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Speaker 1: I love that for a couple of different reasons, but

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we'll talk about that in a moment. That is Sign

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of the Times. Welcome everybody. We have entered our number

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two new marowdos of Matt Connorton unleashed and we are

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live from the studios of wm NH ninety five point

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three FM in glorious but very cold, but glorious Manchester,

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New Hampshire. Today is Saturday, January third, twenty twenty six.

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Happy New Year, everybody, our first show of the new year.

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Jenny is here, of course at the news table.

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Speaker 2: I really like that song a lot.

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Speaker 1: Yeah, isn't that good? I'm like over here, it's so good.

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And joining us in studio, Gary Smith is here. Hello, Gary, Hello,

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how are you guys? Gary Smith, as I like to say,

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the busiest musician I know anywhere. He's in two hundred

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and seventy four bands and there's something like that. Right,

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we're in double digit, definitely in double digit. Can you

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just pull that mic over a little. I just want

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to make sure it's right. Yeah, there we go, perfect,

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Thank you, so Sign of the Times. So I mentioned

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that that's special to me because so I that song

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has been played on the show before, but not that version.

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So I played the I played it. I've played it

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maybe a couple of times, not recently, but the Chemical

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Distance version of the song that I played bass on

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years ago seems like another lifetime in some ways. But

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but that is my favorite version, the one that that

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you've brought to us. That's amazing what you took and

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did with it. And of course our friend MHP Michael

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Helpley Pierce who of course I was in Chemical Distance

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with him along with Auto Kinsel, and that was always

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one of my favorites to play live because it's such

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a great track and Mike's rap on that whole thing

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is so good. It's so smooth. And I assume you

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didn't take the original vocal track that's he redid that, right, Yeah.

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Speaker 3: At our engineers, just with kind of a backing track,

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and then he sent the raw vocals to me and

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then I just kind of did everything up in my

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bedroom and then I sent the stems back to Pete

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and we went and mixed it and made it sound

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good on all his his nice expensive equipment.

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Speaker 2: Yeah.

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Speaker 3: Yeah, So just kind of a little studio time sometime

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in my room and then just the mixing time, So

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it was really it was a fun way to do

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it because I had pretty much as much control. I

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knew what you want, he said that weird little breakdown section.

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Speaker 1: I love that.

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Speaker 3: He's like, just do whatever you want. So I did

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like a halftime guitar so good. Yeah, the whole thing

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is so good. I think it's the third version of

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that song, because I think it was originally a Litherman's song,

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a Litherman's load, the hip hop duo that Mike had,

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MHP had, and then and then he brought it to

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Chemical Chemical Distance and then and then brought it to.

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Speaker 1: You to do that Like who's whose name is that officially? Under?

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Speaker 2: Is that under? It will be.

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Speaker 3: Released under Jam tomorrow, Okay, but it will be featuring

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Percussive Maintenance because that's my like producer name, so that yeah,

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so it'll be you'll be able to find it through

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my my streaming stuff, which is all under Percussive Maintenance. Okay, yeah,

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just because me and Pete kind of I did most

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of the product production. Pete did the mixing master, he

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did some little production stuff. So okay, but yeah, yeah,

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be uh it'll be under Jam tomorrow. We have three

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or four other songs that should be coming out this year.

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That one and two other songs are basically mastered, ready

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to go, okay, just waiting for some art and some

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other logistics to other Jam Tomorrow. So the Jam Tomorrow songs, Yeah,

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one with a guest. Actually probably three other yeah, three

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other Tomorrow songs. One with Michael Freeman who's in Free Will,

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which is a little group around here.

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Speaker 2: Yeah, he's playing drums.

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Speaker 3: Ones with Brian Murphy, who's my trumpet player, buddy who's

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been on some of my stuff, who's a Boston musician.

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Speaker 2: He's amazing. He's playing trumpet on some stuff.

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Speaker 3: So uh okay, yeah, we we actually added him on

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drums some stuff. So like he was, he was hanging

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out with me. So I'm like, okay, you're going on

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a bunch of Jam Tomorrow songs. But yeah, we have

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I think four songs that should be coming out. Oh wow,

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probably fairly soon. Oh fantastic? Are are there songs we

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would know from the show that that you guys have played.

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Speaker 2: On the whole Wide World?

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Speaker 3: The Rachel the Yeah, yeah, that's pretty much ready to go.

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White Whale, which I think we played here once. That's

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the one that me and Mike wrote when I was broken. Yes, yeah,

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that one's pretty much recorded. I played piano on that, okay,

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that's the one Mike Freeman plays drums on. And then uh,

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twenty two, we've done that before, okay, and we added

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some cool trumpet harmonies on that one, so that one's

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really unique sounding too. Okay, I think those are Yeah,

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those are the four I think that are pretty much ready.

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Speaker 1: The ones that I have, because I definitely have recordings

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of at least a couple of those. Are those demos

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that we that.

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Speaker 3: I he may have given you either like not fully

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mastered ones right right, yeah, or like like the song

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one of the songs I gave you here is the

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non fully ready to release version, okay, as the stems.

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He's going to do some mixing and mastering to that,

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but this is kind of the pre mix version, just

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to kind of tease it out there.

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Speaker 2: That's that jazz one, okay, but.

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Speaker 3: Yeah, that's probably what we did there. But yeah, now

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twenty two is much further along. You may have played

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close to the studio version of White Whale.

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Speaker 2: That would probably.

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Speaker 1: Probably okay, yeah, yeah. And then so you've been you've

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been very busy.

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Speaker 2: You know.

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Speaker 1: We always say you're you're the busiest musician I know.

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But also you've been and since the last time you

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were here, So you're now playing with Roots of Creation, right.

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Speaker 2: Yeah, Roots of Creation and Grateful Dub. So that's that's huge.

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That's been a.

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Speaker 3: Fun adventure for sure. Those guys are so fun, so

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fun to jam with, and it's a it's nice to

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kind of see the next level of like band leader

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and like how Brett runs the band is it's a

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it's a it's given me good ideas in terms of

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like how to operate my things because he's just so

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like good at controlling what's going on on stage, and

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especially in something like that where there's like a lot

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of improvisation. Our New Year's Eve show, we did two

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of the seven songs on our setlest he's like, let's

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do this instead, let's do this, and said so but

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and then it's like we'll hold accord. He's like, let's

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see how we can get to this next part. He's like, Okay,

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now go up a half step, now go before. So

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it's like kidding, It's really all a lot of improvisation, which,

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as a jazz nerd is is right up my alley.

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Speaker 2: Yeah, but yeah, I know, it's it's been fun.

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Speaker 3: It's met some crazy people and uh, they just released

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were Wolves of London for Halloween. I played based on that,

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and we have the Grateful Dub album is coming out.

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The second one is coming out very soon. Recorded some

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stuff on that, Okay, that's very exciting. A bunch of

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stuff in the theater or a bunch of stuff in

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the studio like Paul from Slightly Stupid on a bunch

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of stuff, a bunch of a bunch of cool people

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on you Love on some stuff. Yeah, yeah, it's uh,

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it's been so fun. And yeah we're doing a big

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Florida South Southern tour February in March. But yeah, I

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mean we are playing a couple of cool shows around here.

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February sixth and seventh. We're playing a Flying Monkey in

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Plymouth excellent. Then Wally's on February seventh. Oh, very good,

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both of those with Paul uh the organists from a

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Slightly Stupid opening for us.

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Speaker 1: Okay, nice, It was definitely worth worth checking out.

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Speaker 3: But yeah, I know, it's it's it's been it's been

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an awesome adventure and uh, all the guys at the

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band are so fun and so easy to play with.

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And yeah, obviously as a bass player, I care about

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the drummer, and the drummer is so easy to get along.

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Speaker 1: Oh really yeah, that's good.

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Speaker 2: After a few crucial like we're like locked in.

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Speaker 1: It's good.

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Speaker 2: Good.

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Speaker 1: Now, how did that come about? Because you initially you

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were like a fill in right, Yeah exactly.

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Speaker 3: I filled in actually with my engineer back in March

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at a at a show they had up in a

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sugar sugar bush or one of the yeah, one of

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the mountains up there, just sugar sugar loaf, sugar loaf, yeah, okay, yeah,

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And I just filled in with uh with Bread on bass,

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just for like a last minute show.

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Speaker 2: Yeah.

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Speaker 3: And then when they were looking for a bass player

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because their bass player lives in Florida and it was

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difficult for for that, he recommended me. He's like, oh,

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Gary does all this weird jazz fusee and stuff like that,

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I can just dial it back and do some dude yeff.

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And then once I did, like okay, yeah, this will work.

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So then yeah, yeah, we stubbed in for a few

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shows like up in Vermont, uh in New Jersey and

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then uh yeah, towards the end of last year kind

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of made it official, got some cool pictures, So yeah,

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I know, it's it's been. Uh, it's definitely been an

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experience and it's yeah, it's a lot of fun.

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Speaker 2: It's uh.

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Speaker 3: I ended up doing you know, probably Eve though I

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only joined really in September. I did like twelve or

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thirteen shows with him last year and it was really

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fun to kind of to lock in and kind of

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learn some new stuff. And obviously I'm a nerd. I

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show up with all the sheet music because I like

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transcribe everything. Yeah, yeah, like what are all these notes?

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I'm like, I write out all of them?

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Speaker 1: Do no kidding?

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Speaker 3: Oh yeah, it helps me learn, Like like in school,

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taking notes help you learn, like that. I listened to it,

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I write it down, and then I like, locked in

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my brain is the picture of those that writing out

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those notes?

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Speaker 1: That makes sense?

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Speaker 2: Yeah?

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Speaker 1: Interesting, It must be cool too to have something like

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that work out where because that probably wasn't something you

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thought was going to happen in twenty twenty five, right,

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that you'd end up playing with Roots of Creation and

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then and then become a member of the band.

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Speaker 3: Yeah, No, it's definitely wasn't on my it wasn't on

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my guest list of what I thought it was gonna happen.

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Speaker 2: But yeah, yeah, I was.

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Speaker 3: I was really pleasantly surprised. And yeah, I mean it's

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I love playing bass and playing bass with you know,

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a bunch of guys who just love the music like

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you can't you can't go wrong with that. And they've

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obviously been around for for so long, you know, over

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twenty years.

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Speaker 2: Yeah, Breton Tal have been.

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Speaker 3: Doing it, so it's uh, it's definitely, Uh, it's cool

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to step into something like that. I mean, obviously my

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other band's like Fox, Fox and Flamingos have been building

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so long, and like it gives me ideas with how

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they operate in.

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Speaker 2: Terms of transferring.

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Speaker 3: And yeah, we got a new piano player with Fox

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and Flamingos last year too, so yeah, he's a little

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he was. I met him through Kevin Haran, who I know.

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You know, we did we did that show at the

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Bank of Hampshire stage last year and I met his

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piano player who was in the Dave Matthews tribute band.

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And then our piano player was leaving because family stuff,

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so I'm like, hey, you should join us. So like

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he's like Dave Matthews tribute bands, like a national tribute band,

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and they're actually their managers, the same managers Roots of Creation,

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So like it's all like this weird thing. So yeah,

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now both of us are in and so like that's

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kind of bump Fox up a little bit in terms

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of his professionalism, like having day sheets, having stuff much

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more organized instead of just kind of flying by the

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seat of our pants. Sure, sure, so that's that's definitely

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helped Fox get a lot of cool and better opportunities.

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Speaker 1: Oh that's fantastic, great, great. I still love that song

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Don't Be a Stranger. Oh my god, that is such

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a great song. I love Fox on the Flamingos. Isn't

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how hard to juggle all this? I mean, you must be.

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You strike me as someone who must be very organized, right,

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because you've got so much going on, you have to

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be organized.

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Speaker 3: It's in certain things. I'm very organized. It's organized chaos,

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like I know exactly where I need to be, where

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I should be, but like some things of my life

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are definitely not the most organized. But yeah, sure, I

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mean it's for when I I kind of just go

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down rabbit holes. Like I I know what I need

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to do and like, but yeah, I'm mostly organized. Yeah,

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as my ask my kids, they may give you a

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different answer, but I mean, obviously it helps. I try

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to kind of check off all the boxes. And then

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like even now with the root stuff, like I have

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for Fox, We've got a sub basis. So for those

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that new shows that I can't make it, oh, we

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have a basis who's a very good basis who can

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fill in for me as needed. Yeah, and pretty much,

257
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you know, obviously Jam Tomorrow can operate without me. Cosmic

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Boston can operate. They have separate basis, so most of

259
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this stuff can. I can wiggle it around needed. And

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then you know, even my solo shows, if I get

261
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a last minute tour thing, I can just plug in

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someone to one of my solo shows and most of

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the venues are cool with that.

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Speaker 1: Yeah. Oh that's good, trust me. So yeah, that's really good.

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Speaker 3: So yeah, it's a mixture of things, but yeah, it's definitely. Uh,

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I look at my schedule many times.

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Speaker 1: Yeah, yeah, I can imagine. And this is probably the

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busiest you've ever been, right, I mean, have you ever

269
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had a point where you were busier than you are recently.

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Speaker 3: No, because I mean, I don't know if we ever

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talked about it too much. I took a long, long

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break from music, so like when I was in high school,

273
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I was doing a lot of jazz, probably playing thirty

274
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forty shows throughout high school. In the beginning of college.

275
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Then I mean, my ex wife got into having a kid,

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having a family, and I didn't play music for two

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thousand and three to twenty twenty pretty much.

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Speaker 1: Really.

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Speaker 2: Yeah, so I didn't have music out for seventeen years.

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Speaker 1: That shocks me, Yeah, because I remember, I do recall

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because even on the show several times I do seem

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to recall you talking about a break, but I didn't

283
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realize it was that long. So seventeen years.

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Speaker 3: Yeah, the last The first time I played out was

285
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during COVID. I played at six oh three Brewery with

286
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the old piano player and the drummer from Fox and

287
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the Flamagos. I got in with them, and that was

288
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like the first time being being and then uh, and

289
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then I started playing with Jam Tomorrow, and then Fox

290
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and Flamengos formed and then it's just been a whirl.

291
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And but yeah, like I was looking back twenty twenty three,

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I did like forty shows. Last year, I did one

293
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hundred twenty shows. Two years ago I did one hundred

294
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twenty shows, and then this year I did two hundred

295
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and ten shows. So yeah, I don't that trajectory isn't sustainable,

296
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but if I can stay around two hundred, I'll be happy.

297
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Speaker 1: Yeah. Now during that break, did you did you still

298
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pick up the bass or other instruments.

299
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Speaker 3: I played my guitar decent amount during then, but not,

300
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but it was like it was weekly. It wasn't like, okay,

301
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daily like, so you never completely disengaged, but I still

302
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had a guitar, but there would definitely be times where

303
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I would probably go.

304
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Speaker 2: A month without playing it.

305
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Speaker 3: No, yeah, I was doing I mean that was when

306
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I was super into car racing and oh yeah I was. Yeah,

307
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so that that was part of it. Two that that

308
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kind of took away. But yeah, I mean my ex

309
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wife didn't necessarily love the music side of things. So

310
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even a lot of times when I would go to

311
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like pick up the guitar, that's when you turn on

312
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the TV or something, I was like.

313
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Speaker 2: Oh yeah, I get it.

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Speaker 1: So oh wow.

315
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Speaker 3: So then I got divorced in twenty twenty, and that's

316
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kind of what's what sparked me. And actually MHP we

317
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had some jams with my sister used to date Hernesto

318
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before she passed, and so we would jam at Arnesto's

319
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like garage, and that's how I originally met MHP and

320
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that's how.

321
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Speaker 2: That allay it all started. Okay, that was probably like

322
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twenty nineteen that we did that.

323
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Speaker 3: Twenty eighteen, twenty nineteen we jam for the first time,

324
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but that was like my first time even playing with anyone.

325
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Speaker 2: Wow for probably fourteen years. Yeah.

326
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Speaker 1: Wow, it's just mind blowing that, you know, you had

327
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such a long break and now you're so busy. It's

328
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like a completely it's like such a total life shift

329
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in that way.

330
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Speaker 2: It really is.

331
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Speaker 3: I mean I wish I had been doing it the

332
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whole time, but also like I wouldn't be in the

333
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place because like obviously I was a car sales manager

334
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for a long time stuff like that, so I have

335
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a little bit of stuff aside. So when I kind

336
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of took the plunge, yeah, I had some safety net

337
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where if I was twenty and taking the plunge, it

338
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wouldn't have ever worked.

339
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Speaker 1: True.

340
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Speaker 3: Yeah, it's kind of a blessing in disguise. And you know,

341
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I know a lot of I have a lot of

342
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friends who've been doing music their whole lives, and some

343
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of them more burnt out.

344
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Speaker 2: Than others, you know.

345
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Speaker 3: Yeah, like I've I'm definitely burnt out from being a

346
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car sales Right. This is like I still don't I

347
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tell people I don't work, like I just play music

348
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all year, Like yeah, it's not like I need a

349
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vacation like.

350
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Speaker 2: Right, playing music.

351
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Speaker 1: Yeah, that's true. That's true. So it's you're doing what

352
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you love.

353
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Speaker 2: Yeah, that's yeah.

354
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Speaker 3: Yeah, And that's what my parents when they were my mom,

355
00:14:27,360 --> 00:14:30,159
when she was like forty five fifty, they got a

356
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they started a music store and wallis so like that

357
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was kind of there chasing their dream, leave the corporate

358
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world and start a music store. So she would be

359
00:14:37,679 --> 00:14:39,080
she would be happy that I was doing what I'm

360
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what I'm doing.

361
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Speaker 1: Yeah, no doubt, no doubt. If you're just joining us,

362
00:14:42,279 --> 00:14:44,600
Gary Smith is here with us, And should we play

363
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another track? You sent us a bunch of new stuff.

364
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Speaker 3: Yeah, let's let's uh, let's do the Heist tune. That'll

365
00:14:51,080 --> 00:14:54,200
uh okay, this is called listen here. Heist is a

366
00:14:54,200 --> 00:14:57,720
project I'm in We play every first Wednesday of the

367
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month at Hermano's Up and Conquered. Oh, okay residency there,

368
00:15:01,480 --> 00:15:04,360
Uh play it. Panucci is a bunch two. They have

369
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a jazzy and kind of a rock side. I tend

370
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to stay on the jazz side because the rock side

371
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is usually on Saturdays when I already have gigs. But yeah, no,

372
00:15:11,759 --> 00:15:14,519
they're they're cool. They're under heyst improvised music on Facebook.

373
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Speaker 2: Yeah. Curtis Arnett, Curtis Martin. What's his Aaron? Who does

374
00:15:21,600 --> 00:15:25,159
the kids the kids concerts? Aaron?

375
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Speaker 3: Oh, I can't think, but yeah, he's in it. Took

376
00:15:29,360 --> 00:15:32,159
Randy Honeyman a bunch of people in it, so it's

377
00:15:32,200 --> 00:15:34,639
it's a cool Eric Billadoh, it's a cool little combination.

378
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Speaker 2: But yeah.

379
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Speaker 3: This is when we recorded actually in basement and Conquered.

380
00:15:37,279 --> 00:15:41,480
This is with Randy, Curtis Arnett on sacks, Curtis Martin

381
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on drums, and me on bass and guitar.

382
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Speaker 1: Okay, very good, very good?

383
00:15:45,240 --> 00:15:45,639
Speaker 2: All right?

384
00:15:45,679 --> 00:15:46,600
Speaker 1: So this is Heist.

385
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Speaker 3: This is Heist and the what's the track call? Uh

386
00:15:50,360 --> 00:15:55,000
listen listen here? Yeah, let me just make sure.

387
00:15:54,919 --> 00:15:57,440
Speaker 1: Yeah listen here, listen here by high Star. I checked

388
00:15:57,440 --> 00:16:34,440
this out.

389
00:16:16,919 --> 00:17:04,319
Speaker 4: Short as the th the thirtle Bird, the b As

390
00:16:53,039 --> 00:18:27,599
a Bad Turn Turn, Time of n Look at that

391
00:18:33,519 --> 00:20:18,960
noble record, recurscurs am.

392
00:21:01,599 --> 00:21:05,079
Speaker 2: I love that that is Heists.

393
00:21:05,240 --> 00:21:09,319
Speaker 1: What's the track again? Listen here here that Uh that

394
00:21:09,440 --> 00:21:13,160
guitar solo. It's it's like it's telling a story, you

395
00:21:13,240 --> 00:21:13,759
know what I mean?

396
00:21:13,920 --> 00:21:15,079
Speaker 2: Thank you? That's the goal?

397
00:21:15,279 --> 00:21:17,640
Speaker 1: Yeah, No, I love that. I love that very very cool.

398
00:21:18,039 --> 00:21:21,079
Is that I haven't heard you mentioned Heist before? Is

399
00:21:21,119 --> 00:21:22,960
that a new project? You're newer for you?

400
00:21:23,319 --> 00:21:26,559
Speaker 2: It's somewhat newer. I kind of just can't think.

401
00:21:26,559 --> 00:21:28,880
Speaker 3: I sat him with them at Hermanos just to start

402
00:21:28,920 --> 00:21:31,119
out because they needed someone to do some jazzy stuff.

403
00:21:31,559 --> 00:21:37,079
And then yeah, then Curtis is a bartender at Prevate Friends,

404
00:21:37,119 --> 00:21:39,160
so we've sat him with sitting with me at Feathered Friends,

405
00:21:39,240 --> 00:21:41,119
and then yeah, we just kind of it.

406
00:21:41,200 --> 00:21:41,799
Speaker 2: All worked out.

407
00:21:42,440 --> 00:21:44,279
Speaker 3: Curtis Martin the drummer from this and sid in with

408
00:21:44,400 --> 00:21:46,799
Cinnamon Jazz Trio, one of my other jazz group too.

409
00:21:47,119 --> 00:21:50,640
Speaker 2: Okay, so it's a yeah, it's fun. We're all, we're all.

410
00:21:50,799 --> 00:21:53,079
We all just shared it. Jazz is fun like that.

411
00:21:53,400 --> 00:22:00,279
Speaker 1: Yeah, yeah, absolutely, it's Uh, I've never played jazz music.

412
00:22:00,319 --> 00:22:02,279
I've only been in rock bands and stuff like that,

413
00:22:02,440 --> 00:22:04,079
and a couple of things that were a little a

414
00:22:04,119 --> 00:22:08,359
little different. But it must be kind of I imagine

415
00:22:08,359 --> 00:22:10,400
it to be liberating to have that kind of freedom

416
00:22:10,519 --> 00:22:12,839
with a project like that, where where it can you

417
00:22:12,880 --> 00:22:17,480
can play in different configurations and you know, and do

418
00:22:17,599 --> 00:22:20,519
a lot of improv is improvising and and all that.

419
00:22:20,720 --> 00:22:23,200
Speaker 3: That must be really cool. No, it's definitely nice. I mean,

420
00:22:23,240 --> 00:22:26,160
I ran jazz dams up at PCL for the last

421
00:22:26,240 --> 00:22:28,640
couple of years. Okay, just people come in if you

422
00:22:29,400 --> 00:22:31,519
kind of has some semblance that had to play jazz like.

423
00:22:31,599 --> 00:22:34,359
It's so even though people think it's so like nonstructured

424
00:22:34,400 --> 00:22:35,839
and it's so chaotic, like, there is a lot of

425
00:22:35,839 --> 00:22:36,400
structure to it.

426
00:22:36,480 --> 00:22:38,599
Speaker 2: So way you understand the structure, it's easy to just

427
00:22:38,759 --> 00:22:39,400
kind of PLoP in.

428
00:22:39,599 --> 00:22:43,400
Speaker 3: Like Cinnamon Giastrio, we've played a bunch together the last

429
00:22:43,680 --> 00:22:46,400
song or one of those songs that she plays flute

430
00:22:46,400 --> 00:22:48,559
in or piano player on that, but we've never had

431
00:22:48,559 --> 00:22:50,519
a rehearsal because we just get up together and we're

432
00:22:50,519 --> 00:22:53,119
all tight. We all know how each other works at

433
00:22:53,160 --> 00:22:54,799
this point, so we can just play and put on

434
00:22:54,880 --> 00:22:56,640
an amazing show just without.

435
00:22:56,920 --> 00:22:58,200
Speaker 2: We know how to interact with each other.

436
00:22:58,319 --> 00:23:01,759
Speaker 1: So yeah, it's fantastic. Yeah, it's very fun if you're

437
00:23:01,799 --> 00:23:04,079
just joining us. Gary Smith is here with us and

438
00:23:04,880 --> 00:23:10,319
sharing some some new music and uh so, what what's

439
00:23:10,400 --> 00:23:12,720
kind of the thing that takes up is Roots of Creation?

440
00:23:12,799 --> 00:23:14,359
Does that take up the most of your time in

441
00:23:14,480 --> 00:23:16,319
terms of because we were talking earlier about how you

442
00:23:16,720 --> 00:23:19,079
you don't have to be very organized with your calendar.

443
00:23:19,200 --> 00:23:21,759
Speaker 3: Yeah, I mean they probably. I mean in terms of

444
00:23:22,079 --> 00:23:24,759
actual work, solo solo shows take up the most time.

445
00:23:25,319 --> 00:23:27,440
Like last year I did seventy solo shows and like

446
00:23:27,480 --> 00:23:31,079
twenty two jams Iran, so the majority of the shows

447
00:23:31,119 --> 00:23:35,039
are that. But yeah, I mean in terms of just overall,

448
00:23:35,640 --> 00:23:38,759
especially this year, I'll definitely be playing the most non

449
00:23:38,839 --> 00:23:42,680
solo shows with Roots, Okay, and then obviously like traveling

450
00:23:42,720 --> 00:23:45,079
and Tory and stuff that that you have travel days

451
00:23:45,119 --> 00:23:45,880
and stuff like that, so.

452
00:23:46,160 --> 00:23:47,599
Speaker 2: Those will get those will get gobbled up.

453
00:23:47,799 --> 00:23:50,559
Speaker 3: Yeah, but yeah, I mean beyond that, I mean I

454
00:23:50,599 --> 00:23:53,480
did play the most shows with Fox last year. In

455
00:23:53,599 --> 00:23:57,279
terms of band, I mean with me and Mazie again,

456
00:23:57,359 --> 00:23:59,000
more projects. Me and maze split off and we do

457
00:23:59,079 --> 00:24:02,599
vaudeville Vixen, which me and Mayzy just doing jazzy stuff

458
00:24:02,720 --> 00:24:03,559
and some Fox.

459
00:24:03,480 --> 00:24:06,799
Speaker 2: Songs in like kind of a duo thing with my Looper.

460
00:24:06,960 --> 00:24:07,720
So oh cool.

461
00:24:08,119 --> 00:24:11,240
Speaker 3: So we did probably thirteen shows like that last year

462
00:24:11,359 --> 00:24:14,400
then on the top of the thirty Flamingo shows, so wow.

463
00:24:15,160 --> 00:24:15,359
Speaker 2: Yeah.

464
00:24:15,400 --> 00:24:17,680
Speaker 3: So, I mean me and Maizie are probably the most

465
00:24:17,720 --> 00:24:19,640
busy together or being Bob because me and Bob play

466
00:24:19,680 --> 00:24:21,720
together a bunch with Me and Bob are actually playing

467
00:24:21,799 --> 00:24:26,319
tonight with RGB trio at Brickhouse in Milford. Oh nice,

468
00:24:26,680 --> 00:24:29,440
and we have Amanda van Tyne, this lead singer from Cosmic.

469
00:24:29,519 --> 00:24:31,039
She's going to come in and join us for a

470
00:24:31,079 --> 00:24:32,279
lot of the sets, so it's going to be.

471
00:24:32,319 --> 00:24:33,279
Speaker 2: It's excellent party.

472
00:24:33,559 --> 00:24:33,920
Speaker 1: Excellent.

473
00:24:34,160 --> 00:24:36,640
Speaker 2: But yeah, I mean, though they all.

474
00:24:36,599 --> 00:24:40,319
Speaker 3: Take some amount of time, and even like Jam Tomorrow

475
00:24:40,720 --> 00:24:42,200
last year I didn't get play with them as much,

476
00:24:42,599 --> 00:24:43,880
but we did a lot of stuff in the studio.

477
00:24:43,920 --> 00:24:45,440
So I did more stuff in the studio with them

478
00:24:45,519 --> 00:24:48,559
last year than really probably anyone except for Rooster Creation.

479
00:24:48,759 --> 00:24:52,920
So so yeah, I mean, it's just where they're so

480
00:24:53,200 --> 00:24:55,559
good to operate among themselves and even some places they

481
00:24:55,599 --> 00:24:57,079
like we don't have space for a trio. We just

482
00:24:57,160 --> 00:25:00,599
need to do a like play at eat whatever in

483
00:25:00,640 --> 00:25:02,759
Bedford and they just want to duoh. So I'm like, okay,

484
00:25:02,799 --> 00:25:05,920
that's fine. Yeah, yeah, but yeah, I mean it's I

485
00:25:05,960 --> 00:25:06,559
gotta juggle.

486
00:25:06,640 --> 00:25:07,839
Speaker 2: But I keep busy.

487
00:25:07,880 --> 00:25:10,680
Speaker 3: I'm always adding things. Uh yeah, I'm in a project

488
00:25:10,720 --> 00:25:13,279
with Scott Soulski now, who's a seven string guitar, So

489
00:25:13,359 --> 00:25:14,119
I play eighth string guitar.

490
00:25:14,200 --> 00:25:16,480
Speaker 2: He plays seven ring. And then Mike Wall she was

491
00:25:16,480 --> 00:25:18,920
an amazing drummer like me, in seventy three different bands.

492
00:25:18,960 --> 00:25:20,119
He played drums.

493
00:25:20,359 --> 00:25:23,160
Speaker 3: We're playing at a big bear lodge Andre's Art Institute,

494
00:25:23,880 --> 00:25:26,400
which is gonna be a cool show. So yeah, but yeah,

495
00:25:26,519 --> 00:25:28,400
like he was someone I met literally last year and

496
00:25:28,440 --> 00:25:30,519
we've become friends and started playing with and recording a

497
00:25:30,599 --> 00:25:33,720
bunch and he was in Foresight Funk when they when

498
00:25:33,759 --> 00:25:35,759
that existed, in a bunch of other cool stuff.

499
00:25:35,759 --> 00:25:38,279
Speaker 1: But I think, didn't you bring the eighth string here once?

500
00:25:38,759 --> 00:25:38,920
Speaker 2: Yeah?

501
00:25:38,920 --> 00:25:40,480
Speaker 3: I've brought it here a few times. Yeah, yeah, I

502
00:25:40,599 --> 00:25:42,880
usually bring the nylon string eighth string, but I most

503
00:25:42,920 --> 00:25:44,480
of the time I'm playing an electric eight string when

504
00:25:44,480 --> 00:25:45,319
I'm out out about.

505
00:25:45,359 --> 00:25:47,279
Speaker 1: But yeah, yeah, because I remember you, Yeah, that's right,

506
00:25:47,319 --> 00:25:49,559
I remember you. Playing the eighth string here with Jam Tomorrow.

507
00:25:49,759 --> 00:25:49,960
Speaker 2: Yep.

508
00:25:50,559 --> 00:25:52,119
Speaker 1: And I think I had comment I think I had

509
00:25:52,160 --> 00:25:55,119
said to you that day on the show that it

510
00:25:55,240 --> 00:25:57,599
was fascinating to me. I was like watching you the

511
00:25:57,640 --> 00:26:00,680
whole time because it's like you're it's it's like a

512
00:26:00,759 --> 00:26:04,079
bass and a guitar having a conversation exactly.

513
00:26:04,200 --> 00:26:04,359
Speaker 2: Yep.

514
00:26:04,440 --> 00:26:06,640
Speaker 1: It was so fascinating to me to me to watch

515
00:26:06,680 --> 00:26:08,039
you and listen to you, you know, kind of go

516
00:26:08,160 --> 00:26:10,599
back and forth between you know, it's just really really

517
00:26:10,680 --> 00:26:13,160
interesting because I've never seen I don't know if i'd

518
00:26:13,200 --> 00:26:16,279
ever even seen an eight string, let alone seen an

519
00:26:16,319 --> 00:26:18,759
eight string up close like that, you know what I mean,

520
00:26:19,160 --> 00:26:20,960
And to just watch you play it, it was fascinating

521
00:26:21,039 --> 00:26:21,200
to me.

522
00:26:21,440 --> 00:26:22,119
Speaker 2: Thank you. Yeah, I know.

523
00:26:22,160 --> 00:26:24,960
Speaker 3: I mean I try to kind of get the Charlie

524
00:26:25,000 --> 00:26:28,039
Hunter like pianist approach where you're kind of being like

525
00:26:28,119 --> 00:26:30,400
a pianist and combining it too as much as possible.

526
00:26:30,400 --> 00:26:32,759
But it's yeah, it's definitely a different world than piano.

527
00:26:32,880 --> 00:26:34,920
But uh yeah, I mean it's it gives me some

528
00:26:35,000 --> 00:26:37,960
extra flexibility and like, yeah, tonight with O RGB, it's

529
00:26:38,000 --> 00:26:39,640
just me and Bob. Bob plays guitar, I play the

530
00:26:39,680 --> 00:26:42,240
eighth string. Yeah, so we're just going back and forth.

531
00:26:42,359 --> 00:26:45,119
I'm playing bass guitar. Sometimes he's singing, but he has

532
00:26:45,200 --> 00:26:46,920
like a bass patch on his thing, so he'll play

533
00:26:46,960 --> 00:26:48,400
bay well bass while I play solo.

534
00:26:48,480 --> 00:26:49,079
Speaker 2: And I've been teaching.

535
00:26:49,119 --> 00:26:51,599
Speaker 3: Oh okay, so it's a it throws people for a

536
00:26:51,640 --> 00:26:53,359
loop because there's always bass going on.

537
00:26:55,119 --> 00:26:55,599
Speaker 2: Right right.

538
00:26:57,200 --> 00:26:59,160
Speaker 1: Oh that's awesome. Well why do we play another?

539
00:26:59,319 --> 00:27:00,960
Speaker 2: Uh oh yeah, we have time.

540
00:27:01,160 --> 00:27:02,799
Speaker 1: Let's uh play day Luge.

541
00:27:02,799 --> 00:27:05,559
Speaker 2: That's a quick one, okay, and uh tell us about this.

542
00:27:05,960 --> 00:27:09,759
Speaker 3: This is I played in my buddy's wedding in October

543
00:27:09,960 --> 00:27:12,920
and I wanted to just fill out the procession with

544
00:27:13,039 --> 00:27:15,359
some songs that I had created. So I just randomly

545
00:27:15,480 --> 00:27:19,640
wrote a uh classicalish song and so I recorded it.

546
00:27:19,720 --> 00:27:21,240
I thought it came out cool. Put a little rain

547
00:27:21,480 --> 00:27:23,240
stick track behind it to make it kind of like

548
00:27:23,400 --> 00:27:25,359
vibe like that, and yeah that's what this is.

549
00:27:25,440 --> 00:27:26,680
Speaker 2: But it's a cool, cool song.

550
00:27:26,839 --> 00:27:27,640
Speaker 1: So this one's all you.

551
00:27:27,839 --> 00:27:29,400
Speaker 2: This is all original young guitar.

552
00:27:29,559 --> 00:27:32,039
Speaker 1: Yeah, nice, nice, all right, this is called de luge.

553
00:29:51,519 --> 00:29:53,880
Speaker 2: Ah. That is so pretty thank you. I really like that.

554
00:29:54,039 --> 00:29:54,680
I really like that.

555
00:29:54,960 --> 00:29:56,839
Speaker 1: If you're just joining us. Gary Smith is here with

556
00:29:56,960 --> 00:30:01,519
us in studio and when can you when you record

557
00:30:01,680 --> 00:30:06,559
something like that? I mean, is are you improvising or

558
00:30:06,759 --> 00:30:10,279
are do you actually sit down and write that ahead

559
00:30:10,279 --> 00:30:11,400
of time? Or how does that work?

560
00:30:11,519 --> 00:30:14,039
Speaker 3: So it starts off with me kind of just improvising,

561
00:30:14,319 --> 00:30:16,359
and then I do write it down for those types

562
00:30:16,400 --> 00:30:20,319
of things, So like for that, I will improvise to

563
00:30:20,440 --> 00:30:22,519
kind of figure out the parts, and then I'll put

564
00:30:22,559 --> 00:30:24,960
it into my use music score for sheet music and

565
00:30:25,000 --> 00:30:28,960
I'll kind of put it in there, and then I then,

566
00:30:29,279 --> 00:30:31,519
even though I can read music, then I look through

567
00:30:31,880 --> 00:30:33,599
I convert it to tab so I can see if

568
00:30:33,640 --> 00:30:35,720
there's a better way to do any fingering and interested

569
00:30:35,799 --> 00:30:39,400
in doing something that could be more like then once

570
00:30:39,440 --> 00:30:40,880
you see it in the tab, like you're like, oh,

571
00:30:40,960 --> 00:30:42,119
why would I go from here to hear?

572
00:30:42,640 --> 00:30:44,799
Speaker 2: Because that's how I had it in my brain. But yeah,

573
00:30:44,799 --> 00:30:46,079
I could just do this to this and it's so

574
00:30:46,160 --> 00:30:46,640
much easier.

575
00:30:46,720 --> 00:30:50,440
Speaker 3: So even though I read sheet music, but a lot

576
00:30:50,480 --> 00:30:52,279
of times will convert it to tab just to kind

577
00:30:52,319 --> 00:30:55,640
of make sure that the fingering is as efficient as possible.

578
00:30:56,039 --> 00:30:58,039
Speaker 1: That is that's very interesting to me. I've never heard

579
00:30:58,079 --> 00:31:00,880
anyone say that before, but that makes sense logically, yeah,

580
00:31:01,240 --> 00:31:03,279
you know, because most people, I think most guitar players

581
00:31:03,359 --> 00:31:05,759
are and bass players too, think of tablature as you know,

582
00:31:06,200 --> 00:31:07,720
if you can't really read music, or if you don't

583
00:31:07,720 --> 00:31:09,000
want to bother with it, you just look at the

584
00:31:09,039 --> 00:31:11,240
tablature and it's you know, that's what I would do.

585
00:31:11,519 --> 00:31:13,200
I never really learned to read music, so that's what

586
00:31:13,240 --> 00:31:13,720
I would.

587
00:31:13,559 --> 00:31:15,640
Speaker 2: Be, for example, to reading tab Yeah.

588
00:31:15,759 --> 00:31:19,319
Speaker 1: Yeah, but but what you just explained makes sense. You know,

589
00:31:19,400 --> 00:31:21,440
the tab is going to show you a more efficient

590
00:31:21,480 --> 00:31:24,079
way to do the same thing. And obviously, I mean

591
00:31:24,119 --> 00:31:25,400
that's one of the first things I learned when I

592
00:31:25,440 --> 00:31:27,000
took guitar lessons is you know, you want to be

593
00:31:27,039 --> 00:31:28,839
efficient with everything you do because that way you can

594
00:31:28,880 --> 00:31:31,680
do more. So that, yeah, that makes total sense. That's

595
00:31:31,799 --> 00:31:36,400
that's really interesting. Does it Does it ever change? Like

596
00:31:36,839 --> 00:31:40,720
so obviously when you when you look at the tablature,

597
00:31:41,079 --> 00:31:42,839
it's going to show you a more efficient way. Do

598
00:31:42,880 --> 00:31:44,759
you ever end up changing anything at that point?

599
00:31:44,960 --> 00:31:47,480
Speaker 3: Or Yeah, I've definitely changed some things because like once

600
00:31:47,559 --> 00:31:48,920
I put it to that, I'm like, why would I

601
00:31:48,920 --> 00:31:50,559
go from here to here? And then I'll just I

602
00:31:50,640 --> 00:31:52,480
won't change the notes per se, but just where I'm

603
00:31:52,480 --> 00:31:54,160
putting them. And so if if you know I was

604
00:31:54,200 --> 00:31:56,319
on the first threat, I might go to the sixth

605
00:31:56,359 --> 00:31:59,000
threat to make it more efficient coming from the fourth

606
00:31:59,039 --> 00:32:00,519
threat instead of going down to the first, go up

607
00:32:00,519 --> 00:32:01,079
to the sixth or.

608
00:32:01,079 --> 00:32:01,480
Speaker 2: Something like that.

609
00:32:01,599 --> 00:32:03,680
Speaker 3: So I do I do change kind of how I

610
00:32:03,759 --> 00:32:05,960
play once I do that, and then like once I

611
00:32:06,039 --> 00:32:08,359
do the final recording, I've kind of already figured out

612
00:32:08,400 --> 00:32:12,319
all that aspect of it. So okay, like that is

613
00:32:12,480 --> 00:32:14,000
kind of the most efficient way that I could have

614
00:32:14,079 --> 00:32:16,839
played that song. Yeah, yeah, but yeah, I know that's

615
00:32:16,920 --> 00:32:19,559
that's kind of how on songs like that. Again, all

616
00:32:19,599 --> 00:32:21,480
the songs are a little different. There are definitely ones

617
00:32:21,559 --> 00:32:25,519
that are more improvisatory. But though that's kind of more

618
00:32:25,559 --> 00:32:28,000
of like a not a classical guitar song, but kind

619
00:32:28,000 --> 00:32:30,359
of a take on the type of classical Yeah.

620
00:32:31,039 --> 00:32:34,200
Speaker 1: No, it's really nice. It's really nice. And when you

621
00:32:34,240 --> 00:32:37,079
write something like that too, I mean, does the idea

622
00:32:37,200 --> 00:32:41,359
does that melody kind of come to you first? Or

623
00:32:41,440 --> 00:32:43,240
do you sit down and you say I want to

624
00:32:43,240 --> 00:32:44,359
write something like this.

625
00:32:45,640 --> 00:32:47,319
Speaker 3: Most of the time, it's usually me just sitting there

626
00:32:47,359 --> 00:32:50,279
with my guitar, even sometimes with my brain like half

627
00:32:50,319 --> 00:32:53,799
shut off, like watching something or listening to something else

628
00:32:54,119 --> 00:32:55,480
and then I'll just say, oh, I like that, and

629
00:32:55,519 --> 00:32:56,960
then I record it and then I kind of just

630
00:32:57,039 --> 00:32:57,759
branch upon that.

631
00:32:58,240 --> 00:32:58,359
Speaker 4: Ye.

632
00:32:59,079 --> 00:33:02,880
Speaker 3: So yeah, I mean usually the melody does come, but

633
00:33:02,960 --> 00:33:05,039
a lot of times I'll have the chord first and

634
00:33:05,119 --> 00:33:09,039
then I'll build the melody around the chord progression that

635
00:33:09,200 --> 00:33:11,480
that tends to be the way the way that it works.

636
00:33:11,559 --> 00:33:15,480
But again, everything that the melody and that like that

637
00:33:15,599 --> 00:33:18,599
kind of came really quick, just with some like things

638
00:33:18,720 --> 00:33:22,240
I was working on in terms of studying like harmonic

639
00:33:23,160 --> 00:33:26,079
without getting to like Barry Harris things. Yeah, and then

640
00:33:26,200 --> 00:33:28,200
uh it, I'm like, wow, this is a cool way

641
00:33:28,200 --> 00:33:29,720
to do this. And so that's how the melody came.

642
00:33:29,759 --> 00:33:31,720
And even though it's not like a jazz song, like

643
00:33:32,279 --> 00:33:35,680
I took jazz harmony ideas to kind of create it.

644
00:33:35,880 --> 00:33:39,880
So yeah, yeah, I mean every every song is different.

645
00:33:39,920 --> 00:33:43,319
I I try and I try and do I try

646
00:33:43,400 --> 00:33:46,119
and keep it as efficient as possible in songwriting because

647
00:33:46,160 --> 00:33:48,759
like a lot of times when I'm producing beats, I

648
00:33:48,799 --> 00:33:50,599
would like produce, then i'd mix and I produced and

649
00:33:50,640 --> 00:33:53,240
a mix and now I try and just produce. Once

650
00:33:53,319 --> 00:33:54,960
I get like the song where I want it to be.

651
00:33:55,039 --> 00:33:56,680
Then I do the mix thing so that I'm not

652
00:33:56,839 --> 00:33:59,119
bouncing back forward. Say this is it, it's done, don't

653
00:33:59,240 --> 00:34:01,319
don't mess with it after that, right right?

654
00:34:02,039 --> 00:34:04,200
Speaker 1: But yeah, what do you what do you play for instruments?

655
00:34:04,240 --> 00:34:06,240
Obviously you play guitar and bass. What we else do

656
00:34:06,319 --> 00:34:06,680
you play?

657
00:34:07,240 --> 00:34:10,599
Speaker 3: I mean I play enough piano. I wouldn't say like

658
00:34:10,679 --> 00:34:12,400
I'm not like Caleb in terms of playing piano, but

659
00:34:12,440 --> 00:34:16,920
I can play piano. I mean like most stringed instruments,

660
00:34:16,960 --> 00:34:19,199
I can. I can futs around on on mandolin. I

661
00:34:19,239 --> 00:34:21,239
have a tenor guitar that I sometimes play, which is

662
00:34:21,599 --> 00:34:22,360
tune like a violin.

663
00:34:23,239 --> 00:34:24,599
Speaker 2: But really it's mostly that.

664
00:34:24,880 --> 00:34:27,360
Speaker 3: I mean, I I messed with drum machines my whole life,

665
00:34:27,400 --> 00:34:29,199
so like, yeah, play I have an Akai that I

666
00:34:29,320 --> 00:34:30,840
can play drums on, but now I have most of

667
00:34:30,840 --> 00:34:31,199
the stuff.

668
00:34:31,199 --> 00:34:33,400
Speaker 2: I just you know, I'm doing stuff through able to

669
00:34:33,519 --> 00:34:36,719
any But yeah, I mean that's really it.

670
00:34:36,840 --> 00:34:38,920
Speaker 3: I mean again, I'm a I'm a music theory nerd,

671
00:34:39,039 --> 00:34:41,239
So yeah, theory has been one thing that I've always

672
00:34:41,280 --> 00:34:44,719
studied a lot on and ye never stop learning and

673
00:34:45,559 --> 00:34:47,360
but yeah, I mean really I just try and be

674
00:34:47,440 --> 00:34:50,920
as good as at those instruments as I can do

675
00:34:51,000 --> 00:34:55,159
you teach? Oh yeah, yeah, I teach uh I I

676
00:34:55,280 --> 00:34:57,480
have one student this year who doesn't play out the

677
00:34:57,559 --> 00:35:01,119
majority of the people I teach are actually already gigging musicians.

678
00:35:01,480 --> 00:35:05,280
So like people I'm going to talk about, but there's

679
00:35:05,559 --> 00:35:08,519
people who are very regular gigging around here that'll come

680
00:35:08,639 --> 00:35:12,840
for whether it's a technology lesson, some theory lessons. There's

681
00:35:12,880 --> 00:35:17,400
someone who's you know, who's a very well known trio

682
00:35:17,559 --> 00:35:19,559
who doesn't have ale guitars, so she wants to kind

683
00:35:19,599 --> 00:35:22,000
of amplify her legal guitar playing, so stuff like that.

684
00:35:22,400 --> 00:35:24,559
Or like someone who plays a lot of solo shows

685
00:35:24,599 --> 00:35:26,360
and their arms hurt, they want to get used to

686
00:35:26,400 --> 00:35:29,119
how to use a looper R. I can like show

687
00:35:29,360 --> 00:35:32,519
the tricks and the of the trade. So and that's

688
00:35:32,599 --> 00:35:35,280
really I don't I grew up giving lessons at my

689
00:35:35,360 --> 00:35:37,039
parents' music stop, so I don't want to be like

690
00:35:37,119 --> 00:35:39,519
that makes sense teaching you know, C chords and G

691
00:35:39,679 --> 00:35:41,880
chords right when there's other things I could be doing.

692
00:35:42,079 --> 00:35:43,639
Speaker 2: Right, there's definitely a value in that. I don't want

693
00:35:43,639 --> 00:35:44,239
to take away from that.

694
00:35:44,280 --> 00:35:46,280
Speaker 3: Everyone should pick up an instrument, learn it, but abs

695
00:35:47,280 --> 00:35:49,760
with my time, Like I have a friend from high school.

696
00:35:49,800 --> 00:35:50,840
Speaker 2: I've known forever who I teach.

697
00:35:50,920 --> 00:35:53,519
Speaker 3: He's an intermediate, doesn't really play out, but I've I

698
00:35:53,559 --> 00:35:55,039
got him to come out to an open mic at least.

699
00:35:55,599 --> 00:35:55,960
Speaker 2: Oh yeah.

700
00:35:56,039 --> 00:35:57,960
Speaker 3: Most of the people are playing in bands and I

701
00:35:58,039 --> 00:36:01,159
just kind of want to expand. And then I mean,

702
00:36:01,239 --> 00:36:03,199
like even my friends, I like teaching them stuff like

703
00:36:03,800 --> 00:36:06,679
like Nick Burns from Cosmic Blossoms, Like his mind's like

704
00:36:06,679 --> 00:36:08,360
a sponge. So when I come up with some new

705
00:36:08,440 --> 00:36:11,320
idea or I like have a breakthrough harmonically, I'll send

706
00:36:11,360 --> 00:36:13,119
it him and we'll just nerd.

707
00:36:13,000 --> 00:36:15,280
Speaker 2: Out about it for a little bit. So that's great.

708
00:36:15,360 --> 00:36:18,280
Speaker 3: Yeah, I mean that's half the fun too, because especially him,

709
00:36:18,360 --> 00:36:20,199
like I give him some harmonic idea and he'll have

710
00:36:20,280 --> 00:36:21,119
a song the next day.

711
00:36:21,159 --> 00:36:23,840
Speaker 2: That's that's amazing. Oh yeah, he's great like that.

712
00:36:24,039 --> 00:36:28,920
Speaker 1: Oh excellent, excellent. Well we are. Yeah, we're approaching the

713
00:36:29,000 --> 00:36:30,960
top of the hour, so we do have one more

714
00:36:31,079 --> 00:36:33,280
track we're gonna play to finish out. But before we

715
00:36:33,400 --> 00:36:36,480
do that, where where should people go online to keep

716
00:36:36,559 --> 00:36:37,639
up with everything that you're doing.

717
00:36:38,079 --> 00:36:42,440
Speaker 3: My Facebook stays pretty active. My Facebook is just Gary Smith. Surprisingly,

718
00:36:42,800 --> 00:36:44,840
if you just google Gary Smith Facebook, I'm like the

719
00:36:45,679 --> 00:36:48,039
first page or two. But I do also have a

720
00:36:48,079 --> 00:36:52,920
website g smith music dot com that has all my projects,

721
00:36:52,960 --> 00:36:55,559
has a bunch of press, has a bunch of ways

722
00:36:55,639 --> 00:36:56,639
to contact and book.

723
00:36:56,480 --> 00:36:59,400
Speaker 2: Any of my bands. Yep. And then I do have

724
00:36:59,480 --> 00:37:01,000
a few quick little plugs.

725
00:37:01,199 --> 00:37:03,679
Speaker 3: Yeah mean by that you also can listen to all

726
00:37:03,719 --> 00:37:05,920
my music under percussive maintenance. That's what I released all

727
00:37:05,920 --> 00:37:08,920
my music under I released. I was on twenty four

728
00:37:08,960 --> 00:37:12,920
different tracks last year, including Fox and Flamingo's Roots Creation,

729
00:37:13,039 --> 00:37:14,079
Costic Blossom stuff.

730
00:37:15,920 --> 00:37:16,079
Speaker 1: Yeah.

731
00:37:16,119 --> 00:37:17,719
Speaker 3: Like I said, I'm playing a brick house tonight next

732
00:37:17,840 --> 00:37:20,159
cool shows actually with Caleb who was just here.

733
00:37:20,320 --> 00:37:22,000
Speaker 2: Yeah. Yeah, playing at the Tupelo.

734
00:37:21,760 --> 00:37:25,800
Speaker 3: With Brad Dubay's blues group because Max Chase, our piano player,

735
00:37:25,840 --> 00:37:27,559
can't get it and Caleb usually plays bass, so I'm

736
00:37:27,559 --> 00:37:28,360
playing bass with them.

737
00:37:28,559 --> 00:37:29,000
Speaker 1: Excellent.

738
00:37:29,320 --> 00:37:31,760
Speaker 3: And then like I said, Cosmic Fox and Flamingos with

739
00:37:31,880 --> 00:37:34,199
Phoenix Syndicate, which is a cool funk show that's up

740
00:37:34,239 --> 00:37:36,639
at the Bank New Hampshire Stage and conquered on January

741
00:37:36,679 --> 00:37:39,639
twenty third. That's going to be a serious, serious fun show.

742
00:37:39,840 --> 00:37:42,280
Phoenix Syndicate used to be for side funks, so a

743
00:37:42,320 --> 00:37:45,320
bunch of funk people, okay, And then like said Flying

744
00:37:45,400 --> 00:37:50,519
Monkey and Wally's Roots of Creation speaking of piggybacking on

745
00:37:50,599 --> 00:37:52,800
them with the fire for the Vine Street thing, I

746
00:37:52,880 --> 00:37:56,280
am running at PCL on February fifteenth, a fundraiser for

747
00:37:56,519 --> 00:37:58,360
the Vine Street calling me Vine Street Vibes.

748
00:37:58,480 --> 00:37:58,880
Speaker 2: Oh cool.

749
00:37:58,960 --> 00:38:01,239
Speaker 3: Both of those guys will be Nickleby. There are some

750
00:38:01,360 --> 00:38:04,599
other people, so it'll be donations. Everything's going to those

751
00:38:04,639 --> 00:38:07,920
guys obviously excellent. And then the only other ticketed things

752
00:38:07,960 --> 00:38:11,280
I have May ninth, Cosmic Blossom is playing at the

753
00:38:11,360 --> 00:38:14,760
Andre's Art Institute, Big Bear and Brookline which they redd

754
00:38:14,800 --> 00:38:15,280
their sound.

755
00:38:15,360 --> 00:38:16,400
Speaker 2: That's a real venue.

756
00:38:16,519 --> 00:38:19,679
Speaker 3: And then me with Scott Solski called seven eight is

757
00:38:19,719 --> 00:38:25,880
playing there with Sad Bastard Loose Standards. That's the band

758
00:38:26,880 --> 00:38:30,559
they they do like jazzy covers of stuff. That's Mike

759
00:38:30,599 --> 00:38:33,960
Effenberger and Chris Claxton to like two well known jazz

760
00:38:34,159 --> 00:38:34,719
jazz nerds.

761
00:38:34,760 --> 00:38:37,039
Speaker 2: So okay, yeah, so those are the cool things coming out? Yeah.

762
00:38:37,039 --> 00:38:41,119
G Smith Music Percussive Maintenance and Gary Smith on Facebook outstanding.

763
00:38:41,519 --> 00:38:43,719
Speaker 1: And what should we know about this so pedal boat

764
00:38:43,800 --> 00:38:46,320
is that the pedal pedal bike is the name pedal bike.

765
00:38:46,599 --> 00:38:49,840
Speaker 3: This is another original. I wrote this one and I

766
00:38:49,880 --> 00:38:52,199
played it with my Cinnamon Jazz trio, which is Me,

767
00:38:52,360 --> 00:38:56,119
Cinnamon and Joe Virga. But me and Scott Solski and

768
00:38:56,199 --> 00:38:58,239
Mike Walts are also in a jazz trio, so we

769
00:38:58,320 --> 00:39:03,679
combined forces. So we have Cinnamon on flute, Joe on piano,

770
00:39:04,320 --> 00:39:06,360
Me and Scott going back and forth between seven and

771
00:39:06,400 --> 00:39:08,599
eight string bass and guitar or seven e string guitar,

772
00:39:08,639 --> 00:39:11,079
and then Mike Walsh on drums. Okay, and yeah, it's

773
00:39:11,079 --> 00:39:13,079
just an original. We have three songs like this that

774
00:39:13,159 --> 00:39:16,199
are coming out this year. We recorded them in Scott's

775
00:39:17,239 --> 00:39:19,800
garage and conquered and yeah, it's so it was.

776
00:39:19,920 --> 00:39:21,239
Speaker 2: It was a fun thing. These guys are so fun

777
00:39:21,239 --> 00:39:21,559
to play with.

778
00:39:21,719 --> 00:39:24,480
Speaker 1: Oh fantastic, Gary Smith, Thank you so much. Always wonderful

779
00:39:24,519 --> 00:39:27,039
to see you and great to see you. Great to

780
00:39:27,039 --> 00:39:29,360
see your doing great stuff and as all and keeping

781
00:39:29,480 --> 00:39:31,480
very very busy as always. So I think you're probably

782
00:39:31,480 --> 00:39:33,679
an inspiration to a lot of musicians who you know,

783
00:39:33,800 --> 00:39:35,559
want to really get out there and and you know,

784
00:39:35,760 --> 00:39:38,280
just do a lot, you know, and and.

785
00:39:38,320 --> 00:39:40,119
Speaker 3: That's what that's what they just get out there, get

786
00:39:40,159 --> 00:39:42,000
out there, talk to people and like I've had people

787
00:39:42,039 --> 00:39:44,639
say basically that all the gigs we're doing is and

788
00:39:44,840 --> 00:39:47,320
like that's what I want more music in the world.

789
00:39:47,760 --> 00:39:50,920
Speaker 2: Is nothing wrong with that? Well said, well said, not

790
00:39:50,960 --> 00:39:51,960
a competition.

791
00:39:51,760 --> 00:39:54,400
Speaker 1: Exactly exactly, all right, thank you Gary.

792
00:39:54,480 --> 00:39:55,880
Speaker 2: And this is pedal bike