, and I was just thrilled
that I was able to be part of that.
Speaker 1 (23:46):
You know, well before I let's stage take back over
to finish it off, I will ask you, because I
don't feel like we talked a ton about still Blooming,
because you've asked so many questions, which is always makes
for a great and fascinating interview. But for you, you yeah, Ben,
you playing in Carlisle? Are you going to be touring
at all? Or is it just going to be central
to New York.
Speaker 3 (24:06):
So we're going to be at the London Palladium, and
then we go to Luxembourg at Rock Hall, Then we're
in Atlanta at Symphony Hall May twenty fifth, then we
come to the Carlisle for a week and then Toronto
at Massey Hall June twenty eighth, then June thirtieth, Montreal
at the Montreal Jazz Festival. What do you think about that?
And then July second, we're in Chicago at the Chicago Theater.
(24:29):
So we got a couple of dates that we're doing.
I hope you're there at all of all of them.
Speaker 1 (24:37):
I think I might have to make a sure to Toronto,
but I will have to say, as an La guy,
I'm a little hurt that there's no La on there.
Speaker 3 (24:44):
We're going. We're coming to La at some point. We
had a residency there and there's a place. I don't
know if I can mention it yet, probably not. No,
it's going to be a surprise. There's a place there
that we're talking to and whenever we're going to be
in La, we're going to be there. So I'll see
you there all right.
Speaker 1 (25:02):
Now, I'm so curious someplace because i'm also the La
Times Jazz writer.
Speaker 3 (25:06):
But all good, Okay, way to go. I'm so glad
you did this. Thank you. I can't wait to see
you in person.
Speaker 1 (25:14):
Yeah.
Speaker 2 (25:15):
No, I can't wait either.
Speaker 1 (25:16):
And I guess we will have to tell Cameron that
he needs to like find a part for you.
Speaker 2 (25:20):
I'll let's say itge finish it off.
Speaker 3 (25:23):
Okay, Okay, So.
Speaker 4 (25:25):
Two little questions. One, what are you most excited about
to bring this, this music for the to.
Speaker 3 (25:30):
Of the audiences. I love, you know, I'm curious and
I love to see who comes, and I get interested
in them and we get to playing around and talking,
and sometimes the audience is, you know, I've seen a
movie or two of mine and may not be so
familiar with these classic American songbook classic standards that we do,
and so it's a responsibility but a delight to introduce
(25:52):
them to some of these songs. You know, Maya Psykes,
who's sung with us a lot in our last residency
and Los Angeles is singing Stella by Starlight on this
thing in a different way, and there's a little scat
that she does which is an homage to George Benson
and a solo that he took. And I play along
(26:15):
with her in unison and I love the arrangement that
Alex Frank and Joe bag did for that. But you
know that song, you sing that song?
Speaker 4 (26:23):
I don't sing it, but I love that song. It's
a beautiful.
Speaker 3 (26:26):
Yeah, this song sings. Yeah, I'm crazy about that song.
I like how how I like the whole idea of
that song that it's you know, speak everything. Some metaphors,
A few metaphors in a row of what this fella
is talking about, how this stella's face, how she looks
(26:50):
reminds him of the song of Robin Sings and the
murmur of a brook and a great symphonic theme. And
then finally it goes in an unexpected direction. He just
finishes off by saying, you know, my.
Speaker 6 (27:03):
Heart and I agree, she's everything on earth to me.
Speaker 3 (27:11):
Isn't that? Isn't that great? You know, it's great to
be able to, yeah, to to share that with audiences
and go, mm, imagine this. Listen to this. You know,
it's just a big thrill.
Speaker 4 (27:29):
You remember the first song of the Great American Songbook
that you think back on from your childhood that just
completely struck you, and you've kind of credit that to be,
you know, one of the songs that made you fall
in love with this era.
Speaker 3 (27:44):
Well, you know, Misty was the was the my dad
brought home this vinyl of Errol Garner plays Misty and
I heard that on our high five set and listen
to it over and over again, and that that that
might have set me off and the way he played
it particularly, and then my piano teacher gave me, you know,
(28:05):
Ali cant forget a thing with syncopation, and then I
think Stairway to the Stars he gave me to learn
and a deep purple. But you know, Stairway to the Stars.
You know that how that song is used in that
movie some like it hot in the back of that
scene underneath that scene where Tony Curtis is making out
(28:26):
with Marilyn Monroe on the on the boat. I think
that's great. And I liked learning these new jazz chords
to that for the first time. That set me off.
You know, don't stair right to the Stars. Stair right
to the Stars. Yeah, I was crazy about that.
Speaker 1 (28:46):
We got to wrap up because okay, but I will
ask you, and this is hopefully one or one sentence answer.
As a writer, I have to ask, what's the one
song you wish you had written?
Speaker 2 (28:57):
And why?
Speaker 3 (28:59):
Uh? A song that I'd wished i'd written. Oh, let
me see. Well, I mean, you know, I'm not uh,
you know, I'm not such a song writer. But if
I was ever gifted enough to write a song, well,
I like, oh, you know, I like Billy Straehorn and
(29:23):
Duke Ellington. I liked Lush Life a lot. You know,
That's that's awful. Nice. I did a movie called Lush Life,
where Forrest Whitaker played my buddy. I pretended to play
the saxophone, he pretended to play the trumpet, and we
were palas in that. We played a lot of jazz music,
but there are a million songs that I'm crazy about.
(29:45):
She's I mean, we played bouncing with Bud on this
and that's that has to be the quintessential b Bob melody.
You know that Bud Powell, did you know Argue the
greatest jazz pianist pianist ever?
Speaker 2 (30:04):
Yeah, well, well, thank you so much for your time.
This is a great pleasure for both.
Speaker 3 (30:07):
Of us, my pleasure entirely. Thank you so much. It's
a great thrill meeting you. It's an honor. I'll see
you soon now
Hey, it's Steve Balton and welcome to this week's end
service of Where Saves Bob and I are joined by
actor musician Jeff Goldbliam to talk about his new jazz album,
his film history, and so much more. A really fun
conversation that includes Jeff, who sings on the new album
with Cynthia Rivo Ariana Grande among others, and who has
(00:27):
a history in the past singing with Haley Reinhardt among others.
Speaker 2 (00:31):
This time takes.
Speaker 1 (00:32):
The liking to Save the Bava and the two of
them do several songs from the Great American Song Got Together.
Speaker 2 (00:38):
It's a lot of fun to.
Speaker 1 (00:39):
Hear and shows you a different side of Sage, who
is an up and coming recording artist in her own right.
So hope you enjoyed this one as much as we did.
We had a lot of fun doing it. Not as
much about as Sage did, but a great time for all.
(01:02):
It's funny that great collaborations on this album. I mean,
talk about what you look for in vocalists that you
work with.
Speaker 3 (01:10):
Well, you know, it's not as if we have or
that I have so much any strategy. I guess I
have a wish list. There are people I you know,
am you know, have a creative crush on you know. Uh,
and it's just it just kind of pops up. It happens.
I was doing that movie Wicked, and that's where Ariana
Grande and Cynthia revotes. So geez, I just think that
(01:33):
they're out of this world. I mean, of course they're
they're you know, eighth degree black belt, masters of music
and acting. As we know. Uh, they're just incomparable and
we just had a good time. I should have been
shy around them, but I was singing every song that
I knew from the American song Book and and we
all were singing. And then one day I was I
(01:54):
got to singing that song. I don't know why I
love you like I do. I don't know, I just do. Uh.
And Arianna said, well, why are you singing that song? Hey,
my grandfather sang that to me every day. That's a
very special song to me. I said, well, you know,
we have this band if you'd ever want to record,
and she I'll be done and said yes I would,
(02:14):
and Alex Frank and Joe Bagg arranged something for her.
I love what she does. And then Cynthia I said,
you know, boy, that would be a dream come true.
Any would you like to do it? She said sure,
and we said, well, let's think about it. And we said, well,
wait a minute. Cynthia is from England. Hey, you know
that song We'll Meet again? Very important over there in
(02:36):
England during World War Two. And Vera Lynn had that
big hit that Stanley Kubrick used at the end of
Doctor Strangelove movie that I adore. We suggested it and
she said, yes, that's perfect, and so we did what
we did. I love that and Scarlett Johansson, for instance,
I'd done those couple of Wes Anderson movies with and
at the.
Speaker 2 (02:55):
Premiere I've known her for years.
Speaker 3 (02:58):
Isn't she great? How did you meet her? Anyway? She suggested,
you know, the best is yet to come and that
Boston Nova version of it, and I'm crazy about what
she did with it. How did you meet Scarlette first time?
Speaker 1 (03:10):
I used to do film writing as well, and we
had lunch in New York and it was the most
surreal experience. And it's funny because I've gotten to know
her beyond this. The first time we met was right
after nine to eleven. I was in Europe with my
ex wife and I stopped back in New York to
interview her over lunch. She literally walked me down to
ground zero. And then a few years later I ran
(03:32):
into her at a Bowl Valley. We were both at
a bowling party and I was like, do you remember this?
And she's like, you know the name of the restaurant?
And I was like, dude, you literally walked me to
ground zero. I can't tell you shit about the restaurant,
but you know, I can tell you about the lunch.
And yeah, her album of Tom Waite's covers was amazing
because that's my favorite songwriter of all time.
Speaker 3 (03:52):
She's amazing and everything she does, yeah, she's I'm thrilled
to know her. I've known her for a long time
and we did those couple of west Anders some movies.
I'm crazy about what she does on this album. I
hope we can do it live. I don't want to
ruin any surprise, but we're going to be at the
as you may know, at the Carlisle Hotel. Our band
has played there before, but we're going to be in
(04:12):
that Bobby Short room and played that lovely piano. I'm
hoping that she can join us maybe and sing that
song with us, yore great and.
Speaker 1 (04:23):
Let's say it shake over in a second. She's an
expert on the great American song. But I just have
to say, my favorite vocal moment on the whole album, though,
is your version of every Time We Say Goodbye, because
the way it's enunciated is so interesting to me.
Speaker 2 (04:36):
You know, it's so clear and deliberate.
Speaker 1 (04:38):
The way you said the opening line of every Time
We Say Goodbye, I dialttle. I started to think about it,
and I was like, you know, if you can ever
feel that way, you're really lucky.
Speaker 3 (04:50):
If you're lucky. If what if you ever feel.
Speaker 2 (04:52):
If you ever feel that way about someone.
Speaker 3 (04:54):
Oh yeah, if you love them so much, if every
time we say it bye, I die a little. Yeah,
you are lucky. Well you've had I I you know,
I've been very lucky myself. I could draw literally for
my own life there. And I'm currently with Emily Goldbloom.
And she's just the just the uh you know, queen
(05:18):
of her species and the miracle of the cosmos. And
I'm lucky to have ever gotten to see her. And yes,
we say every time we say goodbye to her and
and the kids to a river and Charlie this morning.
That's you know. When I saw them off for school,
I say goodbye, have a have a good day, and
(05:39):
they say, have a good day to day. And it's
just it kills you in the worst in the best way.
And Emily says, we say goodbye, sweetie, I love you.
She says, I love you, and then we say goodbye.
It's delightful, isn't it. Life is musical if you're lucky enough.
Huh yeah.
Speaker 1 (05:59):
And I love the way saying it because it just
puts such an emphasis on that thought.
Speaker 3 (06:03):
Yeah, yeah, thank you. And how about what clever lyrics
when he says, what is it? You know it's changed?
And how strange the change from major to the minor,
at which point he changes the card from major to minor.
Very clever. I love that song.
Speaker 4 (06:25):
That's got to be one of the best songs of
the Great American Songbook for sure.
Speaker 3 (06:29):
Yeah, I love I think so. I know I do too.
How are you tell me everything? Are you well?
Speaker 4 (06:35):
I'm very well? Thank you? I love the Green my favorite.
We're math from there, but I'm excited to know that
you're coming to the Carlisle. I go there quite a lot.
My friend Tony Desar plays and I always sit in
with him, so that'll be very exciting. And I know
scart Scarlett is always there because she has placed right
up there. So very cool and love love the album.
(06:58):
I am such greatermer songbook fiend for my whole life.
And I was curious, like, there's so many beautiful songs.
I loved hearing the Ariana the Cynthia story of how
those songs kind of happened serendipitously. But was that the
truth for the whole project? You just kind of came
upon these songs or did you have a really good
think about, you know, which songs you were actually going
(07:19):
to choose to do?
Speaker 3 (07:20):
Well, you know, my band mates are experts, you know,
and so they know every recording made and what might
be you know, what we might be able to add
something to the continuum of you know, the of what's
been there. And there are things we particularly love or
that I love and that we've played live a bunch
(07:41):
of times, like well, you know, Grease Patrol we've played
a bunch of times, and Blue Mine or Sunny Clark.
You know it's from Pittsburgh, like I'm from Pittsburgh and
he's an unsung hard bop hero, you know, much respected
in the jazz world and sometimes not given enough credit.
And I love that song Blue Minor that he does,
(08:02):
which has a an unexpected Latin bridge to it that
I particularly like. And O by a you know, felonious Monk.
I've always when I was a kid, I remember when
his picture was on Time magazine? Was it? Yeah? I
was on the cover of Time magazine and I became
aware of him and I went, wow, what's that? Because
(08:23):
as you know, any two notes that he plays, you know,
you you know who it is. And I like his style.
You know, he had an individual style, didn't he with
his rings and his hats and uh you know, so, yeah,
we come upon It's kind of organic, how we you know, finally,
you know, choose this bouquet of songs? What do you
(08:46):
like from? But you like everything from the American Songbook?
What do you like? Now? Name a song and we'll
sing it together.
Speaker 4 (08:52):
Misty is always my first one. I say which one?
Speaker 3 (08:58):
Well, Errol Garner? I love Erler. A lot of people
have sung that. That was my dad's favorite song. He
brought home that vinyl Errol Garner plays Misty and pointed
out to me what he particularly appreciated about that song. Okay,
ready you pick a key, walk.
Speaker 5 (09:13):
My way files or it might be the son of
your Hello, that music, guy, I get misty the mold.
Speaker 3 (09:37):
Your need, if you will, I love that. Hey, you
sing up a storm. You're a nightingale. Thank you.
Speaker 4 (09:47):
That song is so stunning. And we did I think
in the original key e flat there.
Speaker 3 (09:52):
Yeah, that said you have perfect pitch.
Speaker 4 (09:54):
Really not perfect pitch, but I was just you know,
I love that song so much that it's just kind
of turned into the into my brain.
Speaker 3 (10:01):
That's so fantastic. And do play an instrument?
Speaker 4 (10:04):
Yeah, I play piano and guitar, a little dulcimer.
Speaker 3 (10:09):
Really. You could say that you're leading me on, but
it's just what I want you to do. So you
see how hopelessly I'm lost. That's why I'm.
Speaker 5 (10:20):
Yeah.
Speaker 4 (10:24):
Something I loved is you kept the music very pure,
you know, I I was. It was amazing to hear
Ariana and Cynthia singing this this music of a different
side to them, and I was curious, like going into
that approaching the Great American Songbook because it's such an
evolving music. It's you know, every generation it fits into.
(10:47):
But there's such a purity there that you really captured.
Speaker 3 (10:49):
Was that?
Speaker 4 (10:50):
Definitely? You know, something that you desire to do is
keep these songs.
Speaker 3 (10:55):
I love it. I'm deeply in love with it. Name
another song, Name another song that you're like from the
American song but well, I.
Speaker 4 (11:01):
Would die to hear you sing smile, which smile?
Speaker 3 (11:05):
So your heart is anything? Smile?
Speaker 5 (11:12):
Oh h.
Speaker 3 (11:21):
That's nice. You know Charlie Chaplin wrote that, you know
for I think they premiered that in City Lights, didn't they.
Speaker 4 (11:29):
I just love that he wrote that song. I mean
during the great Depression. That's that music will get you
through anything.
Speaker 3 (11:35):
That's right. Hey, you like that depression song brother, can
You Spare a Dime? You know that.
Speaker 6 (11:40):
Song run may Ra One's brother, Can You Spare a Dime?
Speaker 3 (11:56):
Mm hmmm, yeah, you can really act that song. Oh,
very depression song. I like it.
Speaker 4 (12:04):
Hey, well, good, Well, that's that's the beauty of the
great American songburg and Jazz. It's just it gets you
through any any despair and especially in your own life.
I feel like those songs they have different meaning depending
upon you know what you're going through. Like every time
you say goodbye, I'm sure has evolved for you and
has a different meaning. But you know, and now I've
(12:26):
gone through this very strange time, like it's cool to
see jazz as a resurgence and people are are really
locking into that music and that that authentic organic sound.
Speaker 3 (12:39):
I think so too. What other songs make you? If
you're blue? What or you're confused, or you're daunted or depressed?
What can what can get you through it?
Speaker 1 (12:51):
Uh?
Speaker 4 (12:52):
Summer of the Rainbow. I watched Wicked with my four
year old niece recently and she loved it. And then
we went back and watched a version of Wizard of
Oz that I did when I was nine, But I
played Dorothy and I sing that song with her all
the time.
Speaker 3 (13:05):
So you too, Yeah, you sing that great well? You
and Judy Garland. Boy, I'm crazy about that movie and
Frank Morgan was the Wizard and that Judy Garland singing that.
How about that little dog Toto when she sings a
couple of notes at the end of that day She's
reach He reaches out her hand and little Toto kind
(13:25):
of reaches his paw toward her, her hers and the
son's and the sun comes from behind the clouds. Oh
my gosh, that's a that's a killer. But Stephen Schwartz's
music in Wicked, how about that? And the way Ariana
and Cynthia knock that out of the park. Oh my golly,
that doesn't do it for you? And how and you're
(13:46):
you're so your child's name is Zeus. Did I hear
you say?
Speaker 4 (13:50):
No? Sorry? My niece her name is Lily.
Speaker 3 (13:53):
Oh so your niece, that's what I write, thought is
Zeus is And your niece's name is Lynn.
Speaker 4 (13:59):
Lily like the.
Speaker 3 (14:00):
Oh Lily, I miss hear everything? Okay, Lily, I love
the VALI. Yeah, Lucy's saying that once on an episode
of I Love Lucy. Oh her name is Lily and
you took her and she's four. Did she like the movie?
Speaker 4 (14:13):
Loved it?
Speaker 2 (14:14):
Yeah, she loved you.
Speaker 3 (14:17):
Oh good, Well, the second one's coming out, she might
like that.
Speaker 5 (14:21):
For sure.
Speaker 4 (14:30):
There's a lot of relationship between being an actor and
being a jazz musician. I imagine the improvesting in the moment,
the feeling. For sure, there's a lot of relationship between
being an actor and being a jazz musician. I imagine
the improvesting in the moment, the feeling.
Speaker 3 (14:47):
I think so I think so. I had good teachers,
and improvisation was the kind of cornerstone of Sandy Meisner's technique.
And yes, it's a matter of listening and being present
and receptive what the other saxophone or the other organ
player or bass player is doing, and letting that spark
(15:08):
something in you and then answering. In this case musically
or in acting, it's the same thing. Do you do
a lot of acting too, And have you studied acting too?
Speaker 4 (15:18):
I was in New York for five years pre pandemic
doing yeah, Broadway, off Broadway stuff you did?
Speaker 3 (15:25):
Yeah? Did you do any plays that I know or
shows that I know?
Speaker 4 (15:29):
I did a Jerry Mitchell show called My Very Own
British Invasion, It was off Broadway. I did some stuff
at Ours Nova, like pre production show and wrote a
show that was at fifty four below and the Time
Center just featured there. And then the pandemic and then
I like decided to focus on music. But it's cool,
(15:51):
you know, storytelling it's the basis of everything, whether you're
doing acting. This amazing jazz album that you have, it
just comes back to storytelling.
Speaker 3 (16:00):
I know, have you recorded a lot too? Well?
Speaker 4 (16:04):
I just made my first album that I got to
co produce with Larry Klein, who was such a dream
to work with. And yes, yeah.
Speaker 3 (16:11):
Of course, congratulations. What do you sing? Do I know
any songs that you do on that?
Speaker 4 (16:16):
The only cover that's on there as Wild as the Wind,
which is one of my other favorite songs, is what
you called Wild is the Wind.
Speaker 3 (16:25):
How does it go? I don't know if I know that.
Speaker 4 (16:29):
It goes h love me, love me, love me, say
you do, let me fly away with you? For my
love is like the wind and Wild is the Wind song?
Speaker 3 (16:48):
I can't When does it come out? The album?
Speaker 4 (16:51):
Hopefully this summer. I'm working on that release. We'll see.
Speaker 3 (16:54):
I can't wait to see it. Ours comes out April
twenty fifth, you know.
Speaker 4 (16:58):
Yes, very excited for that.
Speaker 2 (17:00):
It is amazing. And now I'm curious.
Speaker 1 (17:03):
I'm gonna jump back in, and I'm not to sing
because no one fucking wants to hear that.
Speaker 3 (17:07):
I want to hear you sing. I'd like to hear
you sing. Just look at you.
Speaker 1 (17:10):
You do not want to hear me sing. But what
I will say is I am curious for you. You know,
there are very few movies where you get to bring
in the musical element. How much did that then inspire
your creativity because you're seeing the creativity from the movie side,
which is also based around music. So did that come
into the recording of the album at all.
Speaker 3 (17:32):
The recording of this album of Still Blooming did did?
What kind of movie life or storytelling?
Speaker 1 (17:39):
I mean being around that creativity on a film, say yeah.
Speaker 3 (17:45):
Yes, yes, and particularly being around Ariana and Cynthia you
mean and Scarlett I mean no.
Speaker 1 (17:53):
Just being arounded in that vibe because again, when you're
doing a movie, very rarely do you get to incorporate music,
so you're seeing it from a different look. When I
talk about this as artists all the time, right when
you do a cover song, for example, you may know
a song your whole life. I talked to Brian Ferry
when he did his Bob Dylan album. You know those
songs forever, but when you sing them, you pick up
(18:15):
a whole different nuance, You hear them in a different way.
I imagine for you bring you music into a film,
it definitely, you know, stirred up different images and different ideas.
Speaker 3 (18:27):
Yes, you're so right. Well, I love music kind of
informs as always, and I'm always experimenting with how it
can impact acting and scenes. I'm always thinking I was.
I always ask directors, hey, do we know anything about
the score for this movie before as we're doing it,
because if I see it afterwards and I see the score,
(18:49):
sometimes I'll go, oh, that's the feeling they wanted from
that scene. I wish I'd known that music before. Or
I just on my own go hmm, what music do
I feel like is going on in me in my
thinking and feeling what would be right for this scene?
And I usually come up with ten or fifteen songs
(19:11):
or something. So I'm always interested in music in movies,
and I'm a big fan of movie scores, and I
can have strong opinions about them. I could be watching
a movie and go, ah, this music is kind of
ruining this movie for me, or I can go, oh,
(19:32):
my gosh, this music is so making this movie and
this scene. I mean, I've seen on the Waterfront a
lot of times, but Leonard Bernstein's score for that drives
it into a whole other place in me. You know,
the taxicab scene, you know, with Brando and Rod Steiger
(19:53):
is very good, They're wonderful nearly Casan's direction, but that
music hits you in places that you wouldn't go otherwise,
and likewise many other Bernard Hermann scores for Verdigo and
Taxi Driver and Psycho and and I love that Chinatown
score and all pt Anderson's movies. Those Johnny Greenwood's scores
(20:16):
kill me. And John Williams. Of course, I've been lucky
enough to be in a movie or two that he did,
and what a master he is. I was just listening
to the score of Close Encounters of the Third Kind
the other day. Oh my golly, just fantastic. And I
saw this. Did you see that documentary on Ennyo Morricone
(20:37):
called any I believe? Yeah? I love him and it's
you should see this documentary. It's it's long, and it
goes into everything that he's ever done. He talks a lot.
It's fantastic. Yeah.
Speaker 2 (20:48):
I think his most underrated score was The Mission.
Speaker 3 (20:50):
I love that movie The Mission, Yes, delightful. I do too,
Robert de Niro and Jeremy Irons.
Speaker 2 (20:59):
Question for you ever work with Cameron Crow?
Speaker 3 (21:02):
I have not. No, I'd love to do. You know
him if you talked to him.
Speaker 1 (21:06):
Oh, he's one of my close friends. I actually wrote
the forward to my book. But It's so funny because
as you're talking about the music and films, I'm like,
there is like a stage.
Speaker 2 (21:14):
Does'm well too?
Speaker 1 (21:15):
I mean the two of you guys would just like
make each other ecstatic.
Speaker 2 (21:18):
Your heads would explode with joy.
Speaker 3 (21:20):
Ah.
Speaker 2 (21:21):
Yes, he makes you the same way.
Speaker 3 (21:24):
He makes me ecstatic. Anyway. I love his work. I'd
love to meet him, give him a big hug and
a kiss for me, And I'd love to hang out
with you guys sometime anytime.
Speaker 2 (21:33):
Yeah, he's great.
Speaker 1 (21:34):
But I mean it's funny because like, yeah, just as
a music fan, you guys would get along so well.
Speaker 3 (21:39):
I'll bet, I'll bet I'd love to talk to him.
How did you get introduced?
Speaker 2 (21:44):
So I have to ask you for you?
Speaker 1 (21:47):
Is there one character you played where you have the
most fun some music? Is there one character where you
were like, you know, no one would expect this, but
the music that you picked for it was like, I
don't know, you can go as deep or as interesting
as you want. As I said, Tom Waits is my
favorite songwriter, but I mean, whenever it is. Was there
one character that just you know, musically you got to
(22:09):
have so much fun with?
Speaker 3 (22:10):
Well, I'm crazy about Tom Waits. I saw him live
at the will Turn Theater. Do that show where he
had the light bulb and he and what show was
it was? It have a name to it? Where he
was doing the Devil down in the hole, Get the
Devil down there?
Speaker 2 (22:27):
That was there. I see him.
Speaker 1 (22:28):
I've traveled so many times to see him because he
never plays live.
Speaker 3 (22:32):
Oh boy, he is fantastic and I loved him. He
worked with Robert Aldman too in short Cuts. Remember him
and Lily Tomlin in that fantastic of course, Down by
the Times from.
Speaker 2 (22:43):
The Raymond Carver book No Path through the Waterfall?
Speaker 3 (22:46):
Oh what about the Waterfall?
Speaker 1 (22:49):
This tattoo comes from that. I love Raymond Carver, so
of course Shortcuts is one of my favorite movies.
Speaker 3 (22:54):
Yeah, I do too. I love that. And how'd you
like Tom Waits In the Francis Co version of Dracula?
He was Renfield. The Renfield character, Oh master Master flies flies. Yeah,
I thought that is great. But a character that I
played that I had music. Well, I snuck music into
(23:16):
the fly that movie I did with David Cronenberg. I
had you know, we we we allowed the music to
the character to play a piano in his Uh you
know Science Loft there and in Earth Girls Are Easy,
I got to play the piano again, and but doing Wicked,
I'll tell you that was a thrill. I'd loved that
(23:37):
musical when I saw it on Broadway with Christian Jenna
with and a Dina Monzelle, and I was just thrilled
that I was able to be part of that.
Speaker 1 (23:46):
You know, well before I let's stage take back over
to finish it off, I will ask you, because I
don't feel like we talked a ton about still Blooming,
because you've asked so many questions, which is always makes
for a great and fascinating interview. But for you, you yeah, Ben,
you playing in Carlisle? Are you going to be touring
at all? Or is it just going to be central
to New York.
Speaker 3 (24:06):
So we're going to be at the London Palladium, and
then we go to Luxembourg at Rock Hall, Then we're
in Atlanta at Symphony Hall May twenty fifth, then we
come to the Carlisle for a week and then Toronto
at Massey Hall June twenty eighth, then June thirtieth, Montreal
at the Montreal Jazz Festival. What do you think about that?
And then July second, we're in Chicago at the Chicago Theater.
(24:29):
So we got a couple of dates that we're doing.
I hope you're there at all of all of them.
Speaker 1 (24:37):
I think I might have to make a sure to Toronto,
but I will have to say, as an La guy,
I'm a little hurt that there's no La on there.
Speaker 3 (24:44):
We're going. We're coming to La at some point. We
had a residency there and there's a place. I don't
know if I can mention it yet, probably not. No,
it's going to be a surprise. There's a place there
that we're talking to and whenever we're going to be
in La, we're going to be there. So I'll see
you there all right.
Speaker 1 (25:02):
Now, I'm so curious someplace because i'm also the La
Times Jazz writer.
Speaker 3 (25:06):
But all good, Okay, way to go. I'm so glad
you did this. Thank you. I can't wait to see
you in person.
Speaker 1 (25:14):
Yeah.
Speaker 2 (25:15):
No, I can't wait either.
Speaker 1 (25:16):
And I guess we will have to tell Cameron that
he needs to like find a part for you.
Speaker 2 (25:20):
I'll let's say itge finish it off.
Speaker 3 (25:23):
Okay, Okay, So.
Speaker 4 (25:25):
Two little questions. One, what are you most excited about
to bring this, this music for the to.
Speaker 3 (25:30):
Of the audiences. I love, you know, I'm curious and
I love to see who comes, and I get interested
in them and we get to playing around and talking,
and sometimes the audience is, you know, I've seen a
movie or two of mine and may not be so
familiar with these classic American songbook classic standards that we do,
and so it's a responsibility but a delight to introduce
(25:52):
them to some of these songs. You know, Maya Psykes,
who's sung with us a lot in our last residency
and Los Angeles is singing Stella by Starlight on this
thing in a different way, and there's a little scat
that she does which is an homage to George Benson
and a solo that he took. And I play along
(26:15):
with her in unison and I love the arrangement that
Alex Frank and Joe bag did for that. But you
know that song, you sing that song?
Speaker 4 (26:23):
I don't sing it, but I love that song. It's
a beautiful.
Speaker 3 (26:26):
Yeah, this song sings. Yeah, I'm crazy about that song.
I like how how I like the whole idea of
that song that it's you know, speak everything. Some metaphors,
A few metaphors in a row of what this fella
is talking about, how this stella's face, how she looks
(26:50):
reminds him of the song of Robin Sings and the
murmur of a brook and a great symphonic theme. And
then finally it goes in an unexpected direction. He just
finishes off by saying, you know, my.
Speaker 6 (27:03):
Heart and I agree, she's everything on earth to me.
Speaker 3 (27:11):
Isn't that? Isn't that great? You know, it's great to
be able to, yeah, to to share that with audiences
and go, mm, imagine this. Listen to this. You know,
it's just a big thrill.
Speaker 4 (27:29):
You remember the first song of the Great American Songbook
that you think back on from your childhood that just
completely struck you, and you've kind of credit that to be,
you know, one of the songs that made you fall
in love with this era.
Speaker 3 (27:44):
Well, you know, Misty was the was the my dad
brought home this vinyl of Errol Garner plays Misty and
I heard that on our high five set and listen
to it over and over again, and that that that
might have set me off and the way he played
it particularly, and then my piano teacher gave me, you know,
(28:05):
Ali cant forget a thing with syncopation, and then I
think Stairway to the Stars he gave me to learn
and a deep purple. But you know, Stairway to the Stars.
You know that how that song is used in that
movie some like it hot in the back of that
scene underneath that scene where Tony Curtis is making out
(28:26):
with Marilyn Monroe on the on the boat. I think
that's great. And I liked learning these new jazz chords
to that for the first time. That set me off.
You know, don't stair right to the Stars. Stair right
to the Stars. Yeah, I was crazy about that.
Speaker 1 (28:46):
We got to wrap up because okay, but I will
ask you, and this is hopefully one or one sentence answer.
As a writer, I have to ask, what's the one
song you wish you had written?
Speaker 2 (28:57):
And why?
Speaker 3 (28:59):
Uh? A song that I'd wished i'd written. Oh, let
me see. Well, I mean, you know, I'm not uh,
you know, I'm not such a song writer. But if
I was ever gifted enough to write a song, well,
I like, oh, you know, I like Billy Straehorn and
(29:23):
Duke Ellington. I liked Lush Life a lot. You know,
That's that's awful. Nice. I did a movie called Lush Life,
where Forrest Whitaker played my buddy. I pretended to play
the saxophone, he pretended to play the trumpet, and we
were palas in that. We played a lot of jazz music,
but there are a million songs that I'm crazy about.
(29:45):
She's I mean, we played bouncing with Bud on this
and that's that has to be the quintessential b Bob melody.
You know that Bud Powell, did you know Argue the
greatest jazz pianist pianist ever?
Speaker 2 (30:04):
Yeah, well, well, thank you so much for your time.
This is a great pleasure for both.
Speaker 3 (30:07):
Of us, my pleasure entirely. Thank you so much. It's
a great thrill meeting you. It's an honor. I'll see
you soon now
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