Paul Cornish has an album out very soon on the iconic Blue Note Records, and with good reason. Paul’s impeccable jazz chops, combined with his passion for experimentation across genres, makes for interesting music. Paul’s perspectives are just as interesting, and some broad territory is covered. To listen / watch: Audio-only: click on the play...
The post Paul Cornish, Thumpasaurus / HAIM / Joshua Redman / Paul Cornish Trio appeared first on The Keyboard Chronicles.
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Episode Transcript
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(00:07):
Hello and welcome to the Keyboard Chronicles, podcast for keyboard players.
I'm your host, David Holloway, and I'm excited as always to be here with you and alsoexcited alongside me is Mr.
Paul Bindig.
Always excited when I'm with you and when I'm talking to our listeners out there inkeyboard Chronicles podcast land.
Yeah, no, it is always fun.
And fun's probably the word to apply to our current guest, Mr.
(00:30):
Paul Cornish.
We've just gotten off an hour plus conversation with Paul and just, it's hard tounderstate the diversity of his career from incredible jazz playing through to some of the
coolest rock and pop and alternative music, Paul.
Yeah, he certainly worked with some really prominent artists and done some wonderfulthings.
(00:51):
And as you said, David, he's a serious jazz guy as you will learn listening to thepodcast.
yeah, he works in some pretty cool rock pop circles and it's all very interesting music.
And by interesting, I mean real good.
Yeah, absolutely.
So let's hear about how good it all is and go to Paul and we'll talk to you after theshow.
(01:24):
It's an absolute pleasure to have you here, sir.
How are you keeping?
Good good absolutely my pleasure.
Thanks for having me
I thought we might kick off Paul with just talking about your last 12 months.
I mean you're a busy guy at the best of times but what have you been up to over the lastyear that's kept you busy?
Oh man, where do I even start?
(01:45):
Yeah, I've been touring a lot with the great saxophonist Joshua Redman.
And then I'm also in a band called Thumbasaurus.
We've been doing a lot of projects.
And then started and launched my own career as an artist.
I recorded my album and got signed to Blue Note.
(02:08):
So yeah.
A bit of a busy year.
And so we're going to cover all three of those topics plus some.
But before we get into that, Paul, just tell us a little bit about your own musicalupbringing.
So what got you into music in the first place and made you develop the passion you havefor it?
Yeah, so a couple things.
(02:29):
I grew up in the church, like both of my parents were very involved.
My dad preached and my mom would direct the choir.
And then I also had a couple older brothers that were involved playing and are also greatmusicians.
Since I can remember, like from when I was two, I was like trying to like be around theinstruments and I would like stack boxes and try to recreate everything that I heard.
(02:55):
And then my mom, she
just loves music.
never formally took lessons or anything, but she made sure me and all my brothers tookpiano lessons and found the best teachers in our city.
Yeah, so you had those lessons.
And so then when did you get to the stage?
You know, was it in your high school years you realised this was something you wanted tocontinue doing?
(03:19):
Yeah, I'd say right around then, like middle school, high school, I went to a performingarts middle school and also a performing arts high school.
And I think just kind of being around kids my age that were also very passionate aboutmusic and then meeting people who actually made a career out of it started to kind of get
my wheels turning.
Like maybe, maybe I can do this.
(03:40):
any particular inspirations at that time at high school level?
Was there someone that came along to a class or something and thought okay this is what Iwant to do?
Yeah, I say even before that.
So I got introduced to jazz again, like in middle school, because we had a jazz band.
then I really had no idea what it was.
(04:00):
I went to this camp in Houston, Texas called the Summer Jazz Workshop.
And this kid showed me a Robert Glasper record and that like totally just like blew mymind.
And I was like, I didn't even know you can do that on the piano.
that's what I can, if that's what's possible, then I want to do that.
So.
Yeah, I would say Robert Glasper, especially in the beginning, a huge inspiration.
(04:26):
Still is.
So Paul, on getting through graduating from school, you then went to study at the HerbieHancock Institute of Jazz, which is very exclusive and I understand you were one of very
few people to get a full scholarship to get involved there.
Can you talk us through what was the audition process like to be able to gain that?
(04:49):
Yeah, it's kind of intense depending on the type of person you are, but I think everyonemay be a little nervous going into it because well, initially you have to send in
pre-screening recordings and the recordings are very specific.
It will be like several different recordings, but all like different styles and fromdifferent eras.
then I think they say, a lot of them say like, okay, this one you take two courses, thisone you take one course and then comp.
(05:17):
This one is transcription of like a stride piano thing.
It's just like all over the place.
So there's that.
Then from that pool and people from all over the world are like sending in tapes and thenthey select I think five on each instrument.
And then they send you a list of like 20 tunes to prepare for the in-person audition.
(05:37):
And then they just throw you in random groups together.
People you've never met, you've never played with.
You just have to come together and play these songs.
You don't know what songs they're going to pick until
the day of.
And then when you walk in, it's a very small room.
And as soon as you walk into the to your right, there's a table and Herbie Hancock isthere.
(05:58):
And at the time of my audition, Rest In Peace Wayne Shorter was right there next to him.
Wow.
And then you had Ambrose Accomusery right next to him.
And then the great flautist and composer James Newton was right next to him.
Great shot.
No pressure at all.
And I always tell people that I'm grateful I play piano because piano was facing the otherway and everyone else had to look straight at them the whole time.
(06:24):
I could just kind of be in my own world, looked at the back wall and I'm grateful for thatbecause I think that got me through it.
So how old are you Paul when you're going through this process?
I was right out of undergrad so I was about 21, 22.
Yeah, well, it's a big moment for a young man playing in front of people, I assume, youridols and your heroes at that point in time.
(06:48):
would have been a very, what are you, you said you were lucky in that you didn't have tostare into anyone's eyes, you could look at the wall, but what else were you doing to
prepare and just, just be calm in the moment so you could deliver the best version ofyourself.
Yeah, I mean, the funny thing is that like, you know, guys have heard it all before.
Like, nothing is really going to impress them.
(07:10):
And that kind of gave me relief in a funny way.
I know these are the opposite, but I was like, there's all I can do is be myself.
And also I wanted to play from a place of gratitude for the opportunity to be there and to
Honestly, like you said, those are people I look up to and have inspired me to want to dothis.
(07:32):
So I always, when I'm in those situations, I look at me performing as a moment to saythank you and gratitude and to offer, you know, kind of where their inspiration has led
me.
So yeah.
I think that's a really excellent tip for anyone who might be getting a bit of anxietyaround performances.
Don't make it about yourself, right?
(07:53):
Make it about the gratitude for the opportunity.
So thank you for sharing.
Yeah, yeah, that's really good.
So tell us about the experience of studying there.
If you could say a couple of highlights, was there something that you really learnedthere?
I obviously you learned plenty of things, but some key things that have really stood youin good stead that you learned from your time at that institution.
Yeah, the program is amazing because it's not like a traditional school program at all.
(08:19):
You're you're thrown into this class of like seven people and you kind of rehearsingyourselves every day.
And then every few weeks or so they'll bring in a master to come to work with us.
So a lot of times we have like Billy Childs, Mr.
Hancock himself would come in, you know, kind of once a quarter and then
(08:44):
Yeah, all kinds of people, Chris Potter, Chris McBride.
So I think my biggest takeaway is that like there isn't any one way to do this.
know, everyone's kind of found their own path in their own way.
And yeah, I think if anything, it made me kind of kind of focusing on water.
(09:11):
Yeah, what are kind of my strengths, what are like my preferences that I want to pursue?
And it kind of gave me the confidence to kind of lean into that more.
And then I don't know, there's this one moment we would do these like history of jazzpresentations.
And I remember just getting so fixated on like playing like the characteristic things andkind of this way of like proving that I know, you know, each style.
(09:39):
then one time
Herbie came in and just like sat in, I think on, were playing So What, we're talking aboutmodal jazz.
And I don't know how to describe it other than he just played.
Like there wasn't any, like he, you could tell he just wasn't concerned about any likestylistic thing, which is like obvious.
(09:59):
It's so obvious.
Like he just sat down and played and it was just like, I don't know, it was kind of like aliberating moment to, in that moment, where it's just like.
I don't know, that made me think like I don't want to play in a way that's like trying toprove, you know, that I know things to people.
(10:20):
If I'm honest with like the process and like what I've learned and just like allowing itto flow through me, then it will be there.
So that was kind of like a subtle but like profound moment for me.
Yeah, so I'm going to fast forward to the now.
You've had this amazing thing that's just happened for you where you've signed a deal withBlue Note and you're bringing out your own album.
(10:41):
I believe it's going to be in the Northern Hemisphere summer.
Tell us about that Paul.
What can we expect from you?
How's it progressing?
How far have you got through it at the moment?
Uh, yeah.
So the album's already done.
Um, uh, I'm, grateful.
I'm not sure if I'm allowed to share the details.
I don't think it matters, but I actually recorded the album before signing with them.
(11:04):
And, uh, I was grateful for that.
Cause I feel like I really got to make the album that I wanted to make kind of without anyoutside influence or suggestions.
Cause I'm, very like, I want everybody to get along.
Like I'm always.
thinking that someone, not downplaying my own ideas, I really take people's advice toheart.
(11:28):
So I know that totally would have, my project would have gone in a different direction.
It would have been great, but I think this way I was really able to focus and kind of makethe album I wanted to make.
And it being my first album, I think that was really crucial to kind of just like...
you know, make a clear artistic statement of like, this is who I am and this is what Iwant people to know about me.
(11:53):
yeah, album's been done.
It's mostly acoustic piano trio.
At the time when we recorded it, I was feeling like, man, when was the last kind of jazzpiano trio record that really, you know, I don't know.
It felt like we kind of gotten away from the era of like acoustic piano trios.
(12:14):
Now it's starting to kind of come back some great
Trio Records came out last year.
I don't know, I felt like, I always feel like the piano, the acoustic piano is just likethe fullest expression of who I am.
I kind of feel like everything is in there and I wanted to kind of bring a new, not a new,but like, you know, my own perspective through the lens of the piano trio, something
(12:37):
familiar and hopefully you hear it in a new, interesting way.
That sounds wonderful Paul.
I've got one question which I know our gearheads will be very interested in knowing.
What sort of piano did you use to record your album?
man, okay.
This might get me in trouble because I'm a Yamaha artist and I love my Yamaha family.
(13:00):
But the studio I was working in, they actually had three pianos that were incredible.
They had a Steinway D and they had a Yamaha CF- or maybe it wasn't the newest CFX, it'sone of the newer concert grants.
And then they had a short
(13:20):
I six foot, seven foot Steinway B.
And for whatever reasons, that B was the one that day.
I don't know, something about it just really had great character.
And hopefully you'll hear it on the album.
But I was really happy with how we recorded it because again, yeah, it being like asmaller piano, we were able to mic it in this big room and have close mics on the piano
(13:45):
and also two mics in the room.
And then
I had the bass and drums and Isoboots.
So you get this really interesting kind of blend of this close kind of old piano soundlike a lot of those old jazz records.
And then you also get kind of like a light touch of this like ECM-ish like room and likeverbs sound, but it's not like too far in either direction.
(14:16):
So.
Yeah, I'm really happy with it.
I can't wait to hear it when it comes out, Paul.
And so you mentioned your trio there and we've obviously watched some videos of youramazing trio.
I'm just interested to dig into that a little bit as far as how did that trio form andjust really fascinated a lot of us out here that listen and watch his podcasts aren't
(14:36):
necessarily in trios or even play jazz.
And I've always been fascinated.
How do you pull together a trio that works and what's your approach to rehearsing a triofor performance?
It's a big question on us.
Yeah, yeah, there's a few heavy questions in there.
Yeah, for me, it's really taken some, some years to find kind of the right fit for for mytrio.
(15:04):
Just because yeah, I feel like I'm coming from a lot of different perspectives.
But I think kind of leaving out one doesn't allow you to tell the whole story.
So I feel like I
found two other guys that share a similar experience and also allow me to express allthe...
(15:29):
Literally, there are no bad ideas when we're on the bench and it can go anywhere.
And to the moment, we're literally just laughing on stage because sometimes it just getsridiculous, but we find our way through everything.
So I think that was the biggest thing for me, not just finding killer musicians.
(15:49):
a particular type of musician.
Pretty much like they're basically artists themselves in terms of how they approach theirinstruments and approach the music.
You know, I feel like I learn more about my music hearing how they approach it, you know,than I would have ever even figured out on my own in many years.
So I think being around people, musicians like that is inspiring for me.
(16:13):
And then rehearsing.
I try not to be super strict with rehearsals.
know, the music is challenging, but at the same time, I trust everyone to kind of like getit to the point where they feel good about it.
So I never worry too much.
just kind of, I use rehearsal to kind of just explain certain things of just like, no,this is actually kind of like this.
(16:38):
But I try not to say too much because I like to leave room for their own expression.
It's a silly question, Paul, but I'm assuming at those early rehearsals you're bringing inscores, you're reading initially until you get the vibe up.
Yep.
Yeah.
But yeah, none of it is like super like I think the longest chart I have is maybe likethree, maybe four pages.
(17:08):
Like at least right now, kind of the time of the night, I kind of like to just get intothe music as soon as possible.
So it's not super.
But maybe maybe later on, I'm starting to have some ideas of like maybe like flipping somelike classical
pieces so that might get into a whole other realm.
(17:29):
for now, yeah, I just like to get into music and then I like the music will kind of, youknow, carry itself.
Yeah, no, great response.
And obviously we're keen to cover, mean, the diversity of your playing within the jazzgenre is impressive enough, but you obviously work across a whole bunch of other genres.
(17:50):
So in no particular order, Paul, we're going to run through a few things.
So we'll start with Lewis Cole and Noah and so on.
Now, Paul and I are unabashed Noah fans and we're also unabashed Ray Thistlecuate fans.
I know you've worked with Ray.
So just interested on how you came to work with Lewis and the broader work you do withNoel, which I think it's fair to say is a little bit out there, which is why we love it.
(18:18):
They're completely, they're geniuses.
Like I try not to use that word too often because I feel like it gets thrown around toomuch these days.
It's kind of lost its, you know, values.
But they're really, I don't, anybody I've been around, just how they think about themusic, also how hard their work.
They're very thorough.
(18:39):
You know, they'll be up till like five, six in the morning, just working on their stuffand, you know,
Louis has a very particular harmonic style and palette that I think is very much his own.
And Genevieve, they're both just incredible.
(18:59):
So yeah, how do I meet them?
I don't know, honestly, like LA.
That's why I always tell people just LA.
I think if you're around here long enough, you kind of just run into people, you know.
multiple times and then, you know, maybe the fourth or fifth time is like, you know, whatdo you do again?
(19:21):
then, or they, just see you playing and then you connect.
And then it's like, Hey, you know, you want to, you know, come over and like, think thefirst thing I did with him was the Lewis Cole, uh, big band.
And yeah, that was just a lot of fun.
That was just like a lot of like friends of mine who I went to school with.
(19:45):
Um, I should say too, that Lewis went to the college that I went to, went to forundergrad, uh, USC and, but he was a few years removed and then they would come and play
like backyard parties and my band Thumbasaurus would also, we opened for them once.
So there was like a familiarity there, but I don't know.
It was just kind of one of those funny things where you keep running into people, you hearthem, they hear you, and then, uh, you just end up working together.
(20:14):
Hey, we should do something, okay?
Now we're doing something.
No, for sure.
Yeah, yeah.
As David said, he and I both really love Noah.
So I've got some fanboy questions for you if you don't mind.
I'm right there with you.
Like I, I discovered their music in high school.
So I, even though I play with them, I'm still in disbelief, you know?
(20:38):
And to all our listeners and viewers, if you haven't come across Noah, we've mentionedthem before on this podcast, but we'll send you some links to go check out Paul's work
with them.
And that's what I want to ask you about.
So for those who don't know, this is the most recent album that Paul plays on was recordedin Lewis Cole's house.
And all the videos which you can watch on YouTube are basically the shenanigans that go onwhile they're recording the songs and that sounds absolutely wonderful.
(21:03):
You're playing on a couple of songs.
One of them is a song called I'm the President and
And what happens in this song, again for our viewers and listeners benefit, is Paul isupstairs playing on a a Nord or something like that and he's got a shirt on and then it's
his turn to take a solo so he runs down the stairs, turns the shirt around so it's facingthe other way, then he gets onto the upright piano, plays this amazing jazz solo, then
(21:27):
runs back up the stairs and turns the shirt around.
So I need to know, Paul, did you achieve that in one take?
did.
Yeah, I was very scared because I was like, you know, like it sounds like a like, itsounds like a cool idea.
You know, when you're thinking about it, but as you're trying to pull it off, somethingabout when you're trying to run down the stairs and like twist a shirt, you just like can
(21:54):
lose balance.
And like, I thought I might fall.
Thankfully, I didn't.
But yeah.
Or I might have ripped the shirt because it was also like kind of small, but I was justlike, I got to, you know, pull it off somehow.
It was they had no idea, actually, but I just, you know, in the in the spirit of they'realso like some of the funniest people.
(22:17):
So I was just like, I knew doing it that, you know, they they would they would be finewith it, you know.
Yeah, as you say, and I don't know these people, but just from watching the videos,there's definitely a sense of humour that comes through all of the music, so can tell
they're fun people.
So the next question, Paul, for me, were all those tracks laid down in one day, or wasthat done over several days?
(22:40):
Because, it looks like a lot of work.
There's a lot of moving parts in those recordings.
Yeah, it was a couple of days.
I know it was at least a couple of days.
I don't remember how many exactly at this point.
And also I had no idea that that was we were recording the album, honestly.
Maybe they said it at some point, but I know we were rehearsing and then we were going toshoot videos.
(23:03):
Like, you know, like they've they've done like live band videos before.
I just thought it was just one of those.
like, thank God I didn't know it was a record because I feel like I would have
probably freaked out or just got too nervous.
But yeah, I really had no idea until the album came out and I was listening to it.
I was like, wait, was that, we were recording the album that whole time?
(23:29):
That's brilliant.
And I need to ask Paul, you've done incredibly well with our Australian accents today.
Did you get a chance to talk to Ray when you were recording and did that help youunderstand us today?
That's a great question.
It definitely helped.
I didn't get to talk to Ray a whole lot during that process because everything was kind ofmoving pretty fast.
(23:53):
Like you said, we had to get through a lot of songs.
But yeah, I've hung with him a little bit before.
And yeah, really great guy.
Also, I actually, when I was at the Hancock Institute, we went to Australia for like twoweeks.
I feel like that kind of helped.
did you perform down here in Australia?
I did.
It wasn't, we were more so doing like master classes.
(24:15):
like we did something at the Sydney Opera House kind of for like, yeah, like I think itwas like high school.
I don't know if you all call it high school.
Okay.
Yeah.
We worked with like a high school big band and just kind of given different classesthroughout the day for international jazz.
(24:36):
Yeah, amazing, fantastic.
You mentioned before Paul Joshua Redmond, the amazing saxophonist and also I you did anNPR Tiny Desk with him as well, which would have been a great experience.
Can you talk to us a bit about working with Joshua?
Man, yeah, another kind of like pinch me moment.
Like I grew up on his music and obviously has had some of the most iconic bands of thelast quarter century.
(25:04):
Yeah, it's been really inspiring because he he's just like a machine in the best way, likevery kind of intentional, methodical about his process.
And, you know, he never sounds bad, like he never has an off day and
Being around somebody like that just makes you want to be at the top of your game.
And, but even though he's like very particular, he allows us to be ourselves.
(25:29):
He allows us, each of us to bring our own things to music.
So I really appreciate it about them.
That about him, he's like very generous.
sounds to me, listening to you talk Paul, that you work in some very nice environments.
mean, obviously we're talking about quality musicians, but I think that goes withoutsaying, but I'm more talking about the character of the people you work with and what
they're like.
And is that something that you've sought out in your career as to, if you're anAustralian, so make sure that you work with good blokes?
(25:54):
Yeah, I've I feel like I've been really blessed in that regard.
Like, you know, each opportunity I've been kind of given has also been with some of thegreatest human beings.
And you really can't ask for anything more than that.
Everyone's been very generous and kind of gracious with allowing me to kind of find myway, you know, within everything.
(26:16):
So I don't know if I could have sought that out.
I mean, you kind of hope for that.
like.
You never really know until you're around people, you know?
So yeah, I've just been really blessed.
or maybe we can pay you a compliment because I think sometimes the way you treat peopletends to be reflected back towards you.
So perhaps you're like too, Paul, you never know.
(26:38):
We'll see, I'll try my best.
I mentioned before briefly Tiny Desk.
Can you share with us a bit of what that experience is like recording at Tiny Desk frombehind the scenes, if it were?
Yeah, that was surreal.
Yeah, that was definitely something I've always wanted to do.
then also getting to do it with Josh Redmond.
(27:00):
was kind of a surreal moment.
And it was coming right off of my first tour with him.
So we toured Europe for a month, then we flew straight to DC and then we just played TinyDesk.
I think the cool thing about that was the fact that we had already been playing for amonth.
I felt like
the band was really kind of locked in.
(27:22):
Like even listening back to it, I thought that was a really good representation of, youknow, where the band, you know, had gotten to within that month.
So that, and then you realize that like Tiny Dust is actually in an office like this andactually, you know, their desk around.
So it was cool to just see the whole space and kind of just see what kind of goes into thewhole production.
(27:46):
So.
Yeah, definitely one of those cool moments I'll be telling my grandkids about.
How many people are watching when you're performing there?
I always get the sense it's more than just the production crew.
Am I right or am I wrong?
Yeah, think everyone that kind of works in the NPR building.
So you have a good, I'm gonna say 30 to 40 people, depending on, you know, the artist, andthen people kind of have guests.
(28:16):
So yeah, it was a good amount.
Yeah, cool.
It's an amazing thing.
And again, we'll link to that in our show notes.
please check it out.
Everyone, listeners and viewers, it's wonderful, wonderful playing, as Paul has said.
And I'd love to just touch on another artist that you work with, the great Swedish artistSnowa Lägra.
(28:39):
How did that collaboration come about?
Yeah.
So, well, two stories.
I'll answer your question directly first.
It was actually through this great producer and saxophonist I met in LA named TerrisMartin.
He, I think, worked with Snow on her last album and I think she brought up that she needsa new pianist, new keyboardist, and was also looking for music director.
(29:07):
And Terris, according to him, he says, you need to get
this guy, Paul.
And yeah, out of the blue, her manager just reached out to me and was like, hey, I'm fromSnow Allegra's team.
looking for a keyboardist.
Can you send us a clip of you playing one of her songs?
(29:28):
And it was like a moment from the show that was kind of like a mashup of songs, but it waslike very involved where it's just like her and the pianist.
So I just had to learn that and then send in me kind of playing it.
kind of verbatim, you know, that's always a tricky thing with auditions, where it's like,you don't want to do too much, but you also want to show that you, you know, you can kind
(29:51):
of, you know, step out if you need to, if that's what the gate calls for.
So, yeah, I just kind of sent that recording and then they asked me, you know, have youbeen a music director before, have you run tracks?
And I actually really hadn't at the time, but that's one of those things where it's like,you know, I'll figure it out.
(30:11):
But so yeah, that's pretty much how that came together.
But a funny story was that when I first moved to LA like 10 years ago, one of my firstgigs was actually with her.
And it was at a time where she wasn't as big of an artist.
Like she was still kind of like getting started.
That was the first time I got to go out of town and play with an artist.
(30:33):
But I don't think she remembers that at all.
But it all like kind of came full circle.
It's amazing.
Good stuff.
And we need to get onto Thumpasaurus, Paul.
So obviously an amazing band.
Again, how did you meet Lucas and the crew?
How'd you know each other previously?
And obviously that's still an incredibly active and successful project.
(30:56):
And as you said, you've just been touring as well.
So tell us a little bit more about that.
Yeah, funny enough, we're rehearsing.
I just stepped out of our rehearsal right now because we're about to record our nextalbum.
So we've just been rehearsing for that.
But yeah, no, those are like my brothers.
Like we are some of the first people I met when I moved out here to L.A.
for school.
(31:18):
yeah, I don't.
Well, the saxophone is Henry Solomon.
I had known him from a jazz camp I went to in high school.
called Stanford Jazz Workshop and we both got in USC and then we just started hangingimmediately and then he started playing with this band called The Neighbors, which was
like the precursor to Thumpasaurus.
(31:41):
And he was like, yo, I don't know if they needed a keyboard player or if he was just like,yo, just pull up to the gig and like bring your keyboard.
So I just remember I had this like motif seven that
Like my mom bought me from a pawn shop and I brought it to LA.
And was like dragged in my apartment building was like at the end of this long haul.
(32:06):
So I was like dragging my keyword down this long haul to get into Uber, to go to like thisrandom house party, to play with this band of people I had never met.
But.
It was so much fun and we haven't really looked back since then.
Yeah, we started playing more parties.
We were doing a lot of cover tunes, like a lot of Beatles, just kind of, just like drunkcollege party playlist.
(32:33):
And then Lucas started writing his own songs.
And then that became Thumbasaurus.
And yeah, I have some of the most fun I've ever had on stage.
Yeah, and fun is definitely the word that applies to Thumbtasaurus, but there's a hell ofa lot of musical depth underneath it.
So as far as writing the songs and recording the songs, Paul, is it partly a collaborativeeffort or is Lucas the primary songwriter and you guys provide a bit of input or?
(33:02):
Yeah, it's very collaborative.
I will say he writes, I would say, the most of the lyrics.
And he also just has incredible output.
So a lot of times, he'll just send us these demos.
He'll just like, a week or two will go by, and he'll just have like 40 demos of just songshe's written.
(33:24):
And then we'll kind of come together and flesh the parts out.
And then...
The cool thing about the band is, especially as we've gotten older and everyone's gotteninto their own lanes, everyone produces at a high level.
So now we have situation where different people take on different songs and produce it andproduce the band from their perspective.
(33:48):
I feel like that leads to the unique sound we have.
Yeah, and it's an amazing sound.
It's probably worth a little bit of a detour into what is your rig when you're touringwith Thumbosaurus and there is such a diversity of music.
What are you actually using to pull that off live?
That's a great question.
It's really been all over the place.
And I'm actually currently trying to figure out a new situation.
(34:12):
I had a Yamaha CP, I mean, not CPYC.
I'll put them together.
Yeah.
Why the YCs?
That was like the perfect board for me because yeah, you have to or I mean, it's verysimilar to the Nord, but like I have
(34:33):
hot takes about the Nord, honestly.
It's a great board, but I think it's a very specific sound and kind of thing.
So the YC was kind of a nice adjacent kind of thing for me.
And that was actually upgraded from, I was rocking with the Yamaha MX for long time, eventhough it's more of like a budget board, but there's some great sounds in there and it's
(34:56):
really easy to travel with.
So.
You know, when you're flying all over the country and you don't really have a budget forlike backline and you also can't be dragging 88 keys on a plane everywhere, you you start
to really love like the 49 key keyboards you can kind of put in a backpack case.
(35:19):
So the MX was like, that was my road dog for a long time.
That died.
I got the YC.
That was like the perfect upgrade.
Also really light.
Now my YC has died, so I'm looking for the next thing.
I'm looking at this V stage.
might be...
Everyone's kind of singing his praises.
(35:41):
I want to check that out.
I might get another YC.
But other than that, I have a Roland System 8 that I don't use all the time, but that'sthe perfect synth board for me because I'm not a super heavy synth user, but I feel
like...
the system 8, I can jump right in and easily customize sounds and get great sounds.
(36:06):
And then I just have a little MIDI keyboard for orchids, pads, and stuff.
Great, that's excellent.
And one other artist, and I know we're not covering in any way all the artists you'veworked with, but Haim.
Yes.
tell us a little bit about your work there and what your role was there.
Yeah, yeah, another crazy story of just like, you just never know where opportunitiesmight come from.
(36:33):
And so, yeah, just be kind to everybody.
But actually, yeah, my good buddy Henry, who's in Thumb Source, Solomon, the same one whoI met in high school, he was in the summer girl video playing, he's the one playing
baritone sax.
And then Haim just hired him.
And then so he's been in the band and then
(36:55):
They had this guy, Tommy King, who'd been their music director for ages.
Like, I want to say like 13 years, like since the beginning.
And then he finally just decided he didn't want to tour anymore.
So Henry just immediately kind of threw my name in the hat.
And then I went to the rehearsals and well, first of all, Danielle, Danielle Himes, shejust, she FaceTimed me and was just like,
(37:24):
That was like my interview of just like, you know, I guess it was her way of seeingwhether or not I was like a psychopath or not.
Just like, you know, cause that, and I get it now, like being around them there.
I mean, they're, they're sisters.
So there's like really like a family vibe and they only really want to be around peoplethat, that get along.
(37:47):
Cause that just kind of makes the whole experience better for everyone.
So.
That was the first thing she faced on me and was just asking me questions, just getting toknow me.
And then I came into a rehearsal and kind of had to be able to play the set from therehearsals.
then I was just kind of thrown into the shows.
Tommy did the U.S.
leg of the tour.
(38:08):
I think I did the last show of the U.S.
tour just to get a rep in.
And then, and then I did Europe with them for like a month.
So.
Yeah, just thrown into the fire, but it was a lot of fun.
And is that still an active gig for you, Paul, as far as next time they tour?
Or you're probably just waiting to see.
(38:28):
Yeah, I'll wait and see.
I hope so.
Yeah, that was really one of the best experiences I've had on like a major gig.
Yeah, kind of the total opposite of like some other situations I've had where I feel likeit's a full production and it can be stressful.
But with them, it's just really high level.
Everyone's just really amazing at their job.
(38:49):
They're some of the sweetest people.
Like they were taken without to eat.
They were just, you know, they asked kind of about your family.
this.
I don't know, there's a real family vibe.
So I would love to get to to to tour with them again.
And yeah, if not, I'm grateful for the time I have had.
(39:11):
This has really been special.
Paul, reflecting on your career to date, and from my perspective, it's only just started,there's so much more ahead of you, but you've been so successful already and worked with
so many top artists.
I'm interested in any advice you would give to aspiring musicians trying to start out inthe industry.
What are some things that have really worked for you in terms of being able to establishyourself and build a successful music career?
(39:35):
Hmm.
That's a great question.
Yeah, I think my mom, my mom gave me some of the best advice.
It still does.
But one of the things she's always told me is just, you know, if you're great, you know,people will find you.
And so.
I've always kind of taken that, you know, to kind of mean just like, you know, justcontinue to really work at what you do.
(40:00):
And even though if you think people aren't seeing you, you know, if you really.
are doing the work, know, somebody, somebody will see you and somebody will give you anopportunity.
So that's the first thing I would say.
You know, I've gotten to talk to a lot of students recently.
I know everyone's kind of worried about, you know, social media and kind of just, youknow, posting and just kind of being seen.
(40:23):
But there is something too about just kind of, you know, figuratively just kind of puttingyour head down and just like really kind of.
enjoying the process along the way.
I think people kind of take notice of that.
Yeah, great.
Thank you.
Thank you, Paul.
Great advice.
We have a question we ask all our guests, and it's this.
(40:46):
Can you share with us a train wreck story where you've been performing live andsomething's just gone horribly wrong?
tell us if you have one of those stories, we'd love to hear it.
Hand over the mouse, a great sign, Paul.
You've obviously got...
yeah, definitely.
Let me pick one that's hopefully not too embarrassing.
I've had the classic scenarios of like, actually yeah, I had a situation.
(41:11):
I don't know if you know this bassist named Curtis Lundy.
He's kind of like a older, he's maybe in his 60s now, but incredible bass player, youknow, played with everybody back in the day.
Yeah, played with like Art Blakey and Jazz Messengers and Betty Carter, all these people.
But I got called to play a gig with him and, you know, I'm nervous.
(41:34):
I'm just like, you know, he's he's what we call an OG.
And this is my first time someone recommended me.
We didn't really have time to rehearse, but he's like throwing all these songs at me.
I've never played.
So we're playing.
And then mid set, the keyboard just falls down.
like mid song, like it's mid solo.
(41:57):
And I didn't really know what to do.
My instinct was just to like, keep playing.
And so I just kind of like leaned over in my chair and just like kept the solo going.
And then we finished the song and that was just like kind of a moment.
But at the time, I guess it was just like, I was just embarrassed that this has neverhappened.
(42:20):
And then for it to happen in that scenario, was just like, you know,
just kind of crazy.
Was it an X-Stand, Paul?
That's the question everyone wants to know.
Was it an X-Stand that collapsed?
It was an extend and it was just like, I think I feel like the keyboard is just too heavyfor it because it's just like one of those old school, large, like 88 keys, you know.
(42:46):
Thank you for that.
Another regular question we ask Paul is to tag a keyboard player.
So you've mentioned so many great musicians, but is there another keyboard player outthere that you would love to hear more about their story?
Man, several.
I'm really a fan of everybody.
I'm like, there's so many incredible keyboarders out there.
But I mean, the first name that came to mind when you said that, I don't know if you'vetalked to Jacob Mann, but yeah.
(43:15):
Very good.
I feel like Jacob is kind of, you know, under stated for how brilliant he is.
I feel like.
Yeah, he's one of those people you don't really know how much he knows until you kind ofsit down and talk to him.
And he also doesn't really put himself out there much, but he's incredible.
(43:36):
One of my favorites.
Great stuff.
no, we will definitely add that to the list, Paul.
Thank you.
And our other common question is the dreaded Desert Island Discs question, Paul.
So five albums, if you have to choose them, what would they be?
I'm already just kind of feeling bad for the albums I'm gonna leave out, because there'sjust like, there's so many great albums.
(43:58):
Because of what this record kind of means to me, and I also mentioned that this is kind ofwhat got me started.
I'm gonna say Robert Glasper, Double Books.
I'm gonna say Donny Hathaway, Live.
I gotta go to my church roots.
So I'm gonna say Ty Tribbett.
gonna say Ty Tribbett, Victory Live.
Miles Davis.
I'm try to say Live at the Plug, Nickel.
(44:21):
and then the fifth one, that one's tough.
I'm gonna this right.
I'm gonna say Joni Mitchell, both sides now.
Love it.
Five brilliant picks.
Thank you, Paul.
Thank you.
Thank you so much Paul and we'll obviously link to those in our show notes so people cancheck those great albums out.
Now we're going to finish up Paul with another ritual we have with all of our guests.
(44:46):
It's called the Quickfire 10.
So David and I are going to take turns asking you 10 rapid fire questions and just answerwith the first thing that comes into your mind to the best of your knowledge as we go.
okay, I'll try.
And the first one's a hard one, I reckon.
The first album you ever heard.
Okay, I'm not really sure.
(45:06):
The first one I kind of remember was one of my brother's album sound and it was by Eldar.
What was it called?
I think it was called Blackjack.
But it's like one of his first albums.
He was like 19.
No, great.
Before a gig, Paul, it doesn't matter which artist, do you have any particular rituals orthings you need to do to feel settled before a gig?
(45:31):
Absolutely.
Yeah.
So I'm a man of faith, you know, God is everything to me.
So I really just trying to center myself with like some worship music.
Yeah.
I kind of have a playlist of like gospel songs that I kind of go to and that kind ofsettles me.
I feel like you were always destined to be a professional musician, Paul, but if you hadnot been, what do you think your career would have been?
(45:56):
Well, I actually, wanted to be an inventor.
Like when I was young, I just, always thought that was the coolest thing that an ideacomes to your head and then you can just make it and then it can just impact the world.
So some type of inventor, engineer, something that like creates technology.
(46:16):
we got a question for you later Paul.
Favorite favorite tour you've ever done?
I'm gonna say it's probably a tie between the Heim tour and then some most recent JoshuaRedmond tours for very different reasons, but both were kind of just really inspiring.
(46:40):
Awesome.
What's the favourite gig you've ever played?
Probably most recently with Josh Redmond we played at North Sea Jazz Festival.
That was special.
Yeah, a couple of people have quoted that over the years.
It sounds amazing that North Sea Jazz Festival really does.
Favourite city you've played if that's possible.
That's a great question.
(47:00):
I don't know honestly.
It's okay.
I would say probably because I got to go there recently a couple times Tokyo.
I just love Tokyo.
Yeah, cool.
Do know at the moment, I'm going off track here, but everyone in Australia is holidayingin Japan at the moment.
It's the most popular.
Yeah, it's very popular.
(47:20):
I think it's something to do with currency exchange rates, but it just seems to be whereeveryone's going.
And I acknowledge that this is an international podcast.
In fact, most of our listeners are from the US.
And the second most listeners are from the UK, but folks in the Northern Hemisphere, getto Japan as well.
It's fantastic.
I recommend it enough, honestly.
It's one of the highest capitals of the world.
(47:43):
Exactly.
They love jazz music there for sure.
Okay, let's keep moving.
What is a song that you used to love, but now you've played it to death?
I would probably say crazy, but I know I Barkley.
And I'm usually, I'm not this person.
Like I'm, I'm always like, man, you can always find new things in each song.
(48:07):
And if you don't like a song, you know, maybe you're the problem, you know, I'm like, I'mvery like defensive with like saying that songs are, you know, can't, can't be, you know,
fresh or anything.
But
That one, I would probably have to say I've thrown in the towel just because too many ofthese cover gigs I've done where that song just gets played every time.
(48:36):
Great answer.
Do you have a favourite music documentary or movie, Paul?
Ooh, music documentary or movie.
What have I seen?
I mean, honestly, the Ray Charles movie is pretty iconic.
I feel like Jamie Foxx did an incredible job with that.
Shorty, yeah.
If ever there needed to be a concept movie along the lines of Sgt Pepper's it should be aThumpasaurus movie, just saying.
(49:03):
We would love that.
I don't know if y'all know that Lucas actually studied film in college.
I mean, that's part of the reason why our videos are kind of the way that they are.
But yeah, I think we would love to do something like that.
That would be really fun.
It would suit you because you have a very cinematic style, no doubt, to your videos and acool sort of story going through them.
(49:26):
So that would be good.
And now we've got a great question for you here.
You mentioned you might have been an inventor had you not been a musician.
So please name one thing you would like to see invented that would make your life easieras a keyboard player pianist.
That's a great question.
Okay.
Two things.
Cause I have actually thought about this.
Someone should make a really like portable keyboard stand, like something that just kindof folds up and you know, either you can put it in your backpack or, you know, maybe it
(50:00):
can be attached to like a keyboard case, but those can be some of the most like cumbersomethings to just like drag around to
Yeah, I wish I'd and they've gotten close there a couple Stands that fold but it's stillkind of not really that much more convenient than the regular X stand so that and I want
(50:26):
to see a keyboard and I think arterial actually just did this but if there's a keyboardWhere you can just load you can take your VSCs with you without a laptop that I feel like
That would just be amazing because I think the best sounds are VSCs at this point.
(50:46):
They've gotten so advanced.
So if you could take it with you without having to hook up a laptop and a whole rig, thatwould just be amazing.
Yep, no great pigs.
You should have been an inventor, but I'm glad you stayed a musician.
You never know.
I might spin the block, you know, when I'm like 60.
(51:07):
He's like, know what?
Let me follow Pat.
That's right.
And the last one in the quick fire 10 Paul is your favorite non-musical activity or hobby.
What keeps you sane outside of music?
That's like the universal like musician question of like, do you do outside of music?
I don't know.
(51:27):
I mean, I love art.
Like I love going to like an art museum or, you know, going to see a film or something.
I love getting like inspired just by other mediums of art.
And I feel like it makes inspires me to play, you know.
Great.
And speaking of art, that is definitely the term that should apply to your musical output.
(51:49):
It's absolutely amazing, Paul, and it's been an absolute pleasure talking with you.
We can't wait to see what's coming in the future for you, we definitely will keep intouch.
That really means a lot.
Yeah, I'm so grateful that you all reached out and had me.
This is really cool.
(52:15):
there we have it.
Paul, the other Paul, the even more brilliant Paul is one of those plays and I doencourage people to look at the links we post in the show note to Paul's playing.
He's one of the guys that makes you cry with both joy and jealousy.
He's wonderful player and certainly more brilliant than me.
I feel like he's better looking too, so I'm bit annoyed about all of that.
(52:38):
And what a nice guy.
Really, I loved his take on just being really humble and open to opportunity, which camethrough very strong and clear throughout the discussion.
No, some amazing insights and it's hugely grateful to have spoken to him.
So you do look out for that for his first release coming out on Blue Note sort of June,July, August.
(52:59):
I don't believe there's a firm date as yet, but we know it's coming out.
So I know why for one, I'm keen to hear it.
I'll be very keen to listen to that.
It's just going to be good.
You just know it's going to be good.
He's such an accomplished player and has such a great sense of musicality in what he does.
And what you also have to do, folks, is click on the link in the show notes and look athim changing his shirt around, running up and down stairs, playing a piano solo and
(53:24):
playing a ridiculously great piano solo too.
And running back up the stairs.
And as he revealed in that podcast, one take.
Did it once?
Amazing.
No, I it.
So no, thank you to all for listening.
And we're always grateful for that.
Quick shout out to our gold and silver sponsors, Soponses.
Soponses.
(53:44):
Yeah, Soponses.
So Tammy Catra, Tammy's Musical Studio.
Thank you, Tammy, for your ongoing and long term support.
Mike and the team at Midnightmaster.com.
You know our thoughts.
They're great.
Hey, I'm going to interrupt you.
I'm working with Mike at the moment.
Yeah, and he's awesome.
We're doing a project together and it's great.
And he's easiest guy to deal with, very professional.
(54:07):
And yeah, I'm loving the experience.
I hope Mike is too.
I haven't asked him that question.
From my end, it's been a very good collaboration.
So yeah, look Mike up.
Yes, do.
And we've even got an episode where we've chatted to Mike and another friend of mine,Steve, about virtual bands, which is worth checking out.
And also to the wonderful team at musicplay.com forums, Dave Bryce and the team highlyrecommended as well.
(54:33):
And then last but definitely not least, the wonderful Dewey Evans from the sunny land ofWales.
another couple of quick news updates.
So we've launched, if you're a weekend warrior like Paul and I are,
and you you play in a cover band or two or tribute band or whatever it is.
It can be originals, can be a jazz band, whatever.
(54:55):
We're currently profiling Weekend Warriors on our website.
So if you go to our website, you'll see that there is a link to Weekend Warriors.
you need to do is click on any of the current Weekend Warrior profiles and there's a linkthere as well where can express interest.
And we just want to share the love a little bit.
and just profile all of us out there that are playing those gigs on weekends, maybe notquite as well known or getting to work with the gods like a lot of our guests.
(55:23):
But we just want to share the love of it.
So you get to answer a whole bunch of questions about your bands, you get to promote yourband, you get to tell us about your keyboard rig and all that sort of stuff.
So that's been successful.
There's about five or six profiles on the website and the response has been huge.
I've got quite a backlog to get through.
Be careful what you wish for though.
(55:44):
Let me just reinforce what David's saying.
What does it cost you to do this?
A bit of your time in being in touch with us.
That's totally it.
So we're purely doing this in the spirit of paying it forward and as David said, spreadingthe love and getting all of us keyboard players out there and what we do.
So why not?
(56:05):
If you are scooped up thanks to the profile to some major multinational gig at least agreeto be our guest on the podcast.
That's all.
would be nice.
Yeah.
And you're allowed to be a sponsor too then if you want.
can become fabulously wealthy.
We will reluctantly but humbly accept your sponsor.
Yeah, we could like that.
So no, thank you for that.
(56:25):
As always, even if you don't want to be profiled, we'd love to hear from you.
So editor at keyboard Chronicles.com.
We're on all the socials.
Do you just search for the keyboard Chronicles you will find us if you can spare a coupleof bucks a month to help us out on Patreon.
You do get early access to edits of the show before we put them live.
(56:45):
You also get the opportunity when we have enough notice for guests to ask questions of theguests.
So do consider that for what is the situation.
something happened at end of our interview today that could be like a bit of bonus contentfor our Patreon.
I don't want to say what it is, but it really fun.
Without being too much of a tease, that's right.
Paul very kindly added a bit of content at the end that we'll be providing to patrons inthe first instance.
(57:12):
So thank you all out there for listening.
Thank you, Cirque.
Always good to see you.
I know we've got a few shows coming up over the next couple of weeks.
I know it's exciting.
I'm actually here for some of these interviews.
It's very good.
Thanks, David, for having me.
I had a wonderful time talking to Paul.
I'm an unabashed fan of his work.
And now that I've met him, of, I'm an unabashed fan of him as a person.
(57:34):
Absolutely.
So no, thank you all out there for listening again and until we see you next time, keep onplaying.
Hello and welcome to the Keyboard Chronicles, podcast for keyboard players.
I'm your host, David Holloway, and I'm excited as always to be here with you and alsoexcited alongside me is Mr.
Paul Bindig.
Always excited when I'm with you and when I'm talking to our listeners out there inkeyboard Chronicles podcast land.
Yeah, no, it is always fun.
And fun's probably the word to apply to our current guest, Mr.
(00:30):
Paul Cornish.
We've just gotten off an hour plus conversation with Paul and just, it's hard tounderstate the diversity of his career from incredible jazz playing through to some of the
coolest rock and pop and alternative music, Paul.
Yeah, he certainly worked with some really prominent artists and done some wonderfulthings.
(00:51):
And as you said, David, he's a serious jazz guy as you will learn listening to thepodcast.
yeah, he works in some pretty cool rock pop circles and it's all very interesting music.
And by interesting, I mean real good.
Yeah, absolutely.
So let's hear about how good it all is and go to Paul and we'll talk to you after theshow.
(01:24):
It's an absolute pleasure to have you here, sir.
How are you keeping?
Good good absolutely my pleasure.
Thanks for having me
I thought we might kick off Paul with just talking about your last 12 months.
I mean you're a busy guy at the best of times but what have you been up to over the lastyear that's kept you busy?
Oh man, where do I even start?
(01:45):
Yeah, I've been touring a lot with the great saxophonist Joshua Redman.
And then I'm also in a band called Thumbasaurus.
We've been doing a lot of projects.
And then started and launched my own career as an artist.
I recorded my album and got signed to Blue Note.
(02:08):
So yeah.
A bit of a busy year.
And so we're going to cover all three of those topics plus some.
But before we get into that, Paul, just tell us a little bit about your own musicalupbringing.
So what got you into music in the first place and made you develop the passion you havefor it?
Yeah, so a couple things.
(02:29):
I grew up in the church, like both of my parents were very involved.
My dad preached and my mom would direct the choir.
And then I also had a couple older brothers that were involved playing and are also greatmusicians.
Since I can remember, like from when I was two, I was like trying to like be around theinstruments and I would like stack boxes and try to recreate everything that I heard.
(02:55):
And then my mom, she
just loves music.
never formally took lessons or anything, but she made sure me and all my brothers tookpiano lessons and found the best teachers in our city.
Yeah, so you had those lessons.
And so then when did you get to the stage?
You know, was it in your high school years you realised this was something you wanted tocontinue doing?
(03:19):
Yeah, I'd say right around then, like middle school, high school, I went to a performingarts middle school and also a performing arts high school.
And I think just kind of being around kids my age that were also very passionate aboutmusic and then meeting people who actually made a career out of it started to kind of get
my wheels turning.
Like maybe, maybe I can do this.
(03:40):
any particular inspirations at that time at high school level?
Was there someone that came along to a class or something and thought okay this is what Iwant to do?
Yeah, I say even before that.
So I got introduced to jazz again, like in middle school, because we had a jazz band.
then I really had no idea what it was.
(04:00):
I went to this camp in Houston, Texas called the Summer Jazz Workshop.
And this kid showed me a Robert Glasper record and that like totally just like blew mymind.
And I was like, I didn't even know you can do that on the piano.
that's what I can, if that's what's possible, then I want to do that.
So.
Yeah, I would say Robert Glasper, especially in the beginning, a huge inspiration.
(04:26):
Still is.
So Paul, on getting through graduating from school, you then went to study at the HerbieHancock Institute of Jazz, which is very exclusive and I understand you were one of very
few people to get a full scholarship to get involved there.
Can you talk us through what was the audition process like to be able to gain that?
(04:49):
Yeah, it's kind of intense depending on the type of person you are, but I think everyonemay be a little nervous going into it because well, initially you have to send in
pre-screening recordings and the recordings are very specific.
It will be like several different recordings, but all like different styles and fromdifferent eras.
then I think they say, a lot of them say like, okay, this one you take two courses, thisone you take one course and then comp.
(05:17):
This one is transcription of like a stride piano thing.
It's just like all over the place.
So there's that.
Then from that pool and people from all over the world are like sending in tapes and thenthey select I think five on each instrument.
And then they send you a list of like 20 tunes to prepare for the in-person audition.
(05:37):
And then they just throw you in random groups together.
People you've never met, you've never played with.
You just have to come together and play these songs.
You don't know what songs they're going to pick until
the day of.
And then when you walk in, it's a very small room.
And as soon as you walk into the to your right, there's a table and Herbie Hancock isthere.
(05:58):
And at the time of my audition, Rest In Peace Wayne Shorter was right there next to him.
Wow.
And then you had Ambrose Accomusery right next to him.
And then the great flautist and composer James Newton was right next to him.
Great shot.
No pressure at all.
And I always tell people that I'm grateful I play piano because piano was facing the otherway and everyone else had to look straight at them the whole time.
(06:24):
I could just kind of be in my own world, looked at the back wall and I'm grateful for thatbecause I think that got me through it.
So how old are you Paul when you're going through this process?
I was right out of undergrad so I was about 21, 22.
Yeah, well, it's a big moment for a young man playing in front of people, I assume, youridols and your heroes at that point in time.
(06:48):
would have been a very, what are you, you said you were lucky in that you didn't have tostare into anyone's eyes, you could look at the wall, but what else were you doing to
prepare and just, just be calm in the moment so you could deliver the best version ofyourself.
Yeah, I mean, the funny thing is that like, you know, guys have heard it all before.
Like, nothing is really going to impress them.
(07:10):
And that kind of gave me relief in a funny way.
I know these are the opposite, but I was like, there's all I can do is be myself.
And also I wanted to play from a place of gratitude for the opportunity to be there and to
Honestly, like you said, those are people I look up to and have inspired me to want to dothis.
(07:32):
So I always, when I'm in those situations, I look at me performing as a moment to saythank you and gratitude and to offer, you know, kind of where their inspiration has led
me.
So yeah.
I think that's a really excellent tip for anyone who might be getting a bit of anxietyaround performances.
Don't make it about yourself, right?
(07:53):
Make it about the gratitude for the opportunity.
So thank you for sharing.
Yeah, yeah, that's really good.
So tell us about the experience of studying there.
If you could say a couple of highlights, was there something that you really learnedthere?
I obviously you learned plenty of things, but some key things that have really stood youin good stead that you learned from your time at that institution.
Yeah, the program is amazing because it's not like a traditional school program at all.
(08:19):
You're you're thrown into this class of like seven people and you kind of rehearsingyourselves every day.
And then every few weeks or so they'll bring in a master to come to work with us.
So a lot of times we have like Billy Childs, Mr.
Hancock himself would come in, you know, kind of once a quarter and then
(08:44):
Yeah, all kinds of people, Chris Potter, Chris McBride.
So I think my biggest takeaway is that like there isn't any one way to do this.
know, everyone's kind of found their own path in their own way.
And yeah, I think if anything, it made me kind of kind of focusing on water.
(09:11):
Yeah, what are kind of my strengths, what are like my preferences that I want to pursue?
And it kind of gave me the confidence to kind of lean into that more.
And then I don't know, there's this one moment we would do these like history of jazzpresentations.
And I remember just getting so fixated on like playing like the characteristic things andkind of this way of like proving that I know, you know, each style.
(09:39):
then one time
Herbie came in and just like sat in, I think on, were playing So What, we're talking aboutmodal jazz.
And I don't know how to describe it other than he just played.
Like there wasn't any, like he, you could tell he just wasn't concerned about any likestylistic thing, which is like obvious.
(09:59):
It's so obvious.
Like he just sat down and played and it was just like, I don't know, it was kind of like aliberating moment to, in that moment, where it's just like.
I don't know, that made me think like I don't want to play in a way that's like trying toprove, you know, that I know things to people.
(10:20):
If I'm honest with like the process and like what I've learned and just like allowing itto flow through me, then it will be there.
So that was kind of like a subtle but like profound moment for me.
Yeah, so I'm going to fast forward to the now.
You've had this amazing thing that's just happened for you where you've signed a deal withBlue Note and you're bringing out your own album.
(10:41):
I believe it's going to be in the Northern Hemisphere summer.
Tell us about that Paul.
What can we expect from you?
How's it progressing?
How far have you got through it at the moment?
Uh, yeah.
So the album's already done.
Um, uh, I'm, grateful.
I'm not sure if I'm allowed to share the details.
I don't think it matters, but I actually recorded the album before signing with them.
(11:04):
And, uh, I was grateful for that.
Cause I feel like I really got to make the album that I wanted to make kind of without anyoutside influence or suggestions.
Cause I'm, very like, I want everybody to get along.
Like I'm always.
thinking that someone, not downplaying my own ideas, I really take people's advice toheart.
(11:28):
So I know that totally would have, my project would have gone in a different direction.
It would have been great, but I think this way I was really able to focus and kind of makethe album I wanted to make.
And it being my first album, I think that was really crucial to kind of just like...
you know, make a clear artistic statement of like, this is who I am and this is what Iwant people to know about me.
(11:53):
yeah, album's been done.
It's mostly acoustic piano trio.
At the time when we recorded it, I was feeling like, man, when was the last kind of jazzpiano trio record that really, you know, I don't know.
It felt like we kind of gotten away from the era of like acoustic piano trios.
(12:14):
Now it's starting to kind of come back some great
Trio Records came out last year.
I don't know, I felt like, I always feel like the piano, the acoustic piano is just likethe fullest expression of who I am.
I kind of feel like everything is in there and I wanted to kind of bring a new, not a new,but like, you know, my own perspective through the lens of the piano trio, something
(12:37):
familiar and hopefully you hear it in a new, interesting way.
That sounds wonderful Paul.
I've got one question which I know our gearheads will be very interested in knowing.
What sort of piano did you use to record your album?
man, okay.
This might get me in trouble because I'm a Yamaha artist and I love my Yamaha family.
(13:00):
But the studio I was working in, they actually had three pianos that were incredible.
They had a Steinway D and they had a Yamaha CF- or maybe it wasn't the newest CFX, it'sone of the newer concert grants.
And then they had a short
(13:20):
I six foot, seven foot Steinway B.
And for whatever reasons, that B was the one that day.
I don't know, something about it just really had great character.
And hopefully you'll hear it on the album.
But I was really happy with how we recorded it because again, yeah, it being like asmaller piano, we were able to mic it in this big room and have close mics on the piano
(13:45):
and also two mics in the room.
And then
I had the bass and drums and Isoboots.
So you get this really interesting kind of blend of this close kind of old piano soundlike a lot of those old jazz records.
And then you also get kind of like a light touch of this like ECM-ish like room and likeverbs sound, but it's not like too far in either direction.
(14:16):
So.
Yeah, I'm really happy with it.
I can't wait to hear it when it comes out, Paul.
And so you mentioned your trio there and we've obviously watched some videos of youramazing trio.
I'm just interested to dig into that a little bit as far as how did that trio form andjust really fascinated a lot of us out here that listen and watch his podcasts aren't
(14:36):
necessarily in trios or even play jazz.
And I've always been fascinated.
How do you pull together a trio that works and what's your approach to rehearsing a triofor performance?
It's a big question on us.
Yeah, yeah, there's a few heavy questions in there.
Yeah, for me, it's really taken some, some years to find kind of the right fit for for mytrio.
(15:04):
Just because yeah, I feel like I'm coming from a lot of different perspectives.
But I think kind of leaving out one doesn't allow you to tell the whole story.
So I feel like I
found two other guys that share a similar experience and also allow me to express allthe...
(15:29):
Literally, there are no bad ideas when we're on the bench and it can go anywhere.
And to the moment, we're literally just laughing on stage because sometimes it just getsridiculous, but we find our way through everything.
So I think that was the biggest thing for me, not just finding killer musicians.
(15:49):
a particular type of musician.
Pretty much like they're basically artists themselves in terms of how they approach theirinstruments and approach the music.
You know, I feel like I learn more about my music hearing how they approach it, you know,than I would have ever even figured out on my own in many years.
So I think being around people, musicians like that is inspiring for me.
(16:13):
And then rehearsing.
I try not to be super strict with rehearsals.
know, the music is challenging, but at the same time, I trust everyone to kind of like getit to the point where they feel good about it.
So I never worry too much.
just kind of, I use rehearsal to kind of just explain certain things of just like, no,this is actually kind of like this.
(16:38):
But I try not to say too much because I like to leave room for their own expression.
It's a silly question, Paul, but I'm assuming at those early rehearsals you're bringing inscores, you're reading initially until you get the vibe up.
Yep.
Yeah.
But yeah, none of it is like super like I think the longest chart I have is maybe likethree, maybe four pages.
(17:08):
Like at least right now, kind of the time of the night, I kind of like to just get intothe music as soon as possible.
So it's not super.
But maybe maybe later on, I'm starting to have some ideas of like maybe like flipping somelike classical
pieces so that might get into a whole other realm.
(17:29):
for now, yeah, I just like to get into music and then I like the music will kind of, youknow, carry itself.
Yeah, no, great response.
And obviously we're keen to cover, mean, the diversity of your playing within the jazzgenre is impressive enough, but you obviously work across a whole bunch of other genres.
(17:50):
So in no particular order, Paul, we're going to run through a few things.
So we'll start with Lewis Cole and Noah and so on.
Now, Paul and I are unabashed Noah fans and we're also unabashed Ray Thistlecuate fans.
I know you've worked with Ray.
So just interested on how you came to work with Lewis and the broader work you do withNoel, which I think it's fair to say is a little bit out there, which is why we love it.
(18:18):
They're completely, they're geniuses.
Like I try not to use that word too often because I feel like it gets thrown around toomuch these days.
It's kind of lost its, you know, values.
But they're really, I don't, anybody I've been around, just how they think about themusic, also how hard their work.
They're very thorough.
(18:39):
You know, they'll be up till like five, six in the morning, just working on their stuffand, you know,
Louis has a very particular harmonic style and palette that I think is very much his own.
And Genevieve, they're both just incredible.
(18:59):
So yeah, how do I meet them?
I don't know, honestly, like LA.
That's why I always tell people just LA.
I think if you're around here long enough, you kind of just run into people, you know.
multiple times and then, you know, maybe the fourth or fifth time is like, you know, whatdo you do again?
(19:21):
then, or they, just see you playing and then you connect.
And then it's like, Hey, you know, you want to, you know, come over and like, think thefirst thing I did with him was the Lewis Cole, uh, big band.
And yeah, that was just a lot of fun.
That was just like a lot of like friends of mine who I went to school with.
(19:45):
Um, I should say too, that Lewis went to the college that I went to, went to forundergrad, uh, USC and, but he was a few years removed and then they would come and play
like backyard parties and my band Thumbasaurus would also, we opened for them once.
So there was like a familiarity there, but I don't know.
It was just kind of one of those funny things where you keep running into people, you hearthem, they hear you, and then, uh, you just end up working together.
(20:14):
Hey, we should do something, okay?
Now we're doing something.
No, for sure.
Yeah, yeah.
As David said, he and I both really love Noah.
So I've got some fanboy questions for you if you don't mind.
I'm right there with you.
Like I, I discovered their music in high school.
So I, even though I play with them, I'm still in disbelief, you know?
(20:38):
And to all our listeners and viewers, if you haven't come across Noah, we've mentionedthem before on this podcast, but we'll send you some links to go check out Paul's work
with them.
And that's what I want to ask you about.
So for those who don't know, this is the most recent album that Paul plays on was recordedin Lewis Cole's house.
And all the videos which you can watch on YouTube are basically the shenanigans that go onwhile they're recording the songs and that sounds absolutely wonderful.
(21:03):
You're playing on a couple of songs.
One of them is a song called I'm the President and
And what happens in this song, again for our viewers and listeners benefit, is Paul isupstairs playing on a a Nord or something like that and he's got a shirt on and then it's
his turn to take a solo so he runs down the stairs, turns the shirt around so it's facingthe other way, then he gets onto the upright piano, plays this amazing jazz solo, then
(21:27):
runs back up the stairs and turns the shirt around.
So I need to know, Paul, did you achieve that in one take?
did.
Yeah, I was very scared because I was like, you know, like it sounds like a like, itsounds like a cool idea.
You know, when you're thinking about it, but as you're trying to pull it off, somethingabout when you're trying to run down the stairs and like twist a shirt, you just like can
(21:54):
lose balance.
And like, I thought I might fall.
Thankfully, I didn't.
But yeah.
Or I might have ripped the shirt because it was also like kind of small, but I was justlike, I got to, you know, pull it off somehow.
It was they had no idea, actually, but I just, you know, in the in the spirit of they'realso like some of the funniest people.
(22:17):
So I was just like, I knew doing it that, you know, they they would they would be finewith it, you know.
Yeah, as you say, and I don't know these people, but just from watching the videos,there's definitely a sense of humour that comes through all of the music, so can tell
they're fun people.
So the next question, Paul, for me, were all those tracks laid down in one day, or wasthat done over several days?
(22:40):
Because, it looks like a lot of work.
There's a lot of moving parts in those recordings.
Yeah, it was a couple of days.
I know it was at least a couple of days.
I don't remember how many exactly at this point.
And also I had no idea that that was we were recording the album, honestly.
Maybe they said it at some point, but I know we were rehearsing and then we were going toshoot videos.
(23:03):
Like, you know, like they've they've done like live band videos before.
I just thought it was just one of those.
like, thank God I didn't know it was a record because I feel like I would have
probably freaked out or just got too nervous.
But yeah, I really had no idea until the album came out and I was listening to it.
I was like, wait, was that, we were recording the album that whole time?
(23:29):
That's brilliant.
And I need to ask Paul, you've done incredibly well with our Australian accents today.
Did you get a chance to talk to Ray when you were recording and did that help youunderstand us today?
That's a great question.
It definitely helped.
I didn't get to talk to Ray a whole lot during that process because everything was kind ofmoving pretty fast.
(23:53):
Like you said, we had to get through a lot of songs.
But yeah, I've hung with him a little bit before.
And yeah, really great guy.
Also, I actually, when I was at the Hancock Institute, we went to Australia for like twoweeks.
I feel like that kind of helped.
did you perform down here in Australia?
I did.
It wasn't, we were more so doing like master classes.
(24:15):
like we did something at the Sydney Opera House kind of for like, yeah, like I think itwas like high school.
I don't know if you all call it high school.
Okay.
Yeah.
We worked with like a high school big band and just kind of given different classesthroughout the day for international jazz.
(24:36):
Yeah, amazing, fantastic.
You mentioned before Paul Joshua Redmond, the amazing saxophonist and also I you did anNPR Tiny Desk with him as well, which would have been a great experience.
Can you talk to us a bit about working with Joshua?
Man, yeah, another kind of like pinch me moment.
Like I grew up on his music and obviously has had some of the most iconic bands of thelast quarter century.
(25:04):
Yeah, it's been really inspiring because he he's just like a machine in the best way, likevery kind of intentional, methodical about his process.
And, you know, he never sounds bad, like he never has an off day and
Being around somebody like that just makes you want to be at the top of your game.
And, but even though he's like very particular, he allows us to be ourselves.
(25:29):
He allows us, each of us to bring our own things to music.
So I really appreciate it about them.
That about him, he's like very generous.
sounds to me, listening to you talk Paul, that you work in some very nice environments.
mean, obviously we're talking about quality musicians, but I think that goes withoutsaying, but I'm more talking about the character of the people you work with and what
they're like.
And is that something that you've sought out in your career as to, if you're anAustralian, so make sure that you work with good blokes?
(25:54):
Yeah, I've I feel like I've been really blessed in that regard.
Like, you know, each opportunity I've been kind of given has also been with some of thegreatest human beings.
And you really can't ask for anything more than that.
Everyone's been very generous and kind of gracious with allowing me to kind of find myway, you know, within everything.
(26:16):
So I don't know if I could have sought that out.
I mean, you kind of hope for that.
like.
You never really know until you're around people, you know?
So yeah, I've just been really blessed.
or maybe we can pay you a compliment because I think sometimes the way you treat peopletends to be reflected back towards you.
So perhaps you're like too, Paul, you never know.
(26:38):
We'll see, I'll try my best.
I mentioned before briefly Tiny Desk.
Can you share with us a bit of what that experience is like recording at Tiny Desk frombehind the scenes, if it were?
Yeah, that was surreal.
Yeah, that was definitely something I've always wanted to do.
then also getting to do it with Josh Redmond.
(27:00):
was kind of a surreal moment.
And it was coming right off of my first tour with him.
So we toured Europe for a month, then we flew straight to DC and then we just played TinyDesk.
I think the cool thing about that was the fact that we had already been playing for amonth.
I felt like
the band was really kind of locked in.
(27:22):
Like even listening back to it, I thought that was a really good representation of, youknow, where the band, you know, had gotten to within that month.
So that, and then you realize that like Tiny Dust is actually in an office like this andactually, you know, their desk around.
So it was cool to just see the whole space and kind of just see what kind of goes into thewhole production.
(27:46):
So.
Yeah, definitely one of those cool moments I'll be telling my grandkids about.
How many people are watching when you're performing there?
I always get the sense it's more than just the production crew.
Am I right or am I wrong?
Yeah, think everyone that kind of works in the NPR building.
So you have a good, I'm gonna say 30 to 40 people, depending on, you know, the artist, andthen people kind of have guests.
(28:16):
So yeah, it was a good amount.
Yeah, cool.
It's an amazing thing.
And again, we'll link to that in our show notes.
please check it out.
Everyone, listeners and viewers, it's wonderful, wonderful playing, as Paul has said.
And I'd love to just touch on another artist that you work with, the great Swedish artistSnowa Lägra.
(28:39):
How did that collaboration come about?
Yeah.
So, well, two stories.
I'll answer your question directly first.
It was actually through this great producer and saxophonist I met in LA named TerrisMartin.
He, I think, worked with Snow on her last album and I think she brought up that she needsa new pianist, new keyboardist, and was also looking for music director.
(29:07):
And Terris, according to him, he says, you need to get
this guy, Paul.
And yeah, out of the blue, her manager just reached out to me and was like, hey, I'm fromSnow Allegra's team.
looking for a keyboardist.
Can you send us a clip of you playing one of her songs?
(29:28):
And it was like a moment from the show that was kind of like a mashup of songs, but it waslike very involved where it's just like her and the pianist.
So I just had to learn that and then send in me kind of playing it.
kind of verbatim, you know, that's always a tricky thing with auditions, where it's like,you don't want to do too much, but you also want to show that you, you know, you can kind
(29:51):
of, you know, step out if you need to, if that's what the gate calls for.
So, yeah, I just kind of sent that recording and then they asked me, you know, have youbeen a music director before, have you run tracks?
And I actually really hadn't at the time, but that's one of those things where it's like,you know, I'll figure it out.
(30:11):
But so yeah, that's pretty much how that came together.
But a funny story was that when I first moved to LA like 10 years ago, one of my firstgigs was actually with her.
And it was at a time where she wasn't as big of an artist.
Like she was still kind of like getting started.
That was the first time I got to go out of town and play with an artist.
(30:33):
But I don't think she remembers that at all.
But it all like kind of came full circle.
It's amazing.
Good stuff.
And we need to get onto Thumpasaurus, Paul.
So obviously an amazing band.
Again, how did you meet Lucas and the crew?
How'd you know each other previously?
And obviously that's still an incredibly active and successful project.
(30:56):
And as you said, you've just been touring as well.
So tell us a little bit more about that.
Yeah, funny enough, we're rehearsing.
I just stepped out of our rehearsal right now because we're about to record our nextalbum.
So we've just been rehearsing for that.
But yeah, no, those are like my brothers.
Like we are some of the first people I met when I moved out here to L.A.
for school.
(31:18):
yeah, I don't.
Well, the saxophone is Henry Solomon.
I had known him from a jazz camp I went to in high school.
called Stanford Jazz Workshop and we both got in USC and then we just started hangingimmediately and then he started playing with this band called The Neighbors, which was
like the precursor to Thumpasaurus.
(31:41):
And he was like, yo, I don't know if they needed a keyboard player or if he was just like,yo, just pull up to the gig and like bring your keyboard.
So I just remember I had this like motif seven that
Like my mom bought me from a pawn shop and I brought it to LA.
And was like dragged in my apartment building was like at the end of this long haul.
(32:06):
So I was like dragging my keyword down this long haul to get into Uber, to go to like thisrandom house party, to play with this band of people I had never met.
But.
It was so much fun and we haven't really looked back since then.
Yeah, we started playing more parties.
We were doing a lot of cover tunes, like a lot of Beatles, just kind of, just like drunkcollege party playlist.
(32:33):
And then Lucas started writing his own songs.
And then that became Thumbasaurus.
And yeah, I have some of the most fun I've ever had on stage.
Yeah, and fun is definitely the word that applies to Thumbtasaurus, but there's a hell ofa lot of musical depth underneath it.
So as far as writing the songs and recording the songs, Paul, is it partly a collaborativeeffort or is Lucas the primary songwriter and you guys provide a bit of input or?
(33:02):
Yeah, it's very collaborative.
I will say he writes, I would say, the most of the lyrics.
And he also just has incredible output.
So a lot of times, he'll just send us these demos.
He'll just like, a week or two will go by, and he'll just have like 40 demos of just songshe's written.
(33:24):
And then we'll kind of come together and flesh the parts out.
And then...
The cool thing about the band is, especially as we've gotten older and everyone's gotteninto their own lanes, everyone produces at a high level.
So now we have situation where different people take on different songs and produce it andproduce the band from their perspective.
(33:48):
I feel like that leads to the unique sound we have.
Yeah, and it's an amazing sound.
It's probably worth a little bit of a detour into what is your rig when you're touringwith Thumbosaurus and there is such a diversity of music.
What are you actually using to pull that off live?
That's a great question.
It's really been all over the place.
And I'm actually currently trying to figure out a new situation.
(34:12):
I had a Yamaha CP, I mean, not CPYC.
I'll put them together.
Yeah.
Why the YCs?
That was like the perfect board for me because yeah, you have to or I mean, it's verysimilar to the Nord, but like I have
(34:33):
hot takes about the Nord, honestly.
It's a great board, but I think it's a very specific sound and kind of thing.
So the YC was kind of a nice adjacent kind of thing for me.
And that was actually upgraded from, I was rocking with the Yamaha MX for long time, eventhough it's more of like a budget board, but there's some great sounds in there and it's
(34:56):
really easy to travel with.
So.
You know, when you're flying all over the country and you don't really have a budget forlike backline and you also can't be dragging 88 keys on a plane everywhere, you you start
to really love like the 49 key keyboards you can kind of put in a backpack case.
(35:19):
So the MX was like, that was my road dog for a long time.
That died.
I got the YC.
That was like the perfect upgrade.
Also really light.
Now my YC has died, so I'm looking for the next thing.
I'm looking at this V stage.
might be...
Everyone's kind of singing his praises.
(35:41):
I want to check that out.
I might get another YC.
But other than that, I have a Roland System 8 that I don't use all the time, but that'sthe perfect synth board for me because I'm not a super heavy synth user, but I feel
like...
the system 8, I can jump right in and easily customize sounds and get great sounds.
(36:06):
And then I just have a little MIDI keyboard for orchids, pads, and stuff.
Great, that's excellent.
And one other artist, and I know we're not covering in any way all the artists you'veworked with, but Haim.
Yes.
tell us a little bit about your work there and what your role was there.
Yeah, yeah, another crazy story of just like, you just never know where opportunitiesmight come from.
(36:33):
And so, yeah, just be kind to everybody.
But actually, yeah, my good buddy Henry, who's in Thumb Source, Solomon, the same one whoI met in high school, he was in the summer girl video playing, he's the one playing
baritone sax.
And then Haim just hired him.
And then so he's been in the band and then
(36:55):
They had this guy, Tommy King, who'd been their music director for ages.
Like, I want to say like 13 years, like since the beginning.
And then he finally just decided he didn't want to tour anymore.
So Henry just immediately kind of threw my name in the hat.
And then I went to the rehearsals and well, first of all, Danielle, Danielle Himes, shejust, she FaceTimed me and was just like,
(37:24):
That was like my interview of just like, you know, I guess it was her way of seeingwhether or not I was like a psychopath or not.
Just like, you know, cause that, and I get it now, like being around them there.
I mean, they're, they're sisters.
So there's like really like a family vibe and they only really want to be around peoplethat, that get along.
(37:47):
Cause that just kind of makes the whole experience better for everyone.
So.
That was the first thing she faced on me and was just asking me questions, just getting toknow me.
And then I came into a rehearsal and kind of had to be able to play the set from therehearsals.
then I was just kind of thrown into the shows.
Tommy did the U.S.
leg of the tour.
(38:08):
I think I did the last show of the U.S.
tour just to get a rep in.
And then, and then I did Europe with them for like a month.
So.
Yeah, just thrown into the fire, but it was a lot of fun.
And is that still an active gig for you, Paul, as far as next time they tour?
Or you're probably just waiting to see.
(38:28):
Yeah, I'll wait and see.
I hope so.
Yeah, that was really one of the best experiences I've had on like a major gig.
Yeah, kind of the total opposite of like some other situations I've had where I feel likeit's a full production and it can be stressful.
But with them, it's just really high level.
Everyone's just really amazing at their job.
(38:49):
They're some of the sweetest people.
Like they were taken without to eat.
They were just, you know, they asked kind of about your family.
this.
I don't know, there's a real family vibe.
So I would love to get to to to tour with them again.
And yeah, if not, I'm grateful for the time I have had.
(39:11):
This has really been special.
Paul, reflecting on your career to date, and from my perspective, it's only just started,there's so much more ahead of you, but you've been so successful already and worked with
so many top artists.
I'm interested in any advice you would give to aspiring musicians trying to start out inthe industry.
What are some things that have really worked for you in terms of being able to establishyourself and build a successful music career?
(39:35):
Hmm.
That's a great question.
Yeah, I think my mom, my mom gave me some of the best advice.
It still does.
But one of the things she's always told me is just, you know, if you're great, you know,people will find you.
And so.
I've always kind of taken that, you know, to kind of mean just like, you know, justcontinue to really work at what you do.
(40:00):
And even though if you think people aren't seeing you, you know, if you really.
are doing the work, know, somebody, somebody will see you and somebody will give you anopportunity.
So that's the first thing I would say.
You know, I've gotten to talk to a lot of students recently.
I know everyone's kind of worried about, you know, social media and kind of just, youknow, posting and just kind of being seen.
(40:23):
But there is something too about just kind of, you know, figuratively just kind of puttingyour head down and just like really kind of.
enjoying the process along the way.
I think people kind of take notice of that.
Yeah, great.
Thank you.
Thank you, Paul.
Great advice.
We have a question we ask all our guests, and it's this.
(40:46):
Can you share with us a train wreck story where you've been performing live andsomething's just gone horribly wrong?
tell us if you have one of those stories, we'd love to hear it.
Hand over the mouse, a great sign, Paul.
You've obviously got...
yeah, definitely.
Let me pick one that's hopefully not too embarrassing.
I've had the classic scenarios of like, actually yeah, I had a situation.
(41:11):
I don't know if you know this bassist named Curtis Lundy.
He's kind of like a older, he's maybe in his 60s now, but incredible bass player, youknow, played with everybody back in the day.
Yeah, played with like Art Blakey and Jazz Messengers and Betty Carter, all these people.
But I got called to play a gig with him and, you know, I'm nervous.
(41:34):
I'm just like, you know, he's he's what we call an OG.
And this is my first time someone recommended me.
We didn't really have time to rehearse, but he's like throwing all these songs at me.
I've never played.
So we're playing.
And then mid set, the keyboard just falls down.
like mid song, like it's mid solo.
(41:57):
And I didn't really know what to do.
My instinct was just to like, keep playing.
And so I just kind of like leaned over in my chair and just like kept the solo going.
And then we finished the song and that was just like kind of a moment.
But at the time, I guess it was just like, I was just embarrassed that this has neverhappened.
(42:20):
And then for it to happen in that scenario, was just like, you know,
just kind of crazy.
Was it an X-Stand, Paul?
That's the question everyone wants to know.
Was it an X-Stand that collapsed?
It was an extend and it was just like, I think I feel like the keyboard is just too heavyfor it because it's just like one of those old school, large, like 88 keys, you know.
(42:46):
Thank you for that.
Another regular question we ask Paul is to tag a keyboard player.
So you've mentioned so many great musicians, but is there another keyboard player outthere that you would love to hear more about their story?
Man, several.
I'm really a fan of everybody.
I'm like, there's so many incredible keyboarders out there.
But I mean, the first name that came to mind when you said that, I don't know if you'vetalked to Jacob Mann, but yeah.
(43:15):
Very good.
I feel like Jacob is kind of, you know, under stated for how brilliant he is.
I feel like.
Yeah, he's one of those people you don't really know how much he knows until you kind ofsit down and talk to him.
And he also doesn't really put himself out there much, but he's incredible.
(43:36):
One of my favorites.
Great stuff.
no, we will definitely add that to the list, Paul.
Thank you.
And our other common question is the dreaded Desert Island Discs question, Paul.
So five albums, if you have to choose them, what would they be?
I'm already just kind of feeling bad for the albums I'm gonna leave out, because there'sjust like, there's so many great albums.
(43:58):
Because of what this record kind of means to me, and I also mentioned that this is kind ofwhat got me started.
I'm gonna say Robert Glasper, Double Books.
I'm gonna say Donny Hathaway, Live.
I gotta go to my church roots.
So I'm gonna say Ty Tribbett.
gonna say Ty Tribbett, Victory Live.
Miles Davis.
I'm try to say Live at the Plug, Nickel.
(44:21):
and then the fifth one, that one's tough.
I'm gonna this right.
I'm gonna say Joni Mitchell, both sides now.
Love it.
Five brilliant picks.
Thank you, Paul.
Thank you.
Thank you so much Paul and we'll obviously link to those in our show notes so people cancheck those great albums out.
Now we're going to finish up Paul with another ritual we have with all of our guests.
(44:46):
It's called the Quickfire 10.
So David and I are going to take turns asking you 10 rapid fire questions and just answerwith the first thing that comes into your mind to the best of your knowledge as we go.
okay, I'll try.
And the first one's a hard one, I reckon.
The first album you ever heard.
Okay, I'm not really sure.
(45:06):
The first one I kind of remember was one of my brother's album sound and it was by Eldar.
What was it called?
I think it was called Blackjack.
But it's like one of his first albums.
He was like 19.
No, great.
Before a gig, Paul, it doesn't matter which artist, do you have any particular rituals orthings you need to do to feel settled before a gig?
(45:31):
Absolutely.
Yeah.
So I'm a man of faith, you know, God is everything to me.
So I really just trying to center myself with like some worship music.
Yeah.
I kind of have a playlist of like gospel songs that I kind of go to and that kind ofsettles me.
I feel like you were always destined to be a professional musician, Paul, but if you hadnot been, what do you think your career would have been?
(45:56):
Well, I actually, wanted to be an inventor.
Like when I was young, I just, always thought that was the coolest thing that an ideacomes to your head and then you can just make it and then it can just impact the world.
So some type of inventor, engineer, something that like creates technology.
(46:16):
we got a question for you later Paul.
Favorite favorite tour you've ever done?
I'm gonna say it's probably a tie between the Heim tour and then some most recent JoshuaRedmond tours for very different reasons, but both were kind of just really inspiring.
(46:40):
Awesome.
What's the favourite gig you've ever played?
Probably most recently with Josh Redmond we played at North Sea Jazz Festival.
That was special.
Yeah, a couple of people have quoted that over the years.
It sounds amazing that North Sea Jazz Festival really does.
Favourite city you've played if that's possible.
That's a great question.
(47:00):
I don't know honestly.
It's okay.
I would say probably because I got to go there recently a couple times Tokyo.
I just love Tokyo.
Yeah, cool.
Do know at the moment, I'm going off track here, but everyone in Australia is holidayingin Japan at the moment.
It's the most popular.
Yeah, it's very popular.
(47:20):
I think it's something to do with currency exchange rates, but it just seems to be whereeveryone's going.
And I acknowledge that this is an international podcast.
In fact, most of our listeners are from the US.
And the second most listeners are from the UK, but folks in the Northern Hemisphere, getto Japan as well.
It's fantastic.
I recommend it enough, honestly.
It's one of the highest capitals of the world.
(47:43):
Exactly.
They love jazz music there for sure.
Okay, let's keep moving.
What is a song that you used to love, but now you've played it to death?
I would probably say crazy, but I know I Barkley.
And I'm usually, I'm not this person.
Like I'm, I'm always like, man, you can always find new things in each song.
(48:07):
And if you don't like a song, you know, maybe you're the problem, you know, I'm like, I'mvery like defensive with like saying that songs are, you know, can't, can't be, you know,
fresh or anything.
But
That one, I would probably have to say I've thrown in the towel just because too many ofthese cover gigs I've done where that song just gets played every time.
(48:36):
Great answer.
Do you have a favourite music documentary or movie, Paul?
Ooh, music documentary or movie.
What have I seen?
I mean, honestly, the Ray Charles movie is pretty iconic.
I feel like Jamie Foxx did an incredible job with that.
Shorty, yeah.
If ever there needed to be a concept movie along the lines of Sgt Pepper's it should be aThumpasaurus movie, just saying.
(49:03):
We would love that.
I don't know if y'all know that Lucas actually studied film in college.
I mean, that's part of the reason why our videos are kind of the way that they are.
But yeah, I think we would love to do something like that.
That would be really fun.
It would suit you because you have a very cinematic style, no doubt, to your videos and acool sort of story going through them.
(49:26):
So that would be good.
And now we've got a great question for you here.
You mentioned you might have been an inventor had you not been a musician.
So please name one thing you would like to see invented that would make your life easieras a keyboard player pianist.
That's a great question.
Okay.
Two things.
Cause I have actually thought about this.
Someone should make a really like portable keyboard stand, like something that just kindof folds up and you know, either you can put it in your backpack or, you know, maybe it
(50:00):
can be attached to like a keyboard case, but those can be some of the most like cumbersomethings to just like drag around to
Yeah, I wish I'd and they've gotten close there a couple Stands that fold but it's stillkind of not really that much more convenient than the regular X stand so that and I want
(50:26):
to see a keyboard and I think arterial actually just did this but if there's a keyboardWhere you can just load you can take your VSCs with you without a laptop that I feel like
That would just be amazing because I think the best sounds are VSCs at this point.
(50:46):
They've gotten so advanced.
So if you could take it with you without having to hook up a laptop and a whole rig, thatwould just be amazing.
Yep, no great pigs.
You should have been an inventor, but I'm glad you stayed a musician.
You never know.
I might spin the block, you know, when I'm like 60.
(51:07):
He's like, know what?
Let me follow Pat.
That's right.
And the last one in the quick fire 10 Paul is your favorite non-musical activity or hobby.
What keeps you sane outside of music?
That's like the universal like musician question of like, do you do outside of music?
I don't know.
(51:27):
I mean, I love art.
Like I love going to like an art museum or, you know, going to see a film or something.
I love getting like inspired just by other mediums of art.
And I feel like it makes inspires me to play, you know.
Great.
And speaking of art, that is definitely the term that should apply to your musical output.
(51:49):
It's absolutely amazing, Paul, and it's been an absolute pleasure talking with you.
We can't wait to see what's coming in the future for you, we definitely will keep intouch.
That really means a lot.
Yeah, I'm so grateful that you all reached out and had me.
This is really cool.
(52:15):
there we have it.
Paul, the other Paul, the even more brilliant Paul is one of those plays and I doencourage people to look at the links we post in the show note to Paul's playing.
He's one of the guys that makes you cry with both joy and jealousy.
He's wonderful player and certainly more brilliant than me.
I feel like he's better looking too, so I'm bit annoyed about all of that.
(52:38):
And what a nice guy.
Really, I loved his take on just being really humble and open to opportunity, which camethrough very strong and clear throughout the discussion.
No, some amazing insights and it's hugely grateful to have spoken to him.
So you do look out for that for his first release coming out on Blue Note sort of June,July, August.
(52:59):
I don't believe there's a firm date as yet, but we know it's coming out.
So I know why for one, I'm keen to hear it.
I'll be very keen to listen to that.
It's just going to be good.
You just know it's going to be good.
He's such an accomplished player and has such a great sense of musicality in what he does.
And what you also have to do, folks, is click on the link in the show notes and look athim changing his shirt around, running up and down stairs, playing a piano solo and
(53:24):
playing a ridiculously great piano solo too.
And running back up the stairs.
And as he revealed in that podcast, one take.
Did it once?
Amazing.
No, I it.
So no, thank you to all for listening.
And we're always grateful for that.
Quick shout out to our gold and silver sponsors, Soponses.
Soponses.
(53:44):
Yeah, Soponses.
So Tammy Catra, Tammy's Musical Studio.
Thank you, Tammy, for your ongoing and long term support.
Mike and the team at Midnightmaster.com.
You know our thoughts.
They're great.
Hey, I'm going to interrupt you.
I'm working with Mike at the moment.
Yeah, and he's awesome.
We're doing a project together and it's great.
And he's easiest guy to deal with, very professional.
(54:07):
And yeah, I'm loving the experience.
I hope Mike is too.
I haven't asked him that question.
From my end, it's been a very good collaboration.
So yeah, look Mike up.
Yes, do.
And we've even got an episode where we've chatted to Mike and another friend of mine,Steve, about virtual bands, which is worth checking out.
And also to the wonderful team at musicplay.com forums, Dave Bryce and the team highlyrecommended as well.
(54:33):
And then last but definitely not least, the wonderful Dewey Evans from the sunny land ofWales.
another couple of quick news updates.
So we've launched, if you're a weekend warrior like Paul and I are,
and you you play in a cover band or two or tribute band or whatever it is.
It can be originals, can be a jazz band, whatever.
(54:55):
We're currently profiling Weekend Warriors on our website.
So if you go to our website, you'll see that there is a link to Weekend Warriors.
you need to do is click on any of the current Weekend Warrior profiles and there's a linkthere as well where can express interest.
And we just want to share the love a little bit.
and just profile all of us out there that are playing those gigs on weekends, maybe notquite as well known or getting to work with the gods like a lot of our guests.
(55:23):
But we just want to share the love of it.
So you get to answer a whole bunch of questions about your bands, you get to promote yourband, you get to tell us about your keyboard rig and all that sort of stuff.
So that's been successful.
There's about five or six profiles on the website and the response has been huge.
I've got quite a backlog to get through.
Be careful what you wish for though.
(55:44):
Let me just reinforce what David's saying.
What does it cost you to do this?
A bit of your time in being in touch with us.
That's totally it.
So we're purely doing this in the spirit of paying it forward and as David said, spreadingthe love and getting all of us keyboard players out there and what we do.
So why not?
(56:05):
If you are scooped up thanks to the profile to some major multinational gig at least agreeto be our guest on the podcast.
That's all.
would be nice.
Yeah.
And you're allowed to be a sponsor too then if you want.
can become fabulously wealthy.
We will reluctantly but humbly accept your sponsor.
Yeah, we could like that.
So no, thank you for that.
(56:25):
As always, even if you don't want to be profiled, we'd love to hear from you.
So editor at keyboard Chronicles.com.
We're on all the socials.
Do you just search for the keyboard Chronicles you will find us if you can spare a coupleof bucks a month to help us out on Patreon.
You do get early access to edits of the show before we put them live.
(56:45):
You also get the opportunity when we have enough notice for guests to ask questions of theguests.
So do consider that for what is the situation.
something happened at end of our interview today that could be like a bit of bonus contentfor our Patreon.
I don't want to say what it is, but it really fun.
Without being too much of a tease, that's right.
Paul very kindly added a bit of content at the end that we'll be providing to patrons inthe first instance.
(57:12):
So thank you all out there for listening.
Thank you, Cirque.
Always good to see you.
I know we've got a few shows coming up over the next couple of weeks.
I know it's exciting.
I'm actually here for some of these interviews.
It's very good.
Thanks, David, for having me.
I had a wonderful time talking to Paul.
I'm an unabashed fan of his work.
And now that I've met him, of, I'm an unabashed fan of him as a person.
(57:34):
Absolutely.
So no, thank you all out there for listening again and until we see you next time, keep onplaying.
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