QLS Classic: Robert Glasper

A pandemic-era classic, this 2020 conversation finds Questlove, Phonte, Laiya, Suga Steve, sitting down with the incomparable Robert Glasper. The Grammy-winning pianist, producer, and cultural force discusses his mission to push Jazz forward, blur genre lines, and build new bridges between Jazz, Soul, Hip-Hop, and beyond.

Having collaborated with Glasper themselves, Quest' and Phontigallo get the inside story from the artist who redefined "Black Radio" and helped reshape the sound of modern Black music.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
Quest Love Supreme is a production of iHeartRadio.

Speaker 2 (00:09):
What Up People?

Speaker 1 (00:10):
June is here and that means it's Black Music Month,
and that Quest Love.

Speaker 3 (00:13):
Supreme now the Quest Love Show.

Speaker 2 (00:16):
We've taken this month seriously.

Speaker 1 (00:18):
It's our chance to celebrate black music, document its history,
and recognize the impact it continues to have on our
culture around the world.

Speaker 4 (00:27):
Throughout June, we'll.

Speaker 2 (00:28):
Be bringing you an episode every day.

Speaker 1 (00:30):
My team and I have gone back through the archives
and pulled together conversations, stories and moments that helped tell
the biggest story about black music and the people who
shaped it. And we also got four brand new Quest
Love Show episodes coming your way, spotlighting artists, fingers, innovators,
cultural shifters, revolutionaries from across the spectrum of black music, past,

(00:53):
present and future. Thanks for spinning. You're part of June
with us, Happy Black music. All Right, Ladies and gentlemen,

(01:17):
welcome to another edition Brand Imperial.

Speaker 3 (01:23):
Another wait.

Speaker 1 (01:26):
I don't feel to encourage when you guys are snickering
behind my back. You know that's that's words rappers say,
you know, the professed. No, Ladies and gentlemen, welcome to another.

Speaker 3 (01:36):
Episode of Quest Love Supreme.

Speaker 1 (01:39):
My name is Quest Love. We have Teams Supreme with
us snickering light you. Now that makes me sound like
the person that leads our world with his weak ass.

Speaker 3 (01:54):
Yeah, I know exactly.

Speaker 5 (01:56):
I'm doing good contrary to the world. I'm doing No, actually, no,
I'm doing I'm doing good. I'm feeling good about about
life and whatnot.

Speaker 6 (02:07):
That's cool. I'm talking to you all, so.

Speaker 1 (02:10):
Steve, Yes, I know this is this is the highlight
of you know, I look forward to these conversations with
my friends.

Speaker 3 (02:18):
Never know. Sugar Steve.

Speaker 7 (02:20):
How you doing, Hey quest Hey, Team Supreme.

Speaker 3 (02:24):
Steve.

Speaker 7 (02:25):
I'm feeling real good right now.

Speaker 1 (02:26):
You know, it's been a long time since we asked
you about to Sugar Network. What's what's the HAPs of
the Sugar Network since Lantee Funny should ask.

Speaker 8 (02:34):
We just ended season three and began season We just
started season four, which is the Blueberries Network now Blueberry
We're going to pretend after three years you don't know
how the Sugar Network works.

Speaker 9 (02:47):
I'm sorry, Yes, everybody gets a season.

Speaker 8 (02:49):
I'm sorry, yes, season we're on season four.

Speaker 7 (02:54):
But we've only been around for like two and a
half years.

Speaker 8 (02:56):
But we're already on season four and the new founder
is Blue Barriers, so you can find him at Blue Barriers.

Speaker 7 (03:03):
It's the Blue Berrius Network for season four.

Speaker 1 (03:06):
Thank you for you're still the executive producer.

Speaker 8 (03:09):
Right, yeah, I'm the original founder Sugar Steve's.

Speaker 3 (03:13):
Yeah, it's named after you. I've seen that and find Tickeolo.

Speaker 2 (03:16):
I'm good, brother, I'm good.

Speaker 3 (03:17):
House it down yourth cacollect.

Speaker 2 (03:20):
It's cool, man.

Speaker 10 (03:22):
I think the governor said that they're about to do
a phase what they call a phase two point five
or something, so like now they're starting to open some gems.
So like gyms can open it like thirty percent capacity.
I think restaurants can open it like twenty percent.

Speaker 2 (03:39):
Some crazy. My ass is still in the house, so
this shit needs nothing to me. But but you'a don't
have the gyms.

Speaker 5 (03:46):
The gym's out here doing the little outside thing like
they going into the parking lot too.

Speaker 3 (03:51):
Yeah. Some of the gyms are outdoors.

Speaker 10 (03:53):
Yeah yeah, yeah, some of them were. They were actually
actually my gym for a minute. They were kind of
doing it outside. Uh, but I don't know, I think
it kind of fell off, But I don't know. Just
being around a bunch of people just breathing hard and
sweating like that not seemed like a good life playing.

Speaker 2 (04:11):
So yes, I've just.

Speaker 10 (04:12):
Been sticking to my old man walks in the evening
and uht'.

Speaker 3 (04:16):
Herefore old man walks?

Speaker 2 (04:18):
Yes, yeah, just I hit my walk.

Speaker 3 (04:19):
Bro.

Speaker 2 (04:21):
Still getting your tenth dolls?

Speaker 3 (04:23):
That's that?

Speaker 2 (04:24):
What's up? Man?

Speaker 3 (04:25):
Yeah? Im three morning?

Speaker 6 (04:26):
Still are you still every morning? Six o'clock?

Speaker 3 (04:29):
Rick?

Speaker 1 (04:30):
Rick Rubin put me up to the task, and I'm
still doing it ten thousand a day.

Speaker 2 (04:34):
That's great, man.

Speaker 5 (04:36):
That's I'm trying to unleash my inner strict uh growing
a bug and I'm actually gonna get on a plane.

Speaker 2 (04:43):
Wow, really did you coming back to see your people?
See your mom?

Speaker 3 (04:46):
My?

Speaker 6 (04:46):
Mom is turning seventy And I'm like, cain't missed that?

Speaker 4 (04:50):
So I'm else.

Speaker 10 (04:51):
Man Side actually flew from uh La. She she did
that flight. She flew from l A to DC and
she said it was actually it ain't it ain't that bad.

Speaker 9 (05:00):
It was, No, It's all good.

Speaker 5 (05:03):
I'm make sure I eat everything I need to eat
for I get on the plane. Don't drink nothing, you know,
and if I do, I got my Clorox whites. I'm
gonna have my gloves. I'm gonna have my mask. I'm
gonna have my shield and I ain't.

Speaker 3 (05:12):
Gonna can find Jet Blue.

Speaker 6 (05:15):
No, I'm ana probably do do.

Speaker 5 (05:17):
My Mama's my Mama's carrier, United, the one that has
you know, housed and fed may for forty something years.

Speaker 2 (05:23):
Oh that's right, Yeah, United. I forgot, Yeah, I forgot that.

Speaker 1 (05:26):
Hey, I'd be remiss if I didn't mention that this
particular episode of Course Left Supreme is being brought to
you by Mazda. I gotta say shout out to Mazda
for letting me test drive their c X thirty. I
gotta say it's my first grown man car that I
personally drove myself.

Speaker 5 (05:47):
Well, that's like one of those c uvs, right like
they got su They had SUVs, but now they got
the crossover.

Speaker 2 (05:52):
The crossover kind of that.

Speaker 1 (05:54):
Yeah, But you know, like when I get in it,
like mind driving experience doesn't warrant a turnaround?

Speaker 2 (06:02):
Like what's that?

Speaker 3 (06:04):
I never heard for cars that I drive?

Speaker 1 (06:06):
You know what I'm saying? Most cars that I drive
are yeah, like the set of Pee Wee's Playoffs. But
I gotta say this, this is kind of official. I
enjoy driving it, and good luck and trying to get
this car back from me.

Speaker 3 (06:20):
My appreciate that it's comfortable.

Speaker 1 (06:28):
And plus, you know, I'm on the farm driving two
hours every day to the city, and you know this
is where I listen to all my favorite podcasts and
my audio books and my meditation stuff.

Speaker 3 (06:41):
So yeah, this this came right in time. I appreciate ably.

Speaker 2 (06:44):
On Spotify and I saw you listening.

Speaker 10 (06:45):
To some meditation and something, I was like, what the
hell is this a mirrorge playing?

Speaker 3 (06:52):
I forgot that Spotify actually snitches on what I listened.

Speaker 6 (06:57):
Oh my god, right now follow yeah, you follow me.

Speaker 2 (07:03):
You ain't gonna see me. This is nothing but the
Brandy album for them.

Speaker 1 (07:10):
I forgot the world can see what I'm listening to
because all I'm listening to is the meditation stuff.

Speaker 10 (07:16):
Yeah it, but it'd be the time too, so it'll
be it's not you know, I mean, it'll be like
damn two o'clock in the morning.

Speaker 2 (07:22):
It'll be late.

Speaker 1 (07:22):
And so I see, I'll say that from midnight till
like eleven in the morning, that's my meditation now.

Speaker 5 (07:30):
So you got to get to the change this picture.
Though they got your Philadelphia Experiment picture. I don't even
know who that person is.

Speaker 1 (07:40):
Yeah, no, not not you follow my see people follow
always look for quest love.

Speaker 3 (07:47):
No, you got who my my my? Oh your government,
the government.

Speaker 6 (07:53):
Shoot, Neil K. Thompson is right there, you are so right.

Speaker 3 (07:57):
Yeah, that's how you mere.

Speaker 9 (07:59):
I don't think people know that, because that's why your
listeners are different.

Speaker 3 (08:01):
You got okay, I know, yeah, like only only for
certain people.

Speaker 2 (08:05):
Now, yeah, that's only for cute link niggas.

Speaker 3 (08:08):
Because exactly, only for certain for certain niggas. That's exactly
why I did that, exactly.

Speaker 11 (08:18):
Yeah.

Speaker 1 (08:19):
No, it's good to hear that you're you're facing your fears.
I too, am going to get on a plane tomorrow.

Speaker 6 (08:28):
Ain't you been getting on a plane. Don't play me,
play lotto.

Speaker 3 (08:31):
No, I've not been on a plane since.

Speaker 2 (08:34):
So you drove, because y'all drove to the all.

Speaker 3 (08:38):
I've been driving to Ohio since that time period.

Speaker 9 (08:43):
I have questions about what y'all doing up there?

Speaker 6 (08:45):
Y'all doing something productive out there?

Speaker 1 (08:47):
I am you mean them, I'm not just you.

Speaker 6 (08:52):
I was just curious. I didn't know how to ask.

Speaker 5 (08:54):
But I see all the pictures posted, and I see
you know, all the celebrities, and I'm just wondering, since
we know we're gonna enter the state of the world.
Are y'all like actually talking about things that could help
you know that y'all are powerful individuals.

Speaker 1 (09:06):
Well, I mean it's not G thirteen, but I will
say that a good four to five hours is pretty much.
I don't know when these episodes are coming to be
or I don't know if it belongs to quality or.

Speaker 7 (09:21):
Dave owns the content.

Speaker 1 (09:24):
But dude, oh, I told you that's what they was doing.
I told you it's about Yeah, it's at this rate,
I think he has I know, lie, I think there's
about forty hours of content.

Speaker 9 (09:39):
Yo.

Speaker 5 (09:40):
Nicol were releasing our Dave Chappelle episode fu that.

Speaker 3 (09:45):
No, I'm just saying.

Speaker 9 (09:46):
Oh man, I'm just saying.

Speaker 1 (09:49):
Well, it's not that's the thing. I don't think Dave
has a platform. But this is going to go somewhere someday.
But the last time I did it, last time, it
was really good episode like most like basically each episode
is most quality. Dave like, they're the anchors. Those three
are the anchors, and then me and whatever comedian Kevin

(10:14):
Hart uh sometimes uh Kevin Hart, Bill Burr was the
last time before that was John Hamm Common Tiffany Hattish
and uh, you know, but I will say that, yeah,
and it's it's it's not just what I won't say.
It's not just us. I don't want to say fluffing No,

(10:37):
it's it's not it's us.

Speaker 3 (10:41):
Yeah, it's not.

Speaker 1 (10:41):
Yeah, it's actually us holding people's feet to the fire.
Like everything that including an hour about you know, quality's
situation with the with social media and all that stuff
like shit got real. So I don't know when or
where it's coming or how it's coming or whatever. But
I mean, besides that, Dave actually has taken over his

(11:07):
his town. I got to commend him, like he has
the resources and the governor's blessing to.

Speaker 6 (11:14):
You know, Ohio is very important.

Speaker 5 (11:17):
Another and you know the another is that I was asking,
especially in the election, it's very important.

Speaker 1 (11:23):
Yeah, but it's yeah, he's you know, he has medical
people and standby, he's testing, testing his audience, testing his guests.

Speaker 3 (11:31):
And then once you do that, I mean you just yeah,
it's it's rather incredible. Well that is nice for me
to go back a third time. But I.

Speaker 5 (11:42):
Also do hope that y'all figure out some other things
to do, like some things like similar to what Lebron
is doing. I know everybody doesn't have Lebron money, but
on some levels of opening up stadiums and figuring out
how we're going to get people out to vote and
whatnot comfortable places and say spaces.

Speaker 6 (11:56):
Anything that could help the cause.

Speaker 5 (11:58):
You know what I'm saying outside of just some good conversation,
but I appreciate the conversation as well.

Speaker 3 (12:03):
Well. All I can do on mine and is raised money.

Speaker 6 (12:05):
So all I can do is tell you, you tell them,
and then you know, working out.

Speaker 1 (12:10):
Yeah, I'm certain that that's on his mind. I mean
that that's been discussed. I don't know what his direct
plans are for November, but you know, right now I'm
a member of team. When we all vote, we're registering
about thirty seven thousand.

Speaker 3 (12:26):
People every night. DJ S.

Speaker 6 (12:29):
That's good.

Speaker 3 (12:30):
Yeah, just trying to is the mystic.

Speaker 5 (12:37):
We can win as long as we keep our heads
to this guy. This whole renewed sense of optimism is
what I feel.

Speaker 1 (12:43):
Yes, No, I do have optimism. What I'm what I'm
more worried about. I mean, i'd be lying if I
didn't say that I was. I wasn't worried about the
transition period like November.

Speaker 10 (12:58):
I'm actually getting out from November January.

Speaker 1 (13:02):
Win or lose, like you know, he wins, Yeah, November
to January as hell for the next four years as hell,
but lose you know, who knows what that transition will
be like for those three months borderline hoping that he.

Speaker 3 (13:22):
I predict that he's going to.

Speaker 1 (13:24):
I realized you can lose the presidency if you remove
the goalposts of the election day. So if he moves
the election day, then instantly Pelosi becomes president. And so
I think in his head it's like I'd rather be
removed than lose, right, So.

Speaker 6 (13:48):
That's going to be another that's another theory.

Speaker 1 (13:49):
Oh my god, saying that he yeah, he'll plan it
as crats forced me out and like, so that's what
I'm hoping for. But you know, of course that they
followed the law, but they've been lost nine of the time,
so they.

Speaker 2 (14:05):
Ain't followed the ship yet.

Speaker 3 (14:06):
Why now, yeah, why how much mail?

Speaker 6 (14:09):
Y'all getting it? But I'm just saying I ain't getting
the mailers.

Speaker 10 (14:11):
Like I used to, right exactly, I got I actually
got my mail today. My mail has been running pretty smool.
But yeah, it's yeah, this ship is nuts.

Speaker 1 (14:22):
So let's get to our episode, ladies and gentlemen. Today,
our Steam guest is a is a g that's right.
He's a multi Grammy Award winning and Emmy Award winning
not he I'm sorry, not ghetto, but your your your
g I.

Speaker 4 (14:40):
Have a Soul Training award. Is that going there somewhere?
You have a soul training award? I have a soldier
war Yeah, I'm jealous, yo. From the last man. Dollar
was still alive when I got it. Wow, I got
a real one.

Speaker 2 (15:00):
Your mayor you okay?

Speaker 3 (15:06):
That inta.

Speaker 2 (15:09):
Yes, I love it.

Speaker 4 (15:12):
About that.

Speaker 9 (15:13):
Whatever.

Speaker 4 (15:15):
I got one brother, got one man, I got a
one month old of a girl.

Speaker 3 (15:22):
You know, quarantine?

Speaker 4 (15:25):
Yeah? Wow, that was that was.

Speaker 9 (15:32):
Do the math.

Speaker 6 (15:33):
That's coping season.

Speaker 4 (15:36):
Wow.

Speaker 2 (15:37):
Wow old man. Congratulations bro, Bro, thank you man.

Speaker 4 (15:42):
What's up?

Speaker 3 (15:42):
Steve?

Speaker 7 (15:43):
Congratulations?

Speaker 3 (15:44):
How you doing? I'm good? Kick and playing and play.

Speaker 1 (15:47):
Wait let me let's let our listeners know for those
that don't know, because it will be a bunch of
inside jokes and you know it will be so literally. Yeah,
our guest today is uh. He's literally worked with the
best of them. Name him uh Tip Uh, Michelle Dyla,

(16:11):
Jill Scott.

Speaker 12 (16:14):
Have we worked worked together. My fault we did, y'all
did y'all did cover It's a lot of lunch, we did.

Speaker 3 (16:25):
Hey, wait, way to circle back speaking.

Speaker 1 (16:28):
Our theme today is having a renewed sense of optimism,
and our guests actually covered sounds of Blackness, Mortal Classic.

Speaker 3 (16:37):
Optimistic with Brandy right now.

Speaker 1 (16:41):
Yes, we're Brandy and August Green, featuring Common and Kareean Riggans.

Speaker 3 (16:46):
And probably one of the craziest, funniest people I know.
Ladies and gentlemen, Welcome Robert Gas.

Speaker 2 (16:51):
Finally a long overdue we should but.

Speaker 5 (16:56):
To me, just for the people that's listening, we should
tell him the only reason it's taking as long as
because Amir always wanted to be in the studio, in
a really banging ass studio with rob And that's the
only reason we haven't made this happen yet, Because we
sposed to be an elected lady somewhere exactly.

Speaker 1 (17:10):
We thought we had like hopes and dreams of like
jam sessions and whatnot.

Speaker 4 (17:15):
I kept looking, I kept looking at my resume, like, God,
damn it, am I good enough to be.

Speaker 3 (17:22):
Friends Robert? Wait? Time out? Okay, So I just I
pulled up your Wikipedia page. Have you seen your Wikipedia.

Speaker 4 (17:34):
Page lately, I haven't seen it.

Speaker 3 (17:37):
What's with this photo, the photo that they got for
your week?

Speaker 2 (17:41):
Is it with the dreads?

Speaker 1 (17:43):
The dreads it's like his sears, Roebuck caog pose.

Speaker 3 (17:49):
It's the ray Kwan You know when Ray Kwan puts
the temple is uh.

Speaker 4 (17:57):
Yeah, yeah, yeah. I'm not proud of that.

Speaker 10 (18:00):
I'm I think we all have one of those poles
with that pole because when you're deeping, exactly what you do, right.

Speaker 4 (18:09):
I was doing my time where I was really fighting
against taking photos at the piano. Every time I took
photos at the piano. I was like, that's corny. I
want to be away from the piano. And that was
during the time I was like, nah, I wanted to
do other stuff and I didn't know what to do,
and it was weird this this, I was like this, right?

Speaker 1 (18:29):
Is that one photographers suggesting the piano to you is
like photographers telling the roots, we gotta go out to
the forest to take photos.

Speaker 3 (18:38):
That's what I have an idea, go out to the forest.

Speaker 4 (18:44):
Or put shackles on your feet, one of the.

Speaker 3 (18:47):
Two roots exactly.

Speaker 2 (18:50):
Take your picture next to Alex Haley.

Speaker 3 (18:53):
Where are you right now?

Speaker 4 (18:55):
Robert I'm in l A.

Speaker 3 (18:57):
I'm at the l A spot.

Speaker 6 (18:58):
That's right, he one of us.

Speaker 3 (18:59):
Now you live out in LA right now? Yep?

Speaker 4 (19:02):
Yeah, Well I've always had an LA spot in New
York spot. But now I'm just here in LA for
a long period of time, So I'm pretty much I'm
pretty much here. I think I'm gonna call this home.

Speaker 3 (19:13):
How long have you lived out there? I had this place.

Speaker 4 (19:16):
Here for about four years, but I've never really spent
you know, you come in for a week here and
you know, but now I'm like staying here, you know.

Speaker 1 (19:24):
So see, I always I always thought there was a stigma. Well,
you know, you are a serious musician, and I always
thought that LA had a stigma on serious musicians, Like
there's always been this cloud of sort of pretentiousness with

(19:45):
LA session musicians and LA jazz musicians, at least in
the sixties, seventies, eighties, and nineties. I don't know if
it's still yeah, it has held over or not, but
you know.

Speaker 4 (19:57):
I mean, I don't when I'm out here, I'm not
being a musician. Okay, when I'm out here, I'm producing.
I'm going a film film, I'm scoring films. You know
what I mean, like I always say, New York is
where you learn how to play, and then LA is
where you make money.

Speaker 5 (20:13):
So that's why I'm out here one.

Speaker 4 (20:16):
You know, I'm actually long overdue being here in LA really,
you know what I mean. I should have been here
ten years ago. Yeah, yeah, man, just for the opportunities
of what I want to do, because I'm not trying
to be the best jazz piano player in the world anymore.
That's what I've moved to New York to do. When
I was the high school, I said, I'm going to
New York. I'm gonna be the best jazz piano player.

(20:39):
And it was all about that, all about bigger musician years.

Speaker 3 (20:42):
We were there already. I'm over that, yeah man, you were.
Now you want to work.

Speaker 4 (20:48):
I want to work out.

Speaker 10 (20:49):
Yeah, But that's what it's supposed to be, though, That's
how it's supposed to be. I had like a og
tell me, like, you know, the first part of your
career it's about becoming the best, right, Yeah. But then
after a while it's like Nigga got to put myself
in the position to make the most money boom exactly.

Speaker 5 (21:03):
Let me ask, as a fan, does that mean that
you've done everything you wanted to do musically, like are
your music goals or.

Speaker 4 (21:10):
Oh no, no, no, no no. I put myself in
a position where I can always go back and do that.
You know, I can always make records. I don't have
to do the New York grind anymore. I don't have
to be in New York and beat play the clubs
and play the gigs, you know what I mean. I
can go to New York and play my show when
I want to play my shows and stuff like that
while I'm out here also doing film scores and all

(21:31):
that stuff.

Speaker 5 (21:31):
You know, that's why you strategized and did those those
that when you had a whole residency in New York
right before you left them, right, that was brilliant.

Speaker 3 (21:39):
That worked worked out. So that's all I got to do.
Every year.

Speaker 4 (21:41):
I go to New York and stay one month and
do all my shows.

Speaker 1 (21:47):
Get all your shows out the way, get your quarter done,
and then out out.

Speaker 4 (21:53):
I love it and see my son. My son's in
New York, so I go there. I get you know,
the only reason I just keep my New York spot
so I can go back and see my son all
the time. You know what, I mean, but you know,
other than that, it's it's bye bye New York.

Speaker 2 (22:07):
He had a chance. Has a son had a chance
to meet his sister yet?

Speaker 3 (22:10):
Yeah, she's one month old? Not yet.

Speaker 2 (22:12):
Oh yeah, it's just whatever. That's it.

Speaker 3 (22:17):
That's it.

Speaker 9 (22:17):
You know your son is hilarious.

Speaker 3 (22:21):
How dangerous is he as a musician? Now? Yo?

Speaker 4 (22:24):
Now dude, Now he there's not a deal of joint
he doesn't know and he there's not a deal of
joint that he doesn't know how it's made. Like he's
producing beats. Him and Kareem Riggins Sonny Dreas are making
the EP together.

Speaker 2 (22:37):
I can't I love it?

Speaker 4 (22:39):
So Glasperhem glassber Riggins like yeah, because first of all,
Kareem's son is crazy with the have you heard his beats?

Speaker 1 (22:48):
No, he's like maybe thirteen. First of all, generation is
going to kill me, yo.

Speaker 4 (22:56):
First of all on drums, he's crazy, Like I hire
him right now for a hip hop get not even joking.
We jammed and we jammed a few times here in La.
I believe you killing. But then his beat are his
beats are stupid? So him and Riley and my son
they always play Fortnite. They're always on the playing Fortnite
Ship and then they started making beats and going back
and forth with the beats and ship.

Speaker 3 (23:17):
So now they Riley and.

Speaker 1 (23:20):
Yeah, JM and Lewis Okay, yeah, he's he's literally that's
what he's on now, that's literally what he's on.

Speaker 5 (23:27):
Gera, these kids with Swiss beats Son and oh my god,
Jill Scott her Son making beats too.

Speaker 4 (23:32):
Yeah.

Speaker 10 (23:33):
Yeah, they have access to the tools that we didn't like.
I mean, this technology is so I mean, you can
make beats on your damn phone now, you know what
I'm saying.

Speaker 4 (23:41):
So, but Riley's like he and me yesterday that dad,
can you give me an n PC one? Wow?

Speaker 3 (23:48):
I was like, uh yeah right now, Uh you just
released the project with uh ninth correct.

Speaker 4 (24:01):
Yeah, so the album called we got an album called
a Dinner Party. Yeah, me, Terrace, Martinmassie and Knife.

Speaker 3 (24:10):
And uh yeah.

Speaker 2 (24:11):
So with Felix, Felix, Felix there.

Speaker 4 (24:14):
Felix, Man, I do. Felix is really dope. His beats
a dope too. He makes dope beachs too.

Speaker 2 (24:22):
He made tracks, okay, yeah, stupid tracts.

Speaker 3 (24:25):
Yeah, everybody making tracks.

Speaker 4 (24:27):
Everybody makes tracks. I know, I've never been a track.

Speaker 3 (24:30):
I've never been.

Speaker 4 (24:31):
I've never wanted to make track.

Speaker 3 (24:32):
I gotta make some beach right exactly.

Speaker 4 (24:34):
Yeah, it's like, I know all the dopest musicians, Let's
get in the room and make the dope ship. That's
how I'm always like that, like pluck that. But yeah,
you got to make tracks. But but yeah, so we
just did a dinner party right now. We're just we're
just finishing up a dinner party kind of remix kind
of situation where we took all the songs, but we
put guests on them. So we got Corday and Snoop

(24:57):
and a few other article low On Aaron, a few
other artists on those actual songs. Tank from taking the Bangers.

Speaker 3 (25:06):
Yeah, she's dope. I love her, man, she's dough.

Speaker 4 (25:08):
Uh So yeah, finishing up that. That should be done
in a few days actually, and then I'm still in
the middle of working on Black Radio three as well.

Speaker 9 (25:18):
Oh my god, so wait all right, can we just
real quick?

Speaker 4 (25:21):
Don't you don't know I'm working on Black Radio three.

Speaker 10 (25:23):
No, no, no, no, no, I know, I just forget.

Speaker 2 (25:28):
I just forgot it was I forgot that was coming.

Speaker 6 (25:34):
But that means that you all black Radio three.

Speaker 10 (25:36):
You're supposed to be I was supposed to be. I
may be like, here's here's the thing I'm not playing.

Speaker 3 (25:43):
Let me first what had happened was happened?

Speaker 10 (25:49):
Hey man, you can't put me on blands. She don't
want them, to say myself. So let me set the
recor straight. Look, we in the goddamn pandemic. I don't
feel like doing ship.

Speaker 2 (25:59):
I have learn.

Speaker 10 (26:02):
Let me look, I'm a baking cliff. I'm in a
space where I have to learn. The first like three
four months of this ship was just like what the
fuck right? So I had to learn how to create
in this space. I knew how to create in the
old world when we was out torn and moving around
and bumping into each other and all that shit.

Speaker 2 (26:20):
I know how to feel that creative tank.

Speaker 10 (26:23):
I had to learn how to feel that creative tank
in a space where we can't go no fucking where.
So now I'm waking up again. I'm kind of finding it,
you know what I mean. I'm kind of finding my
voice again. So now to everyone, to Robert Glass and everyone, now, yes,
there's a big possibility I'll probably be on black radio
now because I know how to create I'm kind of
finding my voice now. But to me, he was like, yeah, man,

(26:46):
I got this joint send it. I'm like, Nigga, just
watched my aunt die on Zoom. Nigga Like, what the.

Speaker 4 (26:54):
Too?

Speaker 9 (26:57):
Literally, oh my, it was like months ago.

Speaker 2 (27:01):
Yeah, I had to log into an app to watch
a funeral. Nigga. This is we're right now. Yeah, yeah
that might be there was up.

Speaker 1 (27:16):
Okay, this might be my old age, but I'm under
the impression that you actually invented or pioneered d I
wyness when it comes. I know, you have an apple
on your phone that you do the vocals on and
then you just be sitting it the motherfuckers.

Speaker 3 (27:35):
Yeah.

Speaker 10 (27:36):
I mean when me and Nick did foreign exchange, yeah,
that was kind of the first, you know in terms
of I mean it was us doing it, and then
I think before that it was the postal service with
your boy from Deaf Cab, but they were actually sending
it through the mail.

Speaker 2 (27:47):
We were sending it just you know, through I am.

Speaker 10 (27:50):
But even with then, I mean, that was still at
the time where you know the world was open, like
we were going out, I was going to doing shows
and whatever. So the thing about now is just creating
in this where I think people are having most of
the artists, my homies. I talked to the thing that
the kind of prevalent feeling is that we're still being
held accountable, or we're still being held we're still accountable

(28:12):
for the same we're still under the same pressure, but
we no longer have those things we were able to
do to release that pressure exact.

Speaker 2 (28:18):
So it's like you motherfucker still won't meet it.

Speaker 10 (28:20):
Damn rapidy rap rapidly saying and do all this ship,
But I can't go to the gym right where and
where's the release? Like I can't I can't go to
the gym, I can't go to the movies. You know
what I'm saying, Like, well, I apologize, I apologize, and
I appreciate you for having this moment because there's so
many people that will feeling the same way.

Speaker 6 (28:39):
You're right, You're right, you right.

Speaker 2 (28:41):
Oh yeah, but I'm coming.

Speaker 10 (28:43):
But you know now, like I'm figuring out like I
got I'm me and poove being working on ship like
I got ship coming, so so now I mean I'm
waking up now like now I figured out so so
now glass fell like with joints like us being Black
Radio three.

Speaker 2 (28:55):
Yeah, that more than like what happened, because it's.

Speaker 3 (28:57):
Always I have a studio to glass.

Speaker 4 (29:03):
I want you on there too. I was gonna hit you,
but I had a whole idea. I want to talk
to you. We'll figure that out.

Speaker 7 (29:09):
Yeah, I'll do it. If if doesn't do it, I'll
do it.

Speaker 2 (29:13):
Bars.

Speaker 6 (29:15):
I do interlus. You can see your little brother.

Speaker 2 (29:19):
You have voiceoverat voice over.

Speaker 5 (29:23):
I'm just joking, but I'm more curious about who else
is because I was just curious because I was like, damn, Robert,
you gotta I know people be coming at you when
you do these black radio albums.

Speaker 4 (29:31):
Like, yeah, well you haven't even I haven't even said
it out loud that I was doing it until I
released a single a few days ago, one of the
singles off the record with the song I did called
Betty than I Imagine and with her with her and Michelle Dello. Yeah,
so that's that's something I was holding for Black Radio three.

Speaker 3 (29:53):
But I was like, fuck.

Speaker 4 (29:53):
It, yeah, you know, because you still go on the
record correct, Yes, yes, but.

Speaker 3 (30:02):
I was like, I don't want to hold it any longer.

Speaker 4 (30:03):
I'll put this one out, you know, just to just
put it out there because I need to put some music.
I just felt like I want to put something out
and this is a good time for it, you know
what I mean? And you know so, yeah, I got
to December to finish it, and I'm gonna go on
next year.

Speaker 1 (30:16):
What have you been doing the last six months? Have
you been working at home or just like doing nothing?

Speaker 3 (30:23):
Well? No, I learned how to do logic pretty good.

Speaker 2 (30:27):
That got better, bro, That's what I do. That's all.
That's where I track all my shit in.

Speaker 3 (30:31):
I got. I got better at logic.

Speaker 4 (30:34):
And actually I'm building a mi a terist a building
a studio right behind my house right here, like literally
ten steps away. There's a one apartment behind my crib
and my landlord moved out of there and we took
it over and made it the studio. So we'll be
finished with that in like two three weeks. So that'll
be a place where we can like really go work,
you know what I mean. And so we've been doing that.

(30:56):
And about the noise, no, can't even they can't. It's separate.
It's no neighbor. The way it is. My landlord had it.
My landlord had it built by some people from our church.
It's like all sement and it stands with its own
It's like isolated is dope. It's really dope.

Speaker 10 (31:15):
So in.

Speaker 9 (31:19):
Okay, okay, I'm curious.

Speaker 1 (31:21):
Yeah, yeah, yep, you know this is we we've known
each other for the longest, but we really have never
had an in depth conversation. And what I always no, no,
But the thing I was always curious about was that
I don't think it's same way that Philadelphia had its

(31:43):
renaissance in two thousand.

Speaker 3 (31:45):
Yeah, you know, I felt that Houston.

Speaker 1 (31:48):
Had that same renaissance in two thousand and six, two
thousand and seven, you know with all these musicians who
at the time, like what was going on in your
high school? With all these musicians that were thinking left
of center? Like what was what was in the air,
like what was going on?

Speaker 4 (32:09):
So the cool thing about my high school, which you
know art high school, is because you went to one
of the best ones in Philly.

Speaker 3 (32:15):
So you went to perform in art high school.

Speaker 4 (32:17):
I want to perform at ours high school in Houston
High School for performing arts. And the cool thing about
my high school, which I think we might be the
only high school that did this.

Speaker 3 (32:28):
I'm pretty sure.

Speaker 4 (32:30):
Or maybe not. You can tell me if y'all did this.
My jazz director and not even just the jazz director,
in all the art areas, they hired teachers that didn't
have degrees. Wow. So our jazz cats that were teachers
were just cats.

Speaker 2 (32:48):
Wow.

Speaker 4 (32:49):
Yeah, they didn't have degrees.

Speaker 3 (32:50):
They did this by design or purpose or yes.

Speaker 4 (32:54):
Because the motherfuckers that have to degrees most of the time,
you know. But the cats that the cats they're just playing.
They out there playing. So they was coming to the
school showing us was hip right now because they're out
there playing right now. So the cats that was over
our jazz, our jazz classes, our jazz professor, doctor Morgan

(33:16):
had a degree, but he made it so he would
just hire different and sometimes we would see one dude
for three months, never see him again. But he was dope. Yeah,
but it was dope. And one of the cool things
about US school also is we had a class period
called listening.

Speaker 3 (33:35):
You didn't play.

Speaker 4 (33:36):
You came in and we had a CD player and
everybody in the class could bring anything they wanted to
and you just sat there and listened.

Speaker 3 (33:45):
Damn.

Speaker 4 (33:46):
And part of the problem with a lot of musicians
is they don't listen and they don't know what to
listen to, and they just don't listen, you know what
I mean. And our jazz rector made a class called Listen.
I would bring stuff. It could be gospel, it could
be anything, and and and all the cancer bring stuff,
you know, every Mark Kelly, that's Mark about it. You

(34:09):
know it was who did you go to school with?
Like what in my class? In my I went to
school with Mark Kelly. I went to school with Kendrick Scott,
h drummer, really guitar player, Mike Moreno Beyonce, she was
there for one year. Brian, Brian Cox, he was that's

(34:31):
my best friend.

Speaker 3 (34:32):
Yeah.

Speaker 4 (34:33):
I met Yeah, I met Brian eighth grade and he
told me to come there. We met at a talent
competition called Sammy Davis Junior Awards, and I was playing
I was playing piano with a gospel group and he
was singing with an R and B group called Business
or Pleasure?

Speaker 2 (34:54):
What that was?

Speaker 3 (34:58):
That was like?

Speaker 4 (34:59):
That was ninety three, ninety two.

Speaker 10 (35:04):
Please tell me, Please tell me, Please tell me. Pleasure
was spelled with a Z, right it might be got.

Speaker 4 (35:14):
To do so.

Speaker 3 (35:16):
Yeah.

Speaker 4 (35:17):
So so Brian we met at that competition he's like, yo, man,
you got to come to PBA where you were all
all the cats playing this blah. I was like, what's that?

Speaker 3 (35:25):
You know?

Speaker 4 (35:26):
So he told me about it, and I didn't go
with my freshman year because I thought I was going
to be a basketball player. So I was like, nah,
I want to play basketball. So I wasn't even serious
about piano yet. Yeah, I want to play basketball. I
wasn't serious.

Speaker 3 (35:38):
How old were you when you got serious about piano?

Speaker 4 (35:40):
When I got serious, uh, I was in like tenth
grade when I was like, all right, good night, but
I was playing the church and stuff I was playing.
I started playing the Church. I literally started playing cando.

Speaker 3 (35:54):
My mom was. My mom was the musa.

Speaker 4 (35:55):
Director at church, and she sang in clubs all through
the week, like of like R and B gaigs and
stuff like that. She was literally like WHOOPI Goldberg my
sister at all that. And then on Sundays did she
have a group. Yes, her and my stepdad had the group.
They were literally like seafists and recip ex absolutely hilarious.
Oh wow, the early eighties, the curls, the colors so

(36:26):
for real. But but but on Sundays my mom was
in minister of music. I had a small church, you know,
so they allowed me to play the little broke ass
organ that was in the corner. So I used to
play every Sunday the pastor whose birthday is it? And
when I was eleven, I was playing with one finger,
happy birthday. I figured out how happy birthday with one finger.
And then they just let me every Sunday, just let

(36:47):
me sit there and to figure the service out. I
started playing Luther Van songs with one finger because my
dad played with the bandjoff to the house every day.

Speaker 2 (36:55):
All the time. And so I was learning all.

Speaker 4 (36:58):
That kind of songs and just and then I just
I really taught. I really taught myself. Yeah, and then
I just you know, and then at age like yeah,
maybe age fourteen, that's when I know what's tenth tenth grade,
I don't know, tenth grade is whatever I auditioned with.
I auditioned with three gospel songsu I didn't know any

(37:19):
jazz tuns. So there was no guidance.

Speaker 5 (37:22):
But up from beginnings of church to the fifteen there
was nobody got no guidance, nobody to say, but this
is how you really do this?

Speaker 4 (37:28):
Well, See, my mom had a band, and in her
band there was a piano piano player, naed Alan Mosley
that nobody knows, one of them cats from your hometown.

Speaker 3 (37:36):
That was drunk but was really good. And you know
he's a legend. You never see him.

Speaker 4 (37:41):
So I used to sit next to him on the
piano eventure and they would have rehearsals because we had
rehearsals at our crib. We had pianos and a have
rehearsals the cribs. I would sit there and watch them.
So the only song I played at my audition that
was jazzy was he taught me how to play the
Spider Man theme in in in the form of a
seam mind of blues. So he taught me how to
walk the baseline boom boom boom boom boo boom.

Speaker 3 (38:05):
Boom boo boom.

Speaker 4 (38:08):
So that's what I did that and I did three
gospel songs and then I.

Speaker 3 (38:11):
Got in Wait.

Speaker 13 (38:14):
Speaking of which, wait, Robert, you remember that time I
bet you that you wouldn't ah man, this is this
is the most the most devastating gig of my life
was Robert.

Speaker 3 (38:28):
As a joke.

Speaker 1 (38:29):
You know, I think Robert says, I'm gonna sneak the
Smurts theme into this jay Z song, all right.

Speaker 2 (38:37):
So it was one of them.

Speaker 3 (38:39):
This is one of them. It was all right.

Speaker 1 (38:40):
So me and Robert Glasper were we were like, uh,
paying tribute to jay Z at one of these like
you know, twenty five thousand dollars plate banquet spots. And
at the last minute I told Glassper, I said, yo, like,
you know, do something like really uh, you know, a

(39:03):
high class for these people, like, you know, make it
sound like classical stuff. And he gets at the piano
and starts off like you know, you know, like Alicia
Keys first came out playing for a lease.

Speaker 3 (39:19):
You think of like some deep ship. So Robert goes.

Speaker 1 (39:24):
And the audience like Mariah Carey, Yoka Owner, Everyone's looking,
and all of a sudden, this motherfucker starts playing the Spurson.

Speaker 4 (39:39):
I Love you, Michaelphone.

Speaker 3 (39:44):
I was like, mother fuck, are you playing the smurs
right now?

Speaker 4 (39:49):
But then when we got up.

Speaker 3 (39:53):
It went downhill from there because then Tarik forgot all
jay Z's lyrics in front of jay Z. Yes, yes,
man words gig.

Speaker 4 (40:04):
Ever, but I remember when we got to stage, y'all
go on the on your shoe. She came to She
just threw up and just fell on me like a
hug and fell up with me. She was like, yo,
goa on her or.

Speaker 3 (40:20):
Her sister threw up on somebody's shoes, and YO.

Speaker 1 (40:26):
About that gig, bro, that's.

Speaker 9 (40:29):
Like one of y'all like a George Clinton story.

Speaker 5 (40:31):
Y'all make sure I remember that.

Speaker 1 (40:35):
James just signed to the label. I thought he was
about to get dropped all of that, calling me and like,
how could you guys forget his music? Everyone knows the song?

Speaker 4 (40:46):
Right?

Speaker 1 (40:49):
Were you?

Speaker 5 (40:50):
Were you always this person? Like in school too? Were
like were you always funny? And like, you know, outgoing
or whatnot? Where that is that the same you always?

Speaker 3 (40:59):
I was a kid that I had to sit out
in the hallway.

Speaker 2 (41:04):
Yeah, I wass that was me?

Speaker 3 (41:09):
That was me the whole all the time. Yeah.

Speaker 4 (41:12):
Literally I ran into a girl, dude. Maybe in January,
I don't know, December. I was in Houston. I went
to a I went to a barz and Noble. Ran
into an elementary school friend of mine I met and
we were in the same play. We played Hunky Huckyberry
Finn play. I played Hunkerberry Finn.

Speaker 2 (41:30):
Oh wow.

Speaker 4 (41:33):
In fifth grade. That was my debut on stage. That's
the only thing I've ever done acting. I played Tom
Tom Sawyer. Tom Sawyer was an Indian dude. We're we're
ahead of our time. We were out there. Oh wow,
first of my look and I met this I saw

(41:55):
this girl. She looked at me. Oh my god, Robert.
Soon I saw her. I was like the pig, that's
what I She was big in the play. She looked
exactly the same, exactly, and she was like, Oh my god,
you still haven't changed since you were in fourth grade.
This is so crazy.

Speaker 3 (42:12):
I was like, Damn, I have it.

Speaker 4 (42:13):
I literally haven't wait.

Speaker 3 (42:15):
Question. Was Chris at your school as well? Chris Dave?
I don't know how old Chris is.

Speaker 4 (42:20):
Chris, he's ninety eight, but he's like ninety he's ninety two. Chris,
he's supposed to be as good as he as he's
one hundred and thirteen. Chris, Yo, ch God, damn like no,
Chris went. Chris graduated from PBA in nineteen ninety.

Speaker 3 (42:40):
Chris is my age.

Speaker 4 (42:41):
Chris is like Chris is like forty is he is
he forty seven?

Speaker 3 (42:46):
Forty eight? Got yo? Because his voice make you think
that he's he.

Speaker 4 (42:52):
Keeps bring a prodigy because you keep thinking he's the
little kid. It's old as fuck. I hear you're like this,
but thirteen year olds amazing, how did you do that? No, so, Chris,
we know. So Chris, there was a drummer named Mark
Simmons before you, you know Mark, Mark Simmons. No, okay,
so Mark Simmons was probably the beginning. No, before Mark Simmons,

(43:15):
there was something the lineage of drummers at the school.
There was a what's the fucking dude that played with
Tyer Power anyway.

Speaker 3 (43:27):
Power drummers?

Speaker 4 (43:29):
Uh, fucking Dave Gi No, not the famous one, the
other guy. Maybe he did some tours never mind, yeah him.
After that, After that there was Mark Simmons. Mark Simmons.
If you ever saw in the last twenty years or whatever,
Algio or fucking George Benson, he was on drums. He's

(43:53):
the guy that was elect maybe a year or two
order than Chris. That made Chris like really shed because
he did something to Chris in high school really bad.
So Chris was mad at him. He had a been
debta against him the whole time. So Chris under Chris's ass.
That's what lit a fire have do with the girl
that made Chris go in the practice room and never

(44:14):
come out. That's the story. All my friends that are
around that time tell that story. They were like, yo,
he went to practice with and then come out practice room.
So and there was Eric Harlan after Chris. They went
together around the same time. Maybe Chris is a senior,
Maybe Eric was, you know, a sophomore or something or
a freshman.

Speaker 3 (44:34):
Uh.

Speaker 4 (44:35):
After that, then there was Kendrick Scott and then Jamiah
you know, Jamiah Williams.

Speaker 3 (44:40):
Yeah, Jamayer.

Speaker 4 (44:41):
Yeah, they're still putting out some great motherfucker. James Francis,
you know he's he's up there. Francis from Alston. His
parents used to drop him off when I would do
gigs in Houston. James used to do His parents used
to drop him off at my sound checks so he
could watch a soundcheck because he was too young to

(45:02):
come for the show.

Speaker 3 (45:03):
So I used to let him sit.

Speaker 4 (45:05):
Like right by me and stuff and watch my soundchecks
because he wasn't allowed to.

Speaker 3 (45:08):
Yeah.

Speaker 4 (45:09):
So when he got to New York. Yeah, when he
got to New York, I told I called poister. I
was like, yo, okay, your recommendation, I see. Yeah.

Speaker 3 (45:17):
Yeah.

Speaker 1 (45:18):
Whenever whenever James or Ray angry or come on, I
can't do the Tonight show that James Francis. Yeah, I
mean he was young boy back then, but now you
know he's one of his own gigs at Blue Note,
you know.

Speaker 3 (45:34):
Yeah, yeah, that sort of thing. I used to sneak
him in the brook Brooklyn Bowl. Now, you know, I need.

Speaker 1 (45:47):
To say, like I went to school with like these
young lions, Like when I was in school, like my
third day of school, Di Francesco is getting pulled out
by Miles Davis because like it'll be like, who was

(46:08):
Miles's keyboard play?

Speaker 3 (46:09):
Was it Kenny Kirkland?

Speaker 6 (46:10):
No?

Speaker 3 (46:11):
Uh, which year before he passed away, like eighty six
doing the tow To era.

Speaker 4 (46:17):
I think one of those guys wasn't Kenny the definitely
one Kenny Kurt Okay.

Speaker 1 (46:22):
I forget it was, but you know I'll be like, yo,
where are you going? And he'd be like, now it's
sucking up again. So Miles is sending for me. I
mean there's a typical that likes you know, Elis Marcellus
come and take Christian Al school.

Speaker 3 (46:37):
For two weeks.

Speaker 1 (46:37):
You know, so like basically they were they were the
young lions of my generation. But the thing was is
that they were following traditional jazz right And obviously, I
guess my introduction to.

Speaker 3 (46:56):
Your world was via Balau.

Speaker 1 (46:58):
Yeah, and you know, and hearing Bloud break every rule
of what song structure was, and I'm wondering, well, okay,
and I asked. I was like, well, who's the who's
the music version of you? Like who else is breaking
the rules? And then I met all of you guys

(47:19):
in a month or so, and I just never seen
because I knew you guys were seen as jazz musicians.
But I was always wondering if whether or not you
get embraced by the jazz community, like would they let
you play in reindeer games? Because you guys were looking

(47:40):
at the rule books and sort of just throwing it
out the window, like.

Speaker 3 (47:44):
Did you have to master it?

Speaker 1 (47:45):
Like did you have to sneak in the house first
and sort of talk their language and d and then
hold them hostage once you at your power?

Speaker 3 (47:54):
Like about that process.

Speaker 4 (47:58):
And you do that to that I'll tell you why.
I'll tell you why because when I got to the
New School in ninety seven for college, Yeah, I met
Balal the first day of school. And we were like
one of eight black people at the school, at the
New School, at the New School, like in the jazz program. Yeah,

(48:21):
what a lot of black people. Maybe exaggerating, maybe they
were fifteen honestly, yeah, opposition to everybody was black. Yeah,
so check it out.

Speaker 2 (48:30):
Though.

Speaker 4 (48:31):
They put out a freshman in the room and they
called you at random to come on the stage. They
called me and Balao on stage at random together to
play a song together.

Speaker 2 (48:42):
Wow, don't tell you what to play is just whatever,
y'all know.

Speaker 4 (48:45):
You go there with a bunch of cat They called
on drum, so and so on piano, Robert Glass, room vocal,
Balo Oliver. We get up to play the song, we
got off the stage. We looked at each other like, yeah,
well do they give you a fake book? At least
they're like what do you no, you just call tunes
nopeposed to it? Yeah, Or you talk to each other
and be like, you know this, now you know this,

(49:05):
I don't know kind of you know, just like like
you do at a jazz club.

Speaker 3 (49:10):
Now you know so and so. I think, so you
figure it.

Speaker 4 (49:12):
Out, but whatever, remember what it was. I have no
idea what it was. But when we got off me
and we we were you know, you couldn't separate us
after that because it was like, you know, he spoke
a different language immediately, And so we began working on

(49:33):
stuff together and one of the president of the school
at the time, Arnie Lawrence, he passed away. He saw
us and was like, you two have something. Y'all should
go in and work on a demo for Balave and
we were like, okay. So he said, my friend has
a studio around the corner. Y'all can I talked to
him already, y'all can go over there and kind of
come up with some stuff. And his boy was Aaron

(49:55):
colemas As spend doctors.

Speaker 3 (49:58):
Fucking spin doctors. They believe this story.

Speaker 1 (50:01):
When told me, I'm like, who were doing this?

Speaker 4 (50:08):
And I was like what, Yeah. So we were going
over there after school every day just writing songs and yeah,
a bunch of just jazz music is are on the
album because we didn't know anybody that played anything else.
We just knew the cats from the school. So that
was Queen of Sanity the demo. Yeah, yes, Penny Sanity. Yeah,

(50:30):
and y'all came just right. You and James came in
there and redid it. Yeah, we did the drums.

Speaker 1 (50:34):
Yeah, that was essentially when I when I heard that demo, Man,
I you know again, I'm I'm happy to say.

Speaker 14 (50:42):
That my my my one record of the six demos
I ever heard and listened to and became fans of,
like they all became like something in the world of course,
you know, Little Brothers, Jill Scott, Slum Village.

Speaker 1 (51:01):
But hearing that BELOWD demo, I don't know how it
came across. I don't know who played it for me whatever,
but I just I thought, this person.

Speaker 9 (51:11):
I remember you being about.

Speaker 3 (51:20):
Yeah much much of my detriment.

Speaker 1 (51:23):
If there's ever a recapping of the kind of Black
Lily Roots Jam session story like in oral history or whatever, uh,
my enthusiasm for wanting to work with Blaw definitely made
Moan to Fuckers feel a certain way where because I
mean basically every everyone had a job at this thing,

(51:44):
and it was more like, Okay, I'm the money, you know,
like so tour money back to the system, back to
the you know, and I would make appearances every now
and then, but it's like after working on you know,
the stuff an Electric Lady and then coming back to
do root stuff like I wasn't trying to like also
do five hours at these jam sessions.

Speaker 3 (52:06):
But here in below sing man, I was just like,
all right, I'll come. Yeah, yeah, so you know, just.

Speaker 4 (52:14):
Ye and those those jam sessions so blow. So we
started working on the demo whatever, and me and him
used to get on a bus from school and go
down to Philly on Monday and Monday nights to the
five spot Tuesdayesday, Tuesday, we should go to the bus
and go we go stay at his mom's house in Germantown.
That was my first times ever going to Philly. Just

(52:35):
a week go to those jam sessions. And then y'all
started coming to doing the ones at Lake Street.

Speaker 1 (52:40):
Yeah on a at uh which the theme is the
spot uh Wetlands Wetlands.

Speaker 4 (52:47):
So seeing y'all play live. But I was always trying
to get me to understand how to play y'all ship,
and I didn't understand what the fuck he was talking about.
He's like, you no, like you know, like, don't play
it on, play it off? What like you know how
to play, but you don't know how to play. What
the are you talking about? No, nigga like like, and

(53:11):
then I saw y'all live. And I saw James Poyser
and I was like, so that made me. I kept
going back, and then he would let me sit in
with you. Yo, you would let me sit in you know.
I was like, I was like, oh, I was jazz
bread and I would sit in with y'all. And because
of sitting in with you with the roots, that's how
I learned how to play that ship. I didn't I

(53:32):
never heard it. I didn't understand what it was.

Speaker 1 (53:35):
That's so weird to me because in my mind, you
and all your Hustonians just have another relationship with time,
with with meter in time that is beyond anything I've
done or you know, dare I say at Dyla or whatever,
like I I just I'd never seen. I mean, it's

(53:58):
like watching the animaniacs in the water tower, Like you
know when you see them running and help the smooth.
That's a crazy analogy, like.

Speaker 3 (54:10):
That's what I mean.

Speaker 1 (54:11):
Like, but what I want to know is how did
you force the jazz world to your will? Because I
don't think that's I don't think that's an easy it's
not task like that's that's what.

Speaker 4 (54:28):
Well, here's the thing I always knew that I had
to make sure that I could play jazz with the
best of them before I decided to do anything else,
you know what I mean.

Speaker 3 (54:39):
I had to Like.

Speaker 4 (54:40):
When Herbie played with Miles put his first few albums out,
there was no you couldn't question Herb about ship, about
can you play that? All that? That was always Soil five.
There's no argument there. So when he did Headhunters, you
cannot like it if you want to, but you can't
dispute him as a jazz artist, you know what I mean,

(55:00):
as a jazz piano player, especially being black, they're so
quick to want to call you a hip hop piano
player or R and B player. They're really quick to
not want to give you the title of that. So
it was it was in my mind I was like,
well no, even when I before I got signed, I said,
in my mind I knew I was I want to
do a few jazz albums first to shut these motherfuckers

(55:22):
up who are gonna be talking? And then I want
to do my other ship.

Speaker 3 (55:25):
You know.

Speaker 10 (55:26):
It was almost like it reminded me of like the
like Donald Bird. That's how I always kind of saw
your career is like, yeah, Donald Bird, But then you know,
he did his thing, but then when he got with
the Moselle Brothers, Yep, it just became you know something.

Speaker 4 (55:39):
Yeah, for sure, exactly exactly, and that's my thing. I
wanted to make sure. So then when that happened, my
thing was just grabbing all the young people because I
felt like jazz for young people anymore. And what made
what made me get into jazz was Roy. Roy came
to my Roy Roy came to my school and when
I was in eleventh grade, I'll never forget it. He

(56:01):
went there too, right, No, he went to the one,
and he in Dallas with Erica. He went to the
He went to Washington, Yeah, Norah Jones and the whole thing.
So that was our rival. We rivaled them off time
for all state jazz competitions and shit. So when Roy
came to our school when I was in eleventh grade,

(56:22):
he was already Warhard Grove album. So he came to
the school and he had on like overalls and Tim's
you know, and his band was black.

Speaker 3 (56:32):
I never seen that.

Speaker 4 (56:33):
I've never seen five young black guys that looked like me,
dressed like me, talk like me up there playing jazz.

Speaker 3 (56:41):
That's never you never seen that.

Speaker 4 (56:43):
Because when you're in school, the pictures of jazz is
what they give you, and it's all in black and white,
and it's everybody has them a suit and it's not
you know, it's nothing. It's nothing that has anything to
do with you right now.

Speaker 3 (56:53):
You know.

Speaker 4 (56:55):
So Roy made he completely changed my whole ship. So
that's literally why I am the way I am now
because I feel like I'm killing the stereotype, you know
what I mean. I feel like when people look at
me a lot of times, they don't know they you
don't know what the fuck I do, you know what
I mean? And when I was, you know, selling out
the Blue Note and the Vanguard and all these places,
white people will walk by me. I would be outside

(57:16):
hang on my friend. They walk by me looking at
me like what are you doing here? I'm like, well,
actually come out right, you know. But them people on
the bus, and a lot of that is like, you know,
they don't know. They come to New York and get
on the bus and they take you to where somebody
famous is playing, you know what I mean. But they
look at me and my je's and my T shirt
and it's like, oh, we if I was walking down
the street you think I'm a rapper or you think

(57:36):
I'm whatever.

Speaker 3 (57:37):
You know what I'm saying.

Speaker 4 (57:38):
Don't think I'm about to hear and play still up
by Starlight or actually play this piano the way I do,
you know what I mean. And that's what I got,
literally got that from Roy and that's what made kids.
He inspired me so much because he looked like me.
So I was like, that's what I want to do,
you know what I mean, I want to inspire the
young cat. So I think when it came to the
jazz world, I just ignored them and really went for

(57:59):
the young people, you know what I mean, but still
keeping the integrity of jazz, but making it to something
where they could identify with, you know what I mean.
And that's a while the Jazz war couldn't deny it anymore.
They tried to.

Speaker 10 (58:11):
I think you have to do that though, because I think,
you know, even like in all forms of music, you
have to kind of, if not necessarily, appeal to the
young people. You at least have to know how to
communicate with them because they're the ones that's coming next.
So if you want your thing to live on, you
gotta get the youngins so they can be it on,
you know what I mean.

Speaker 6 (58:30):
Rapper in that conversation to like in a way where
like his projects.

Speaker 3 (58:36):
I was going to ask kind I was going to ask.

Speaker 1 (58:44):
There was the jazz police of likeuch, when Marcella's all
these cats, is there such thing as the jazz police?

Speaker 3 (58:55):
Like there's still people.

Speaker 4 (58:58):
Himself? Guy, Oh, that's okay, nigga.

Speaker 2 (59:06):
Jazz police.

Speaker 4 (59:08):
Oh, y'all didn't see it. Y'all didn't y'all didn't see it.

Speaker 2 (59:11):
Right years ago, Branford.

Speaker 4 (59:14):
Turncoat on you, nigga hold on, Branford, put put me out. Look,
this happened maybe two years two years ago, maybe three
years ago. Two years ago he did a uh he
did an interview for one of them jazz magazine, maybe
down Beat or something like that, And in the middle
of the interview, they were like, so, Branford, what do
you think about what people like Robert Glasper and Camassie

(59:37):
Washington are doing? You know you did, but shot Lafunk.
What do you think about Robert Glasper's doing? He said, well,
you know, Jack Camosi, he's not a jazz he's not
a jazz saxophone player. Just do him all the way over.
Then he said and Robert. I mean, I'm glad he's
doing what he's doing because he's he has delimited jazz

(59:59):
vocabulary also, and then you ask him, he'll tell you
the same thing. Those were literally his words, SI, Robert.

Speaker 3 (01:00:07):
Do you have a limited jazz?

Speaker 4 (01:00:12):
Like?

Speaker 1 (01:00:13):
What?

Speaker 3 (01:00:14):
Who?

Speaker 9 (01:00:15):
Heartbroken?

Speaker 4 (01:00:17):
What are you talking about?

Speaker 3 (01:00:19):
What are you talking about?

Speaker 9 (01:00:21):
Do you not know who you are?

Speaker 3 (01:00:22):
So?

Speaker 10 (01:00:24):
So for the listener, if you have a limited jazz vocabulary,
who hasn't unlimited?

Speaker 4 (01:00:31):
Who is that?

Speaker 3 (01:00:32):
Yeah?

Speaker 4 (01:00:32):
That was like, come on bro, like that now you're now?
That was that was That's reckless. That's reckless. That's like
you know he they didn't even ask him that. That
wasn't even the question. He didn't ask do you think
they're jazz musicians? Or do you think what they're doing jazz?
They said you did bust shot lafunk. So they were
literally speaking to crossing over ye And he took that time,

(01:00:56):
took that little platform to put us down. Instead of
being I'm like, oh well, ship Robert Glass with Black Radio.
That's doing that's great. I'm happy, but something used to
don't use that platform to shoot down the two top
black instrumental jazz musicians that you know what I mean,
why would you do that?

Speaker 1 (01:01:14):
Come on, brove, Frank McCombe, what do you think is required?

Speaker 3 (01:01:18):
I mean, you know every genre has there and they
were disrespecting Branford. You know, just there's always the grumpy will.

Speaker 4 (01:01:26):
Go out Branford.

Speaker 3 (01:01:27):
I know he did that.

Speaker 2 (01:01:29):
I love him, y'all. Have you have you seen him?
Y'all ran into each other.

Speaker 4 (01:01:34):
No, but before he said that, I ran to him
at the club. But we had dreams he was playing.
I went to see him play. I had had a
night off in Seattle. He was playing. Me and Chris
and a few other people went down there hung out.
I'll always shown Brandford love. He's always actually shown him.
We've been cool every time I see him. You know
what I'm saying. But I just felt like, why not.

Speaker 2 (01:01:51):
If you was gonna say that, you could have said
that to my face.

Speaker 4 (01:01:54):
You could have been said that to my face, bro
no matter. In fact, I saw him at International Jazz Day.
I saw me the National Jazz Day in Russia maybe
two years ago something, and that, oh you know what,
and we had a little oh you know, it's.

Speaker 15 (01:02:09):
All coming the National Jazz you know, you know that
is like they they bring in a bunch of jazz
musicians and and and they put it.

Speaker 4 (01:02:21):
They put you in a different country every year and
to promote jazz, you know, and you do a concert
together and they break you up a little groups and
you do like one song. So we did the International
Jazz Day thing and me and Brandford backstage is somebody
came up and was like, so, what do y'all think?
What makes jazz jazz? And we're talking about it, you know,

(01:02:44):
and Brandford said, the space between the quarter notes. Okay,
I was like, before it sounds what do you mean
the space between the like literally the space between the
quarter notes, like the space between us. So I was
like the space between the court. So literally it's a

(01:03:05):
mathematical thing, like if you do this space with this
space recording, does that's We kind of got into a
think about it because the answer he gave was like,
come on, bro, like it sounds it sounded like witting.
I mean, no one has the true aunt like the no,
we don't.

Speaker 1 (01:03:21):
But there's nerds like me that wanted a scientific definition,
and there's creatives like you that you know that will
never have the right answer or whatever, Like I don't
think any creative truly knows what the definition of what
makes their art form tick.

Speaker 2 (01:03:38):
You know, yeah.

Speaker 4 (01:03:39):
Right, But then but we're having to just a discussion
and I'm like, yo, we start talking about tunes. I said,
so because this is not swing. We're talking about talking
aout yet symbol everything. And it was like, so you're
you're you're now defining a whole genre by a rhythm.
So because it doesn't ting to day and ten today,
it's not jazz. So what's red clay And he was like,
not jazz, right, I said, so red Clayga.

Speaker 3 (01:04:02):
So this is this is trapped versus real hip hop.

Speaker 1 (01:04:04):
I get this, this is versus This is a long argument, right,
I get it.

Speaker 3 (01:04:13):
I get it for everybody.

Speaker 4 (01:04:15):
But for somebody who made by some of the funk,
I just suspected something different. I expect a different answer.
I just expect a different answer.

Speaker 2 (01:04:22):
But that was But again, that was twenty six years ago.

Speaker 4 (01:04:25):
That was And look, even though Winton went and innovated
the music and then stopped, he did Black Codes and
then stopped. Black Holds is such an innovative record. You know,
Black Codes from the Underground, Black Codes from the Underground. Bro,
It's like absolutely fucking incredible. You know, one of my

(01:04:45):
favorite records of this absolutely absolutely you know, uh went
and called me go ahead.

Speaker 3 (01:04:52):
Oh wait, go ahead, go back to that because he calls.

Speaker 4 (01:04:56):
You remember the whole nother ram. I don't know if
you want to step into it, because now we want
to know because it was because of the Lord Hill stuff.

Speaker 2 (01:05:09):
Come on, come on with the smoke.

Speaker 4 (01:05:12):
No went and called me. I was in Japan and
never forget it. He called. He texted me and was like, Yo,
is this Robert Glaswar. I was like, yeah, who's this?
He was like this went and I was like, oh, ship,
what's up?

Speaker 3 (01:05:23):
How you doing?

Speaker 1 (01:05:24):
Man?

Speaker 4 (01:05:24):
It's like, hey man, you know, I just wanted to
call and tell you, you know, let this Lauryn Hill ship go.

Speaker 3 (01:05:29):
And I was like that's his first words to you.

Speaker 4 (01:05:31):
Ever, yes, you ain't going next ever on the phone.
We don't talk on the phone. I don't talk to
me on the phone. You know in.

Speaker 10 (01:05:40):
Japan, this ship is costing me extra money.

Speaker 2 (01:05:46):
Facing my dad and talk to me about this ship.

Speaker 4 (01:05:49):
He's like, let this Lauryn Hill shit go. First of all,
I never drug it on. I said I did that
ready interview, and I never posted about it. I never
said anything about it ever again online. You know what
I'm saying. That READI to interview posted and I didn't
put sh it on my I G. I didn't even
put that radio on my face. But nothing. So he
hit me with that let this go. And I was like, well,
I'm not doing anything, but you know, the truth is

(01:06:10):
the truth.

Speaker 3 (01:06:10):
I don't really know what you want me to do.

Speaker 4 (01:06:11):
He was just like, man, you know she's got all
these followers and stuff, and you know you're not gonna
win that battle, and I just think it's best if
you just battle.

Speaker 2 (01:06:19):
I'm not battling.

Speaker 1 (01:06:21):
Wait, you're missing the most important part. When Marcellus knows
who Lauren.

Speaker 9 (01:06:26):
Hill is what, Yeah, hairs as a whole other level too.

Speaker 2 (01:06:36):
You sall seven millionaires niggas.

Speaker 4 (01:06:39):
Know who to definitely dude, dude, first of all, Yeah,
this lord, I never thought when left this jazz bubble.
I know, I know, but that those things to bring up,
that's crazy. That's what he texted me about our first
text and only text to this day.

Speaker 9 (01:06:55):
Congratulations on you know.

Speaker 3 (01:06:59):
Your word?

Speaker 12 (01:07:00):
Uh?

Speaker 4 (01:07:03):
I told him, I said, but every time I saw him,
every time I see him in person, and honestly, when
I go see him play. He invites me up to play.
He calls me up on stage and ship, you know
what I mean. So I don't have a beef for
no real beef. Win you know, some of the things
he says. It's like, come on, bro, you know, but
he's fine. It's fine. And he's never thrown me under
the bus in some interview, you know, or tried to
do anything malicious, but you know, so we were texted

(01:07:25):
about that, and then finally I was like, Yo, every
time I see him, I say, I'm gonna get you
on some hip hop ship. He was like, oh, bro,
you know, I'm gonna just deal with the swing. I
ain't down with the bitches and the niggas. And I
was like, I said that, that's what I said. I said, Bro,
all hip hop isn't like that. That's one little second
him different styles of jazz. There's different kinds. And I say,

(01:07:48):
if you ever checked out anything I've done, you don't
hear that. He was like, you know, well, I don't know.
We'll we'll, we'll see. But he always says that every
time I see him, he's the great. It's like, come on, bro,
that's not Yeah.

Speaker 5 (01:08:04):
It's so crazy when at one point you was a
young dude like and Jack. Jazz beats are so funny
to me. They've been happening for like just the beginning.

Speaker 2 (01:08:11):
It's just have you, have you? And have you and
Lauren ever talked after that? Since posting black Radio, you know.

Speaker 4 (01:08:21):
Right, well you do it. Look but look hold on.

Speaker 1 (01:08:25):
And let me on that song so I can also
ouve branch that moment to too.

Speaker 9 (01:08:29):
Yeah you got it, you got a men.

Speaker 4 (01:08:31):
You health feed the fire, Robert Glass, But Patty Beef,
Patty Chef, you changed your Twitter your Twitter handle to
Robert Glass Beef Patty Chefs.

Speaker 9 (01:08:43):
No healing, It's no healing, It's no The shocker is.

Speaker 3 (01:08:47):
A way Marcel Lauren Hill. Lauren Hill known social media Twitter.
This is a great day.

Speaker 4 (01:08:55):
Look Ilmosa saw her at at uh what is the
North Seat Jazz Festival. I literally was sitting outside and
a bus pulled up and it was her tour bus,
and all the cats came off like yo, rah blah
blah blah. They were like, well, Lauren just got off

(01:09:16):
at the other place. I was like, okay, cool, that
would have been amazing if I haven't seen them since then.
But my thing is my thing is that you saw
her statement she wrote after that, right, it.

Speaker 1 (01:09:27):
Was so many where it was where emojis in it,
and I was like, emoji's.

Speaker 4 (01:09:34):
Are shut and honestly, and I didn't know it was
the twenty when I did that interview. I didn't know
what the twentieth anniversary of fucking that the album the
mis Education, Yes, I mean where the god And I've
never talked that. My laurn Hill situation happened in two
thousand and seven. We did this interview and what two
thousand and six seven? Yeah, I've never said it out loud.

(01:09:59):
On the interview, they asked me, what's the worst musical
experience you've ever had? And that is the first, and
that's the first one that ever comes to mind is
working with Lauren.

Speaker 3 (01:10:08):
It was terrible.

Speaker 6 (01:10:09):
Poison to the truth, the poison text you.

Speaker 4 (01:10:13):
A lot of people text me, yeah, a lot of
people text me like thank you, you know, thank you. Ship.
We can't I can't say that ship, but thank you.
A lot of cats was like good looks you know
some of them cats, you can't. They can't.

Speaker 3 (01:10:27):
You know, I can say that ship.

Speaker 4 (01:10:28):
I'm good.

Speaker 3 (01:10:28):
Fuck you know, but you know, and.

Speaker 4 (01:10:30):
The other cats that she uses in that way don't
have the platform and say ship, you know what I mean.
So I felt like or the power to sation and
my It wasn't me purposely coming at her. It was
just that's what it was. And everything was truth, everything
was fat, and everything's still happening, you know what I mean.

Speaker 2 (01:10:47):
So it's like.

Speaker 9 (01:10:49):
A whole gift to jazz in so many ways.

Speaker 6 (01:10:51):
Yo.

Speaker 4 (01:10:52):
You well look, I'm here, I'm serious. I thought about
this the other day. I was like, wouldn't it be.

Speaker 2 (01:11:10):
Yeah, the government.

Speaker 4 (01:11:12):
I thought about that though, would if would if we
got her on Black Radio three.

Speaker 1 (01:11:17):
Look man, it's twenty twenty and we're running out of
space on our Bengo cards.

Speaker 4 (01:11:22):
You produced it?

Speaker 3 (01:11:23):
What happened?

Speaker 4 (01:11:24):
You produce it?

Speaker 3 (01:11:26):
Listen? That would be crazy, bro, it.

Speaker 9 (01:11:28):
Was y'all come up with your idea.

Speaker 4 (01:11:30):
I'm down for it, yo, in a silly way, in
a silly, weird way. I feel like there's a possibility
it could possibly happen. I think it'd be dope. So
because as an artist, I have nothing against her. She's
fucking looking credible.

Speaker 9 (01:11:43):
You might have to extend your due date, but I
think it could happen.

Speaker 4 (01:11:46):
That'll be Yeah, it'll definitely. It probably won't come out
to a Black Radio nineteen, but it'll be.

Speaker 3 (01:11:53):
Back to the theme of the show and.

Speaker 5 (01:11:59):
As you're gonna be tround.

Speaker 4 (01:12:09):
Renewed optimism.

Speaker 9 (01:12:10):
No, it's gonna get done, noh, mirreor it's gonna get done.

Speaker 1 (01:12:12):
Listen as as a person that believes in manifesting positive
energy and whatnot.

Speaker 3 (01:12:20):
Yes, we're gonna make it happen.

Speaker 1 (01:12:23):
I would love it, I will say, Lauren Hill, we
are officially putting out the Olive branch.

Speaker 6 (01:12:30):
Yeah.

Speaker 1 (01:12:30):
I think the better the world was better with our
artistic contributions. It's needed in the world right now.

Speaker 3 (01:12:38):
So actually, really is it really is?

Speaker 2 (01:12:40):
All right? So questions while we on optimism on the
Lauren jail. Yeah, oh, I mean, if I'm still aloud, I.

Speaker 10 (01:12:53):
Got sixteen for you. Okay, ask question Brandy, and I
want to ask you specifically, what is it like tracking
her in the studio, tracking her vocals?

Speaker 4 (01:13:16):
Brandy might be the illest tracker I've ever seen. It's incredible, bro,
I've never seen nobody phase himself out.

Speaker 2 (01:13:25):
I was gonna ask you about that. I saw another interview.

Speaker 4 (01:13:28):
Three times in one in in the in the middle
of doing optimistic, she phased herself out three times.

Speaker 3 (01:13:33):
That's how on top of her vocal she is with.

Speaker 4 (01:13:36):
That's how her vocal she is when she stats her
ship is so exactly alike that she fakes the computer
out and it makes you think you're doing the same
the track again or some ship.

Speaker 10 (01:13:48):
You're not.

Speaker 3 (01:13:48):
You know what I mean?

Speaker 4 (01:13:49):
Because most people, when you read, when you sing something
else and you sing it again, sing it again, let's
stack it, there's always something different.

Speaker 2 (01:13:56):
It's always an imperfection, something and something.

Speaker 4 (01:13:59):
She's so dead on that shit. Phased the funk out
three times, from the bread, from the breathing, from when
she cut it off where the vibradis stop like everything
is incredible, and she don't leave the booth to the
fucking shit's done. It ain't like she come out and
listen and vibe. She's like no, and she won't stop
with the ideas. You have to stop her. No Brandy,

(01:14:19):
no more vocal, no more stats, no harmony. Yeah, and
she wants to get it. She's so enthusiastic about getting
it right and just wanting to try more and more ideas.
She's not a lazy singer at all. You know what
I mean, Like, it's incredible work with her. Man, she
has to be one of the nicest too, you know
what I mean. Like even when I did when she

(01:14:40):
was on my Black Radio album before that, she paid
for the studio time because she was late the other
time or something like that. She couldn't make it, and
she was like, yo, she paid for the studio time
and she you know what I mean, I didn't even
know where back then. You know, she's just this is
such a nice, really really nice person.

Speaker 10 (01:14:58):
Black Radio on Black Radio two. Man, you had a record,
it was. It was a lot of records on the
album I Love. I really loved the Emily Sun Sandy
joint that Yeah, I love.

Speaker 2 (01:15:10):
That's just a great song. Just the lyrics.

Speaker 4 (01:15:11):
Yeah, that's great, dude. She wrote that ship in twenty minutes.

Speaker 2 (01:15:14):
Are you serious?

Speaker 3 (01:15:15):
That song? That song?

Speaker 4 (01:15:17):
Originally Mary J. Blog was supposed to sing it, and whoa,
I had lyrics and everything already done. But getting with
Mary just always kept, you know, we couldn't make it happen.
So I had the lyrics in the song. I even
had the song sung by somebody else to you know.
Emily was in town and she came by the studio

(01:15:37):
and I played her the song and she was like,
I love it.

Speaker 3 (01:15:40):
I love it.

Speaker 4 (01:15:41):
She's like, do you mind if I changed the lyrics?
I was like, no, do what you feel. She got
a pin and pad out, walked around, wrote that joint
like twenty minutes bro wow literally and put that ship
down the record town for the Great Great Gatsby Premiere
some ship.

Speaker 10 (01:15:58):
Yeah, yeah, the record did with the Nora record that Mossino.

Speaker 2 (01:16:03):
Yeah, I love that joint.

Speaker 3 (01:16:04):
Man.

Speaker 2 (01:16:05):
How did y'all you and Mossina like seeing the shot baby?

Speaker 10 (01:16:09):
That's like family? Yeah, and y'all's cover of god Resch
you married gentlemen. Oh yeah, I need you to send
me that I love.

Speaker 3 (01:16:18):
Yeah.

Speaker 4 (01:16:19):
For years I kept doing I would do that with
different artists. Every year I was. I would just pick
an artist, hit them up, like yeah, you want to
do a Christmas song together, you know, and I'll send
them the music and then put some on it and
we put it out. I did it with Due Power,
I did it with Keim Bred a few different beatle
just throw it out, thro it out there for you know,
for fun. But that joint, the nor Jones joint. So

(01:16:40):
me and Nora went to jazz camp together in high
school in eleventh grade. Matter of fact, I'm here. You
have something to do with this too.

Speaker 3 (01:16:48):
Wait, I'm a connector.

Speaker 4 (01:16:51):
You're a connector. You don't even know it. So uh.
Me and Nor went to high to jazz camp together
in eleventh grade. So that's where I knew her from then.
When I got to New York, I saw her my
freshman year at she was at my college in the
practice room at my college, at the piano.

Speaker 3 (01:17:10):
I looked in him there. I was like, nourah and
I walked in there.

Speaker 4 (01:17:12):
I was like, what are you doing? She's like She's like, oh,
I'm working on the demo. I was like, oh dope.
Next time I saw her was on TV when of
the damn Grammys. After that, After that, I sat in
with the roots at Radio City. Remember you did the
two nights at Radio City?

Speaker 3 (01:17:30):
Oh crap, I forgot, dude.

Speaker 4 (01:17:32):
That was one of the when people asked me some
of my top moments being on stage of Crazy Ship.

Speaker 3 (01:17:39):
Oh that's right, we did.

Speaker 4 (01:17:40):
Remember when came.

Speaker 3 (01:17:42):
Yeah j He showed up.

Speaker 1 (01:17:46):
He didn't know that he could play Radio City musical dude.

Speaker 4 (01:17:52):
Never forget that ship where.

Speaker 3 (01:17:54):
Yeah and they got and and I never.

Speaker 4 (01:17:58):
Forget in the in the in theres you like jay
Z's here and we did up, we did up boom, Yeah,
we started playing. He walked out and had this back
to the audience to the hoodie young and the lights
is off. We started playing that line and no one
knew he was coming. When we started playing that baseline

(01:18:20):
the lights flash, he pulled his hoodie up like this,
still with his back to the audience and then uh dude,
when they when he turned to do the amount of
like it was so crazy, bro Like, I'll never forget
that moment. I'll never forget that moment. And that's where
I met Dave too. That's where I met Chapelle too.
I gave him piano lesson backstage at that show.

Speaker 3 (01:18:42):
Oh so you're the one that taught him.

Speaker 1 (01:18:44):
After Midnight, he's still.

Speaker 4 (01:18:48):
Still playing that ship he played. He did a solo
piano at my Blue Note residency last October. He went
on stage by himself and played rob Midnight on my
piano by himself and thank you and walked.

Speaker 2 (01:19:05):
Playing that flight Twitter.

Speaker 10 (01:19:06):
He played that at party like He's.

Speaker 4 (01:19:11):
But anyway at that show, a regularly show after it,
the after party thing upstairs or something like that. And
I'm sitting on I'm sitting next to you, talking on
next to somebody next to you, let me be one
or two people over for you.

Speaker 3 (01:19:25):
And I reached for some.

Speaker 4 (01:19:27):
Ice and Nora was on the other side of you,
and she reached for some ice, and that's what we were.
I'm like, oh no, what's up. And then we got
these other changed numbers. And that's how we just kept
kept in connection, you know, from that, you know, but
she killed that joint.

Speaker 2 (01:19:44):
Man.

Speaker 3 (01:19:44):
I love Nora.

Speaker 4 (01:19:45):
I love hearing Nora in other situations. Her voice is
so dope, you know.

Speaker 2 (01:19:51):
So I really love that song.

Speaker 4 (01:19:52):
It's really dobe. Let it ride, Yeah, Andina was sick.
She didn't want to write it. I sent it to
Messina and I said, and I didn't know who was
going to sing it yet. I just I wrote the song,
and I was like, need some lyrics, and I sent him, hey,
write some to this, and I need I need to
get it done by this week. I don't know who's
going to sing it, but write it. And she was like,
I'm really sick. I don't feel I said, write the

(01:20:14):
damn song.

Speaker 2 (01:20:14):
Was writing a song.

Speaker 4 (01:20:16):
She's like okay, and wrote that joint and send it
to me the next day. And then Nora came in.

Speaker 3 (01:20:23):
Who have you yet to? Uh? I guess for Phil
Bucket list wise?

Speaker 1 (01:20:28):
I mean, I'm sure there's everybody, but what close calls
have you had with your projects that you didn't get
a chance to work with?

Speaker 3 (01:20:36):
Yet?

Speaker 1 (01:20:38):
Don't say her name? As I was asking this question,
I'm like, oh God, no.

Speaker 4 (01:20:45):
Do you think I'm gonna say, oh, you don't remember
the Oh? Yeah, mail the roof?

Speaker 9 (01:21:01):
Is that so hard? What she that's the mayor?

Speaker 1 (01:21:03):
Call her up?

Speaker 3 (01:21:05):
Yeah?

Speaker 1 (01:21:07):
Like before Solon, Solon came through like a champ and she.

Speaker 2 (01:21:12):
Was gonna do that the little Dragon cover?

Speaker 4 (01:21:16):
Yes, wow, but what she doing?

Speaker 6 (01:21:19):
What's she doing with the mal doing?

Speaker 8 (01:21:20):
What?

Speaker 3 (01:21:21):
We try to make it?

Speaker 4 (01:21:23):
Yeah? Yeah, it didn't really work out, okay, so yeah,
who else?

Speaker 9 (01:21:31):
Who else?

Speaker 1 (01:21:32):
Salon from?

Speaker 4 (01:21:34):
Look? I have a song in my computer. I did
the song that need.

Speaker 3 (01:21:38):
The Baker.

Speaker 2 (01:21:41):
Was yo? Was it for the Blue Note album?

Speaker 5 (01:21:44):
That?

Speaker 4 (01:21:44):
Like?

Speaker 10 (01:21:44):
Never?

Speaker 4 (01:21:45):
Yes?

Speaker 10 (01:21:46):
Because yeah, she did a cover of Lately by tyree
which on paper sounds insane.

Speaker 2 (01:21:54):
Wait what, bro, you never heard.

Speaker 10 (01:22:00):
Anita Baker covered Lately by Tyrese And it is fucking
amazing niggas.

Speaker 2 (01:22:06):
She bodied that ship.

Speaker 10 (01:22:08):
Oh, it's like it's the only it's like one of
her only so if it's still on, because you know,
not none of her shit on streaming, it's like one
of the only joints of hers that's like on streaming services.

Speaker 4 (01:22:19):
That came out, that song came out.

Speaker 10 (01:22:21):
That song came out, that came out. Oh my gosh,
she bodied that shit. Bro I like, I was like
lately she covered lately niggah.

Speaker 4 (01:22:28):
Yeah, no, I was.

Speaker 3 (01:22:30):
Uh.

Speaker 4 (01:22:30):
It happened because we were both on Blueou at the
same time, and Don was was trying to hook us up,
like he also hooked me out with Shaka Khan, and
I was, I produced a half a record. I have
four songs on Shaka. We're gonna do a whole word
went in to do a whole album because he gave
her Black Radio. It was like, just check this guy
out to do your album because she was going to

(01:22:52):
do a record with Blue Note. So she's like, oh
my god, I love it. I met up with her
boom boom. We went and did a week in La,
did like four or five song and then her deal
with Blue Note went. Some went left, so I got
five songs of Shaka in my computer that I don't
know ever gonna come out. But with Anita, she was
working finishing that album. She was finishing it up, and

(01:23:16):
I tweeted I was landing in La. I'll never forget it.
I tweeted, I'm in La. Blah blah blah blah. She
tweeted me, Oh, come by the studio.

Speaker 3 (01:23:23):
I was like, what.

Speaker 4 (01:23:29):
They're like, I neither. She was like, yeah, come by
the studio and listen to some of the stuff I've
been doing. Her son is a DJ. He goes to
he at the time. He's like going to Berkeley. He's
a big fan of mine. So you know that helps,
you know, you know what I mean. So I went
by the studio. She played me the album and she
was like, what do you think? And I even fixed

(01:23:50):
some stuff for keyboard parts and some stuff. She's like,
you know, did some things on there. She was like, Man,
if I would have known you were coming to town,
I would have did a song with you. I said,
don't play. I said, I write a song right now.
I'm in town right now now. She was like, I mean,
but I got to turn in this album in two days.

Speaker 3 (01:24:08):
I was like, I need it.

Speaker 4 (01:24:09):
Yeah, bro, Look, first of all, when I walked to
the studio, she's making ribs. Let's just talk about this
for a second. Black the blackness, unams. The vocal booth
was next to the kitchen. It's the same studio, same studio,
same studio. She did Angel in same studio. Angel all

(01:24:32):
of the same.

Speaker 3 (01:24:32):
One because he's on Baver Glenn record, using that record.

Speaker 4 (01:24:36):
That's that's what that's well, back then when I did
that song, that was three years ago when I did
that song. When I did that, yes, so she had
an oven mess and everything. You hungry, I'm making some ribs.
I'm like, what ribs doesn't get you better? Anita Baker
offered me ribs in the studio she did Angel.

Speaker 3 (01:24:54):
I'm good.

Speaker 4 (01:24:55):
So anyway, uh well she said that. I was like, Anita,
I'm gonna write some for you right now. I lively
went to the piano. I swear to god, I wrote
some ship and like I live and breathe me. The
Baker like, giving you the best that I got is why.
That's one reason between giving you the best that I
got between that my mom.

Speaker 2 (01:25:19):
Look, I mean like thrillers.

Speaker 1 (01:25:22):
So it's like, yeah, you and the fans always want
to outdo someone, But I let you know that compositions
is your record.

Speaker 2 (01:25:31):
That's the one man ship. That composition was a motherfuck.

Speaker 4 (01:25:34):
Look between that and and Luther Vandross albums. Matt Adley Jr. Yes,
those were those sounds. Maybe want to play piano period like,
because that's all we heard. I heard that in the
house a lot. Anyway, I wrote the song like ten minutes.
I went over Andre Harris's crib. I said, Yo, I
need you to put some ship on here. As for
the Baker was like cool, nigga, put drums, bass, guitar,

(01:26:00):
did that in about an hour. We called Sir over.
Sir came over to the crib and did his own
ship and wrote the song, sang it down. We email
her the song that night. She learned it that night,
came to the studio, sang it down in one take, wow,
and then said then said this to me. She said,
only in my life three times has a song fit

(01:26:22):
me like a tour address.

Speaker 3 (01:26:24):
This is the third.

Speaker 4 (01:26:26):
I didn't know what that.

Speaker 11 (01:26:28):
Ship was, all right, represent Yeah, anyway, she was like.

Speaker 3 (01:26:42):
What I was like, so so.

Speaker 4 (01:26:48):
Brother exactly that shoe popat No, not that sub but yeah,
she said that. She was like, there was a thing
that George Duke did for her, some kind of arrangement
of something, and then I forget the other song, but
she was like, this is the third She literally sung
it down in one take, like.

Speaker 3 (01:27:09):
What where is it now?

Speaker 9 (01:27:11):
Yeah?

Speaker 4 (01:27:11):
Where in my computer?

Speaker 15 (01:27:13):
In that computer is talking to us on my computer
talking to.

Speaker 6 (01:27:18):
Is it in that one?

Speaker 2 (01:27:19):
That computer in that computer with with email on it?
Quick time? The quick time, that computer with a drum box, but.

Speaker 3 (01:27:33):
Triangle triangle every six hours with my air drop.

Speaker 4 (01:27:37):
Okay, my dream. I wanted. I'm going to hit her
up because I wanted to. I want to see if
I could use it for Black Radio three. That's why
I yeah, yeah, I want to do it so bad.
That's my hopes for George.

Speaker 2 (01:27:52):
You mentioned George. Did you if you and him before
he died? Did y'all over her hook up or opened.

Speaker 4 (01:27:57):
Up for George? For like nine shows Europe? He never
remembered me after any of the shows. You know, people
like that, they up to the George, you know, And
this was back in like I don't know, oh eight
oh nine. You know, I was over like three years,
so you know, I wasn't ship really, you know, so

(01:28:19):
I'm not tripping because he's George dude, you know what
I mean. But after each show in different cities, I'd
be like, hey, hey, misster, do how you doing. Man?
He'd be like hey with that face, and I'd be like,
I'm a rob. I played key keys early earlier before
you start, every and every every night, every night. But

(01:28:39):
you know he ain't coming to the sound, you know,
to the the shows before him, so you know. But
then we finally got to connect in a real way
at International Jazz Day, not that one I talked about,
but before, and it was in Turkey and me and
him and Herbie like got a chance to hang out
and sit down and talk and you know what I mean,
chop it up and that and that's it. In that situation,

(01:29:02):
passed almost he literally passed. I'm not the pair of them,
but he literally passed a few us. I say, you know,
play keys. He knew play keys as far as I got.
But there he passed a few a few days, a
few a few months later after that.

Speaker 3 (01:29:21):
All right, so who who is the the hero? Figure that?

Speaker 10 (01:29:27):
All?

Speaker 3 (01:29:27):
Right? There you go?

Speaker 4 (01:29:29):
Are you gonna say Herbie comes somebody?

Speaker 5 (01:29:32):
Herbie was just about to ask you what is it like?
Because I mean the last show I went to with yours,
you did this whole thing. He was like, oh, I'm
about to go take a bathroom break and he was
I'm half of my feeling for me real quick, and
it was Herbie Headcock and I was like, what does
that feel like to be you and that relationship with
that man?

Speaker 4 (01:29:49):
Man, he's so awesome and he loves to he loves
to be around because he you know, he got that
from Miles I think, you know, just like you know,
wanting to soak up the younger energy and just be
around on that even that was always him. So yeah,
that's my dude, man, Like I love Herbie. He's so
open and cool, and he just pulls up like he

(01:30:10):
always pulls up, pulls up to the shows, pulls up
to my last record. He's on my last record, fuck
your feelings because I was he just heard I was
in the studio and just pull it up. I was like,
oh ship, you know, okay cool And he pulled up
to fucking Hinson and I was like, Yo, did you

(01:30:30):
hear you wanna? No? No, no, no, you know, just speaking
to your point me and Herbie talked maybe two three
weeks ago. He said, this is the longest time he's
ever gone without touching his piano. Oh wow, he said.

Speaker 3 (01:30:45):
He's in the same funk. He was like, man, I'm
not even that.

Speaker 4 (01:30:47):
I don't feel like, you know, He's like, I've never
gone seven months or wherever long it's been when I'm
touching my piano. He's like, it's just sitting there. He's like,
he's just it's just sitting there, you know.

Speaker 1 (01:31:00):
You know, so you gotta take a break, you gotta
you gotta take a break and then come back to it.
I was gonna ask, I think it's different for keyboard
players now because of the the the advanced way that
technology moves in your world, Whereas at least with me personally,
like I'm not too interested in you know, like new drums,

(01:31:24):
and you know, the company always be like, you know,
these are special trees that we used in Japan to
make it, you know, And I always tell them like,
give me the trashy the high school set.

Speaker 4 (01:31:35):
It's all in your touch anyway. It's all your touch anyway.

Speaker 1 (01:31:38):
Right, So as far as being a are you a
gear head or are you just using the same.

Speaker 4 (01:31:50):
I am not, you know what, because when people were
doing gear ship, I was just practicing on being really
good at the piano, you know what I'm saying. I've
never because my whole thing was always acoustic piano. So
that's been my thing for such a long time. Even
when I got signed a Blue Note piano trio, shit
acoustic piano. It wasn't even keyboards. Yeah, I wasn't even

(01:32:12):
using keyboards for a while. They're putting piano acoustic pianos
and clubs for me because I didn't want to play
jazz clubs anymore. I want to play cool shit hip
hop venues and shit like that. And I was trying
to get grand pianos in there. So Stein would put
pianos in there for me and shit, but a lot
of times that sound would be fucked up. It wouldn't
sound good, you know what I mean. And so I
was like, Okay, let me get the key let me
do the keyboard thing. But I've never really been a

(01:32:35):
gearhead at all. People think I am for some reason,
but to me.

Speaker 10 (01:32:40):
It always seemed like I think that's the gearhead thing
is more so for people who think of themselves as
producers first or right, you always kind of seem like.

Speaker 2 (01:32:48):
A player, you know, primarily.

Speaker 4 (01:32:51):
Yeah, I'm like, know, we need strings. I know a
string player that can do that, like we did when
we fucking did the twice. You know, AMR wasn't like
Gil pull the string sounds. He called some cellos and violence,
you know what I mean. We know those guys. We
don't need the patch. I know them. I'm always that,
you know, and all the patches they're like, but it
sounds real. This one sounds realer than that one. I'm like,

(01:33:13):
I know, real people, real people, Yeah, I know.

Speaker 9 (01:33:17):
I would imagine, now, keep a musician's employed. That's dope.

Speaker 4 (01:33:25):
Yeah. And obviously obviously you got to tap into it
a little bit because you can't just get musicians like
this anymore, especially now. So that's why now I've been
even tappingto it, tapping into just sounds and getting all
the plug ins and stuff like that, even even if
it's for demo demo's sake, you know what I mean,
I'll do stuff like that. But I'm just such a

(01:33:47):
live person. That's just my thing, you know.

Speaker 1 (01:33:50):
I would imagine, like, you know, I'll say, like maybe
what Steve, like once every four months the rolling guy
comes in with you toys.

Speaker 3 (01:33:58):
And whatnot, and we're like, oh.

Speaker 1 (01:34:01):
This is like Christmas all over again. Like I'm certain
that every keyboard maker from Yamaha, Toro, like all these
guys are like I was off to you try our product.

Speaker 4 (01:34:15):
Well here here's the thing though. I was on Yamaha
for a long time, but there wasn't giving me that
love you were talking about. I was like, hey, yeah, yeah,
because I'm like, yo, why am I having to call
the MD for Alicia Keys to get to the head
of Yamaha Keyboards. I'm actually a keyboard player, but I

(01:34:36):
have R and B, Grammys and hip. I'm Grammys and ship.
I'm here. Hey, this works for you guys, you know.
But the mds of the people get those people get
those looks, and I'm like, yo, but I'm an actual
panel player, like you know what I mean, Like I
should get those looks, and I wasn't getting them. So
I left and and like you said before, everybody else

(01:34:57):
is like yo, for for years wanted to me. So
I'm on Core now, you know, and they treat me
they're great. I have to stop them from giving me shit.
You're right, I do. Yeah, how many.

Speaker 1 (01:35:09):
Well, the thing is is that when keyboards are manufactured
and they put all those patches inside of one thing, like,
does it matter how much product they make? Like, isn't
it just the same version.

Speaker 4 (01:35:21):
Of basically, But for me, what interested me in keyboards
initially too was because I started needing to use a
keyboard on the road when I was playing my shows,
and I needed something that felt good, that felt close
to a piano as possible, and that sounded as close
to a piano as possible. So that's when I became

(01:35:41):
interested in plugins and interested in different keyboards because you know,
but so the one I have now, the one I
use now, the Chronos, feels the best when it comes
to me having to get around like that, you know
what I mean, like really get around. So for me,
it was always that what felt the best because at
my shows, yeah, I use a piano and I always

(01:36:03):
have offender roads and then I have something on top,
you know, some kind of like I have a smaller
Crogos on top for my extra little sounds here and now.
For for years I didn't have to do a lot
of sounds because I had Casey Benjamin, he had a
million sounds, and this.

Speaker 10 (01:36:16):
Ship right right right, Yeah, I remember we did that
gig at that sound was a rouge ago and he
was I think you were playing you were you playing
the lead, the door, lead, the red Yeah.

Speaker 2 (01:36:30):
I think we were playing that night and Casey had
yeah all the million.

Speaker 4 (01:36:33):
Yeah. Yeah, I'm not. I'm just not. I'm not really
interested in a lot of sounds. I like piano, I
like roads, like a few leads and a pad every
now and then. But I like to you know, I
know those guys who are great at those sounds, and
I even hire those guys to come do sounds. Hey,
you want to make some sounds, you do that. It
freezes me up. It frees me up to just do
what I want to do.

Speaker 10 (01:36:54):
You know, Hey, I was just gonna ask you about
the Miles project that I was like honored fucking be on,
like to log into my ass cap and see a
song and it's fun take ovid Miles Davis, like nigga,
what you know what I'm saying, like for like for real,
for real, like so yeah, I mean I've told you
this a billion times.

Speaker 2 (01:37:13):
I just want to say, in front of myody brother,
thank you so much.

Speaker 4 (01:37:15):
For sure, for sure.

Speaker 10 (01:37:16):
But but Noah, Man, I wanted to ask you, like,
so when they give you just carte blanche and say
all right, do whatever, how I guess how much of
an undertaking is that and how involved is his family
in that? And you know kind of you know, making
sure that you know that ship has done tastefully or whatever,

(01:37:36):
Like what was that process?

Speaker 2 (01:37:38):
Like, man, just doing that everything album? It Actually it
was a nephew.

Speaker 3 (01:37:42):
Right, yeah, it was Vince, his nephew.

Speaker 4 (01:37:45):
And I've been on Vince for years and he's always
he's fan of the music, and he you know, he
knows that I'm I shadow a lot of what Miles
already did and I and I think like that and
I look see what you know. So he hit me
up about it. First, I was doing the score for
the movie. I was in the middle of that John
OUs Ahead. I was already in the middle of the movie.

(01:38:06):
And then Sony hit me up about doing that doing
the because it was about to be his ninetieth birthday
or something. I think at that time it's going to
be his ninetieth birthday. And they were like, we want
to do a remix album, blah blah, and I was like,
I'll only do it if it's I don't want to
do a remix album, Like I'm not interested in putting
some Miles trumpets over hip hop, you know what I mean?

Speaker 3 (01:38:25):
Like that's been done. I want to do that.

Speaker 4 (01:38:27):
I said, the only way I'll do it is if
you let me in the vault and let me take
what I want. And they were like, okay, So they
gave me eight hours. I was in the vault eight
hours of the vault.

Speaker 2 (01:38:43):
Well, I thought you been eight hours to do the album.

Speaker 4 (01:38:45):
I was like, God, damn, no, no, no, they gave
me eight hours of the vault.

Speaker 3 (01:38:50):
That's way too little, way too little.

Speaker 4 (01:38:53):
I took as much as I possibly could in that
time because they didn't want to let me in the
vault originally, you know what I'm saying. But it was
like a back and forth from my people there people,
and then they finally like, okay, we'll give you eight hours.
You know how much unreleased Miles was in there. I
have a lot of ship.

Speaker 3 (01:39:13):
What were they what?

Speaker 4 (01:39:14):
What what were you taking?

Speaker 5 (01:39:16):
Right?

Speaker 4 (01:39:17):
How you doing?

Speaker 3 (01:39:22):
Well? What?

Speaker 7 (01:39:23):
What what were you taking m P three's tapes talking about.

Speaker 3 (01:39:27):
No just P three ship?

Speaker 11 (01:39:28):
Yeah?

Speaker 3 (01:39:29):
I did.

Speaker 4 (01:39:29):
I brought my hard driving and they were just like,
take what you want? What do you want to pull up?

Speaker 10 (01:39:33):
Now?

Speaker 3 (01:39:33):
What iut gonna pull up now?

Speaker 4 (01:39:34):
But uh, you know some digitized and some stuff was
to track what you can't do much with. But then
they had ship that was like eight tracks and cursing out.
I got so much. I got yeah, I got that
got him. I got him talking ship, cussing out talking

(01:39:56):
to Ron Carter when he was trying to learn from
them jazz dance.

Speaker 3 (01:40:00):
Wait, I wait, did I share this previously?

Speaker 1 (01:40:03):
On another I found out something that I don't think
the jazz world is aware of. I was recently told
by a lot of jazz I had to ask at
least six of them. I did not realize that Ron
Carter does not know how to solo good. So someone

(01:40:25):
someone brought this up to me when I was asking my, my, my, other,
my older jazz heads about stuff. And to them, they're
baffled that one of the most iconic hip hop samples
and they're referencing the McCoy teimer sample for the choices

(01:40:47):
yours with Ron Carter, and Ron Carter is on base
doing that, and I guess the the whole thing is
that they're laughing at the irony that the world's worst soloist,
and I was like, blasphemy. Right now, They're like no, no, no, no, no,
Ron's a perfect foundation for music. But if you notice

(01:41:10):
he Miles never gave him a solo on any of
his records. And I was like, I don't believe his ship.
And then I went back and for a whole month
listened to every Miles Davis.

Speaker 3 (01:41:22):
Couldn't find one.

Speaker 4 (01:41:24):
If there's anything, it was just walking so low. If
there was one, it was just was one like there was.

Speaker 3 (01:41:31):
He was there just ass foundations, I exactly. And then
when I was like, wait a minute, why is that so?

Speaker 1 (01:41:36):
Because Ron Carter is just like he's like, no, this
is y'all fault is that's tribe fault y'all.

Speaker 3 (01:41:42):
May y'all may be.

Speaker 1 (01:41:43):
Worst music shit Miles Davids arsenal King, And I'm like,
this is blasphemy. But I didn't realize, like how do
you judge? Maybe I don't know, Like, yeah, how do
you know if a cat is real or not?

Speaker 4 (01:42:00):
Well, that's it depends on the instrument, because the reality
is no, most people don't want to hear bas solo anyway.
Thank you, Thank you, Christian McBride. You went to school
with the most incredible bass soloist in the history of
jazz music, so you have a different outlook on it.

Speaker 3 (01:42:16):
But most people don't want to hear.

Speaker 7 (01:42:18):
That's when you go to the bathroom man.

Speaker 4 (01:42:20):
All that that's the joke.

Speaker 1 (01:42:22):
Yeah, No, I now I believe that Chris is I
mean next a mingus Like I feel like Chris is
the god of jazz bass.

Speaker 3 (01:42:32):
So maybe I am sported.

Speaker 4 (01:42:33):
But period, there has no never been a soloist like
Christian McBride. That's not even that's not even up for debate.
There's not one person that's even close to it. Jazz
based soloists like McBride is. No one gets around like that.

Speaker 3 (01:42:46):
It's true.

Speaker 4 (01:42:47):
No bass player makes other instruments scared to play after them,
except Christian McBride when they solo. I've had this conversation
with all everybody. He's the only bass player that when
he solos, you're like, what a what am I going
to play? You know what I'm saying? Like most based
most basics stay in their base range and they don't
have much vocabulary. Because you don't you don't get to

(01:43:09):
work out as much, you don't get to sol us
much you have the one based solo in a set
at best, you know what I'm saying.

Speaker 3 (01:43:15):
But everybody else, that's what you do.

Speaker 1 (01:43:17):
Your job is just so without you, without you throwing
your contemporaries under or your idols under. Yeah, but I
always wanted like and this is where because comedians have
a whole nother standard. I I guess I have a
you know, like when I criticize Kanye's patches, yeah, you know,

(01:43:39):
his drum patches or whatever. And even Kanye him something
now I feel like he'll tell you, but it's just like,
you know, I hear people just dismiss it as like,
oh you have like dog with sole ears, like you
hear something that we can't hear. But right, you know,

(01:44:03):
when I hear a producer, I could tell like based
on their you know, the way that they chop their
their patches and what they use and their arrangement and
their tone and all that stuff. You know, stuff that
I can hear that the average person can't hear.

Speaker 3 (01:44:16):
But yeah, how do you know?

Speaker 1 (01:44:19):
Like my dad would know how good a musician was
based on how they play ballad. He makes them play
a ballot and he's like I can instantly tell who
is good and who's not good when you play, when
you give them the easiest shit in the world to
play and they fall apart in front of me.

Speaker 4 (01:44:37):
So what d Yeah, no, that's a good one too.
Especially as the piano player. When you play a ballad,
you're exposed because now it's it's really about your touch
and there's the space there. So what how much knowledge
do you have to fill up that space? What? What
can you do to fill up that space? A lot
of people feel and be tasteful about it. A lot
of people feel like, especially piano players, they feel like

(01:44:58):
when I go to shit like or stuff like that,
a million piano players, everybody's trying to play.

Speaker 3 (01:45:04):
I went one.

Speaker 4 (01:45:04):
I went twice in my life. I had to go
over the last. I did a thing for Corey just
read recently. I did a show there for Corey And
so dude, it's yeah, you already know anyway. Yeah, everybody
wants to play the fastest thing they possibly can, giant
steps or some shit like that. And then when you
play fast, you don't have to have touch, not about touch,

(01:45:25):
not about this, not about that, and it goes by
so fast and not paying attention. But with piano players,
you can, like I can sit down, I can see
a piano player sit down, and in five seconds I
can know what I'm about to hear. Sometimes I can
do it just by your posture and what you while
you hold your hands. A lot of times I can tell, okay,
you actually don't play jazz. You have to play church organ,

(01:45:46):
but you're playing piano today. Like for instance, you see
me play organ, you think I don't play keys because
I suck at orgon. I know. I know Chedrick Mitchell
and Krey Henry and James Poison, these kinds of cat
not an organ player.

Speaker 3 (01:46:01):
There's a difference in the technique.

Speaker 1 (01:46:04):
It's a different so that Corey does like that, you
would have to practice a lot to get to that
one hundred.

Speaker 4 (01:46:11):
When he plays chords not lines, is different, Like lines
on organ are easy because the key is the plastic
and there's no weight. A real piano has weights, So
you can when you can tell somebody's real chops when
to play a piano because that's when the weight's there,
you know what I mean. Yeah, if you're slow on organ,
you're I can't help you because it's a plastic key.
You just supposed to be fast, you know what I mean.

(01:46:33):
But Corey, Yeah, any organ player that's really good moving
from chord to chord, it's a fucking spider technique. Like
everything has to be connected, and you voice things different
because you're used to having bass pedals, So your voicings
up here are different. Piano players, are you not used
to having bass pedals? We have to play base here,
so our voicings are different to make it full, because
we have to make it full here. Organ players have

(01:46:54):
the pedals, so they're the just there the cord. The
structure of the chord is still to be like what
the hell hell you know, so immediately you could tell
what that somebody plays by like sitting sitting down, you
know what I mean. And yeah, and the vocabulary is
super easy to tell immediately.

Speaker 10 (01:47:10):
You know that roads players is another thing too, like
I know, like yeah, that's a whole other thing, like yeah, roses.

Speaker 4 (01:47:17):
Yeah yeah, everybody that plays piano can't play roles and
vice versa, and like all those the different touches and
different vibes and like.

Speaker 1 (01:47:25):
One, so what's your accordion game? Like I'm crazy on accordion.
I'm crazy on the Courdon talking about I do know
one that's amazing though. I used to see him with
Jeff Tay Watts on Monday Nights at the Z Bar
years ago, really Accordion and and tag. He was smashing

(01:47:47):
bro Wait a minute for the guy. How how does
it feel to be the person that got Malcolm Jamal
Warner his first gram?

Speaker 3 (01:48:00):
Wrong?

Speaker 4 (01:48:00):
Funny?

Speaker 3 (01:48:01):
You know what's crazy about that?

Speaker 4 (01:48:02):
Though? That wasn't supposed to have most of my stuff
on black Radio. I'll tell you everybody all the time.
It's like, whenever I make an album, the universe is
always a co producer because it never goes how I
wanted to go all the way and I know that.
I know that going in and I'm okay with it
because great things, better things have happened because the universe
is like, look, nigga, this is what's gonna happen. So

(01:48:23):
she'll the fuck this is can't do shit about it.
So when I did the Song of Jesus Chows of America,
it was it was and and and old to the
children of the Sandy Hub tragedy. That morning of the
actual tragedy. I was doing it Stevie tribute. I believe
I'm me or you came and sat in. Was it
that that day or the next day. We did two

(01:48:45):
nights at Harlem stage of a Stevie Wonder tribute.

Speaker 3 (01:48:48):
Damn man, I need you around just to remind me
of shit. Yes, yes, yes, and you can and I'm here.
Came by.

Speaker 4 (01:48:55):
It might have been so two nights. The first night
was of that day that the TRACTI happened another night
and you came one of those nights. I can't remember
which one. And that was my first time doing that
arrangement of Jesus Children of America with Leila for for
for them. And there was that that day when that happened.
I woke up and my good friend Jimmy, Jimmy Green,

(01:49:16):
his daughter was killed in that. Oh wow, Jimmy was
the first Jimmy.

Speaker 3 (01:49:21):
She was the first grade a few times. Yeah, she
was the first grade.

Speaker 4 (01:49:25):
And so that fucked me up because I have at
this point, I have a son, you know what I mean.
It's like, oh, ship, she hits you hardly when you
have kids. Things that happened with kids. If you don't
have kids, it's one thing. When once you have a kid,
it's whole. No, I can't even watch movies the same.
You know, when you have a kid, everything different like
oh ship. So anyway, fast forward, when Black Radio Time

(01:49:46):
came around, I told Laila, hey, I want to do
Jesus Chris in America. You know, She's like okay. She
came in and as usual as she did for the
shady song, mhm cherish today was one take. He was
reading the lyrics on her phone. It was actually it
was the sound check she was right beforehand. She said,

(01:50:06):
mike check one two, Mike check one too. That's why
I faded it in because right before that she was
checking the mic and that take you here is the
sound check. So when she finished, she was like, okay,
I'm ready. I was like, thanks, we're good.

Speaker 2 (01:50:18):
No, that was it. That was it.

Speaker 4 (01:50:21):
She had the same thing for Judis CH's America Jesus
Chosen in America. She came in, did that shit one time,
one take. I don't have bonus tracks of Layla. I
don't have bonus shit of Layla because she just doesn't
want to take it. I'm good. I'm like, I'm good.
And anyway, we did the song, and in my mind
I was going to get Jimmy Green to do a
poem for his daughter in that song, you know, in

(01:50:41):
the actual song. And so I was reaching out to
him and you know, trying to see if you want
to do it. And my other friend who was really
close to the otis, was like, man, this is not
a good time for Jimmy, you know, blah blah blah.
So he couldn't do it. Malcolm had hit me and like, yo,
I want to come hang out at the studio next
time you're the studio. So I hit Matholm like, yo,
we'll come hang out the I'm doing something mixes of

(01:51:02):
songs blah blah blah, and we started mixing Jesus in
America and I told him. I was like, I was
trying to get a poem on here. He was like, dude,
you I'm anna poet right.

Speaker 3 (01:51:11):
I was like, I forgot about that.

Speaker 4 (01:51:14):
He was like, he was like, bro, give me a
stab at it. I'm gonna go. I'll go write something
right now. Give me a stab. You don't have to
use it if you don't want it. He went to
the we're in We're in Westlake and he went upstairs,
took it like an hour, wrote it, came down, spit it,
and then that was it that was it surprised Yeah, bro, yeah, bro.

(01:51:35):
But a lot of those things were black Radio. That's
how black Radio actually album. The actual album. I canceled
it like four times because it was too hard to make,
because nobody's schedule was lining up. So I literally said
fuck it, we'll do it next year or some shit
four times, and then out of the blue, my manager
hit me, I was on tour. I was on tour
with my band, and my manager hit me like, I

(01:51:56):
don't know what happened, but every guest is available next
week in l A.

Speaker 2 (01:52:02):
And this is red one or two one one one
in l A.

Speaker 3 (01:52:06):
Everybody's available. Yeah.

Speaker 4 (01:52:09):
I was like, oh, ship, So yeah, it might have been.

Speaker 3 (01:52:12):
It might have been. It might have been. Everybody was
February is where you catch all year.

Speaker 4 (01:52:16):
Yeah, so it's like, oh ship, Okay, So I canceled
my tour and I flew I flew in, and I
flew right and I went right to, uh, what's the
girl King's house?

Speaker 3 (01:52:27):
That was when King.

Speaker 4 (01:52:30):
When they had a little and I here you were
like talking about King and Erica. My friend Megan, she
was happening to kind of be managing them at the time,
and she was, and I told her. I was like, man,
I want to get them on the record. I think
that'd be dope. They got some fire now talking moved
love and I went to their house and I to

(01:52:50):
meet them and to write the song. And they happen
to have a washer and dryer, and I had just
came from Europe. I went stretching that crib.

Speaker 2 (01:52:56):
I got launched, and I was like, nigger.

Speaker 4 (01:52:59):
I wrote some chords and I said, okay, y'all finish it.
I went to the laundry room and did laundry while
they were writing a song. And in the middle of that,
I had Loupe come over to their house to meet
up with him to give him the idea I had
for him to do what he's gonna do for the record.
And then I had Most come over a little bit later.

(01:53:20):
So they were freaking out. They were like, what, oh
my god. You know, Most came over a little bit
later so I could tell him, Hey, this is what
I'm thinking about doing blah blah blah blah tomorrow when
you come to you know, blah blah blah blah blah.
But that's and then literally that's just how that happened.
That that process was black Radio one was a five
was five days of recording, and then Black Radio two

(01:53:40):
was like six days of recording.

Speaker 2 (01:53:43):
You know, man on Black Radio two. We have to
ask a guest that we had earlier was music Lord
Jesus does music like ah yeah, oh, because.

Speaker 3 (01:54:00):
A little's a real gall that.

Speaker 2 (01:54:05):
You don't like it what he says, you don't like you.
So he has a he has a very complex relationship
with his back catalog.

Speaker 4 (01:54:14):
Okay, when we had.

Speaker 10 (01:54:14):
Him on the show, we didn't specifically ask him about
this song. So no, he didn't slander. Now, we didn't
ask about this song. But no, that ship as hard
as fuck.

Speaker 2 (01:54:24):
But like, what was there? Was it like recording that?
Did he into it?

Speaker 4 (01:54:28):
Or what was it he loved? Matter of fact, last
time I saw him live, I was just happen to
be in Oakland and I saw he was at Yo
She's and I just walked in and he was playing
all yeah, he was singing he liked it, you like it?
Oh yeah, that's another universe. That's another universe thing. Because
I flew to Atlanta, I did the music already. I
flew to Atlanta so he could write the song. And

(01:54:52):
we went to the studio, and that's why he liked it.
The first night, the first night we were in the studio,
he came up with the hook and oh blah, there
were We had another night. So the next day, matter
of fact, you have something to do with this Fonte.
We never talked about this.

Speaker 3 (01:55:06):
Okay, because I'm tired of I know, I think I
know what this is.

Speaker 2 (01:55:10):
If it's okay, go ahead.

Speaker 3 (01:55:11):
I was in Atlanta and the.

Speaker 4 (01:55:13):
Next day you, for an exchange, was having a show
at some festival or something in Atlanta.

Speaker 2 (01:55:22):
Yo, that's right, because we hit you.

Speaker 4 (01:55:23):
Yeah, you came on stage and I came sat in
with y'all.

Speaker 2 (01:55:26):
Hell yeah that It was dope as fun, I remember.

Speaker 4 (01:55:28):
And Christte Michelle was there. I think she played after you,
Yes she did. I stopped for seven I didn't. First
of all, don't I'm.

Speaker 9 (01:55:43):
I love all of black radio. I love all black radio.

Speaker 2 (01:55:46):
Because that was that was shout out to jo dene
On that Jodine hit me. Jody, she hit me.

Speaker 10 (01:55:53):
Because at the time our keyboard player and mb Zoo
he had like another gig. He has something to do.
It's like the only f gig you ever ever missed,
And and she was like yo, Joe name was like yo,
so Robert, would you mind if he just come up?
I was like rob ro was She's like glass.

Speaker 4 (01:56:10):
I was like hell yeah, yes, yeah, that's my nigga.

Speaker 2 (01:56:13):
Tell me to come on.

Speaker 3 (01:56:14):
And so from that is it.

Speaker 4 (01:56:16):
From sitting in with you, Chrissette saw me. It was
like I saw her after that. I was like, Yo,
what's up?

Speaker 2 (01:56:22):
What the fuck?

Speaker 3 (01:56:22):
She was like, oh, my bust.

Speaker 4 (01:56:23):
And she was like, I was going to fly back
to New York, but it was a storm in New York,
really best Sandy, Hurricane Sandy, and she was like, I
can't fly back to New York, so I'm gonna be
here nextra day. What are you doing? I was like, Yo,
I'm in the studio, Come hang out, come by. She
came by the studio and I handed her up in
the pad. That was like right the second verse. So

(01:56:45):
that's literally how oh yeah. It came about the two
her being on it because originally just music, but literally
came about because I came to sit in with you
and Chrissette.

Speaker 2 (01:56:55):
Was there, watch God work Robert.

Speaker 4 (01:57:00):
Next, I'm like Radio two. The Bill Withers thing. Bill
Withers came to the so for a random for some
random reason, Casey when we set up at the studio
was like, yo, let's do let's play Lovely Day for
the sound check. And I was like, okay, we literally
never played Lovely Day A right, Okay, what are the

(01:57:21):
changes the game? You showed me the change.

Speaker 3 (01:57:23):
I'm like, cool. So we just took did one take
down Lovely Day.

Speaker 4 (01:57:26):
Boom. That's literally what you hear on the fucking album
on the on the extended version. There's a Black Radio
two then as extended. So anyway, one of the guys
there was like, yo, I know Bill, I'm gonna call
up and tell him you did that. I was like, okay, cool,
call Bill. Everybody didn't call Bill. He called Bill, put
me on the phone with him. He was like, yeah,
young man, I wish i could come to hear your song,

(01:57:48):
but you know I'm feeling a little sick or whatever.
I was like, oh, okay, no problem, man, honor, honor
that you even took the time to talk whatever. Cool.
So fast forward the next day, Uh, who's that I
was going to I'm in in uh Macy Gray, I think.
The next day and Rash was writing his rhyme and
he ended up having like a writer's block in one part.

(01:58:09):
So we were just upstairs chilling, kind of talking shit
or whatever, and up walk up up the stairs Bill
Withers walk in.

Speaker 3 (01:58:17):
Wow, Like what dude?

Speaker 4 (01:58:20):
He walks in and he's like, well, let me hear
this song? Like, oh shit, okay. So we go to
the downstairs the studio play on the song. He's like, yeah,
I like the song. Like what y'all did with it? Bluhm,
and then talk to us for three hours straight.

Speaker 2 (01:58:37):
Stories just stories and stories.

Speaker 4 (01:58:39):
And stories, got all video story and story story From that.
Rashid was sitting behind him with a pin in the
pad writing some of what Bill was writing down singing.
So Rash's second verse when I stand Alone from Blackbird Too,
really is a lot of Bill Withers words. I mean, wow,

(01:59:00):
go listen to it right after this.

Speaker 2 (01:59:02):
Yeah, he's one of our bucket lists.

Speaker 3 (01:59:05):
Man.

Speaker 2 (01:59:05):
I hate we never got a chance to get him
for your past.

Speaker 1 (01:59:07):
Man, I want to deal what is on cres So, Rob,
are there any like, is there any I mean besides
the eventual collaboration now you'll do with your son yep,
for sure.

Speaker 3 (01:59:22):
Are there any bucket list projects that.

Speaker 1 (01:59:26):
You you have yet to you know, are you going
to do a forraae into classical music?

Speaker 3 (01:59:33):
Will you? You know what guitar and I don't know.

Speaker 10 (01:59:38):
I would like to hear Robert Glass would take on
like a Brazilian love affair, not a cover app not
covering that, but you know something in that.

Speaker 2 (01:59:50):
You know your own ship, but.

Speaker 3 (01:59:51):
Just that like the movie, like the movie Lady, My
Lady is Cuban.

Speaker 4 (01:59:59):
Okay, So I went to Cuba hints we have a
kid and Cuba.

Speaker 3 (02:00:07):
She took me.

Speaker 4 (02:00:07):
I didn't beat the Cuba, but she took me to
Cuba in November to see the vibe and go to
see the music of the clubs and everything. It was
so fucking inspiring, bro, Like the musicians out there are
fucking incredible.

Speaker 9 (02:00:19):
You got to see like the whole Apro Cuban, all
of it.

Speaker 4 (02:00:23):
All of all of it. I even got cool with
Chucho because that I've been to Chucho's crib and we
hung out and played, you know what I mean, like crazy.
So I want to do like a I definitely want
to do a like a a project like my ship
meaning Cuba, you know what I mean, Like.

Speaker 6 (02:00:42):
Red Hot back in the day, you know.

Speaker 4 (02:00:43):
Red Hot wow, yeah, yeah, yeah, yeah, I definitely want
to do something like that where it brings that that
that sound together because so many people take from Cuban musicians,
but you don't see the musicians because the motherfuckers can't
come over here, you know what I mean?

Speaker 3 (02:00:58):
You know what I mean?

Speaker 4 (02:00:59):
That parts I was like, yeah, man, I was learning
so much from her about the culture and everything, and
so it's so deep and rich and so dope, you
know what I mean. But also I thought a Brazilian
one too, bro, Like I want to do something.

Speaker 3 (02:01:10):
It's just like you know, the.

Speaker 4 (02:01:13):
Chords in Brazilian music, you just be like, oh, you know,
just over the thing. So many Yeah, yeah, I have
so many. But I have so many projects in my mind.
That one that I want to I want to get done,
you know what I mean. But you know, I definitely
want to. I want to do an official, like some ship,
an official thing with the roots, a real one, you
know what I mean. I've sat in so many years,

(02:01:35):
but I attribute a lot of people asking me, like
you know what I'm saying, like where am I? Where
my sensibilities come for playing hip hop and things like that?
How I got into it because I wasn't. I wasn't
playing hip hop when I was in Houston. I just
started playing hip hop until I got to New York
and but I'll started taking me to y'all jam sessions.
And my first time playing hip hop with a band
was with you, you know what I mean. Like, So

(02:01:55):
I got a chance to play with the roots a lot,
which trained me in that in that old and to
sit there and watch James Poyson and you know and
watch June you know what I mean, play you know
what I mean, like them cats and and the Mirror
and that that really train. That's part of my part
of my whole ship.

Speaker 3 (02:02:13):
You say nothing by the word.

Speaker 10 (02:02:14):
Let's do it, And don't be looking out to glass.
We'n be hitting you up. We're in the process. I
was putting the buggy here now since you're in LA,
we're trying to figure out somehow trying to write a
sketch for season two of Sherman Showcase.

Speaker 2 (02:02:29):
And we want we want you to be we want
you to play thelonious month.

Speaker 3 (02:02:35):
We don't know how.

Speaker 4 (02:02:36):
Yeah, so.

Speaker 2 (02:02:39):
Just gonna get ready.

Speaker 3 (02:02:45):
Sherman Showcase.

Speaker 4 (02:02:48):
Yo.

Speaker 5 (02:02:48):
Can I just a little suggestion for the Emir Robert
Glassford thing. I don't know if you recall, Robert, but
there was a Roots picnic about.

Speaker 6 (02:02:56):
What was that side six years ago? Did you performed that.

Speaker 4 (02:03:00):
In the morning?

Speaker 9 (02:03:01):
Okay, so you remember telling me.

Speaker 5 (02:03:03):
I remember I was talking to you and Marcia and
I asked you, like, you know, what, what was you
like as far as the Ruce pic and he was like,
I would really like to perform when it gets dark outside.

Speaker 7 (02:03:12):
I was.

Speaker 5 (02:03:14):
I was just like for you to also take this moment.
I'm like when the Bruce picnic come back outside.

Speaker 4 (02:03:18):
Said look, they were setting up tables and ship like.

Speaker 2 (02:03:23):
Performed for the food truck man.

Speaker 3 (02:03:25):
I was like, Robert, even I don't attend the first
U picnic.

Speaker 10 (02:03:31):
Was gotten there yet early it was yeah, no, none
of the cat hadn't even got none of the cabiney.

Speaker 4 (02:03:38):
So let everybody seems to be like, yo, you're playing.
I was like, I played nine hours earlier.

Speaker 3 (02:03:44):
All day, poor.

Speaker 9 (02:03:44):
Baby was there all was a there on Front Street.

Speaker 5 (02:03:47):
Because I'm like, in a way too, I don't know
how much he's gotten a real live, great Black radio live.

Speaker 9 (02:03:53):
I was just saying, when if we could like recreate something,
were you not part of.

Speaker 3 (02:03:57):
The the joint I did with Esperanza or was that
not you? Okay? Because you that was probably ramming.

Speaker 4 (02:04:09):
See see I had to go on a good path.

Speaker 9 (02:04:11):
So back to the.

Speaker 3 (02:04:13):
Bus.

Speaker 9 (02:04:14):
Now this is this is no, no, no, we're doing
some boting. Come on building picnic for twenty twenty one
Robert Hill in.

Speaker 1 (02:04:23):
The studio first and then we'll we're in the next
routs picnic lu by the office. So that's where we
can have a roots picnic.

Speaker 4 (02:04:32):
Oh there you go. Yeah, exactly, there's that that part
part to twenty one.

Speaker 3 (02:04:38):
I said twenty all right, well it's so it probably
will be twenty two.

Speaker 9 (02:04:43):
But yes, whatever, I just I want ribery class in
the roots.

Speaker 4 (02:04:48):
I was just saying, boom, let's do it, let's go yo,
I'm here. Whatever happened to that? Did that thing ever
come out that we did in Dallas with the orchestra?

Speaker 3 (02:04:56):
You know what?

Speaker 4 (02:04:59):
You know, it's weird.

Speaker 1 (02:05:01):
Shaka's portion made it on YouTube. I don't you're Your
guess is as good as mine. I think whoever like
underwrote that like put it out for quarantine entertainment. But
that's a good question. No, it hasn't officially come out,
but that too, I think I did a piece with Erica.

Speaker 3 (02:05:20):
Yeah, we did Erica, you Shaka Khan and the Roots
in the Dallas. Uh yeah, yeah it was. We did
some amazing stuff together. So you know, Dog, you know
you're my favorite. Absolutely, we're going to do ship together.

Speaker 4 (02:05:36):
Let's go.

Speaker 3 (02:05:37):
Let us go, Yo, Rob We thank you for doing
Questions finally two parter.

Speaker 1 (02:05:49):
Yeah, so on behalf of Sugar Steve, Laya Fangelo and
uh unpaid bills somewhere. We also like to give a
shout out to our our pals at Mazda and they're
glorious X thirty No, thank you very much, Robert.

Speaker 2 (02:06:05):
We appreciate congratulations again on you on your daughter. Man,
I have what's what's her name?

Speaker 4 (02:06:11):
Her name is Lola, oh lol, Lola? Oh yeah, may Riley.
He's a lot going forty three, going off forty three
exactly for sure.

Speaker 3 (02:06:26):
All right, this is quest Love and we'll see you
on the next go round. Quest Love Supreme. What's Love
Supreme is a production of iHeart Radio.

Speaker 12 (02:06:46):
For more podcasts from iHeart Radio, visit the iHeart Radio app,
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