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Speaker 1: Me.

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Speaker 2: Our future is the broken promise good morning signs her

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roll around us.

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Speaker 3: We've show us as live that.

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Speaker 2: There is change, you change, sign you save, But we

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would rather live in madness. The light of rockstone like blackness.

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Speaker 4: And wants you want it takes.

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Speaker 2: To pull us from the.

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Speaker 3: Fro the.

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Speaker 2: Well mother rust talk what shock? Will we remember pass

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or will we need to.

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Speaker 4: Stay and suburb.

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Speaker 2: The hardest bather time time come found their fatis way,

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come get the world and high and watch him them.

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Speaker 5: They killing of ancient borders. We're soaking chaos stands just order,

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unable to find strengthen enough to pray the way, pray

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to here.

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Speaker 2: Wa do think I'll come up the rage shots promoting

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constant co rich hay shots then any Chenti we might

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have had two in the way, pay so way, some

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other reasons that time.

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Speaker 4: Shot, but went from Tommy.

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Speaker 6: And here we got sa.

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Speaker 2: Sobchador man in this kind of head chot despite a

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brother chat shas there's something we can do and watch

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it burn. When we were going to live in madness.

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Speaker 5: But I amoco song black mass and trying to want

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it checks to pull us her.

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Speaker 7: For the.

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Speaker 8: Mother.

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Speaker 2: Rouson's backshot shot, but we've forgotten, and here we got

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g and stuff.

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Speaker 8: Can pan in a kind.

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Speaker 4: Of way by my shot.

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Speaker 2: That's by the Damabad jack shots.

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Speaker 4: There's nothing we can do but watch it for.

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Speaker 9: In times of crisis, you need a law firm that

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Speaker 10: Bring your kitchen to life with Queen City Cabinetry, located

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out of ten we listened to our music at night.

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Speaker 11: That's gone the title book business program Late.

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Speaker 5: Night to Light with DJ Midas right here on WMNH, Manchester.

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Speaker 7: You won because.

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Speaker 11: Saturdays and Sunday nights midnight to four am.

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Speaker 3: This hour on WMNH is sponsored by CGI Business Solutions,

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Speaker 12: Behold the harmony of airwaves as you immerse yourself in

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the captivating frequencies of w m NHLP. The sonic heartbeats

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of Manchester is transcending through the ether at ninety five

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point three megahertz. Frequency modulation or transmissions emanate from the

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seed at the one thousand Elm Streets Insuranto the hearts

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of our creative realm at one nineteen Canal Street, where

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innovation and sound cologe. They're the impro model of Manchester

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Public Television Service. In the venerable city of Manchester, New Hampshire, USA.

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Enrich your auditory journey with the depth of our license

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to wesidens wept your missives to do WMNH ninety five

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to three at gmail dot com or traverse the virtual

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corridors of Wmnhradio dot org age with our sonic vibrations.

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Speaker 7: Mike is winning with us through the digital channels.

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Speaker 12: Or radio seconds, eager to enthrall you with its mesmerizing cadence.

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And in villain you would have SEMy have foundless all

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its horn is won.

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Speaker 13: Dude.

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Speaker 4: W M n H rip the novels you're listening to.

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Speaker 2: W M and H.

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Speaker 14: Command God, don't get supreme Leada, Maxill Gibby.

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Speaker 15: Welcome everybody, as we have entered our number three new

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Marrow trace of Matt Connorton unleashed allergies like my voice

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is cracking again anyway, Oh my goodness, Yes, I'm had

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to go through puberty a second time.

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Speaker 16: Won't that be exciting?

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Speaker 15: We are live from the studios of wm NH ninety

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five point three FM, Inglorious, Manchester, New Hampshire. Of course,

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you can also stream the show from anywhere. Go to

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my website Matt connorton dot com, slash live for all

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your live streaming options, social media links, contact and fosh archives,

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et cetera, et cetera. Today is Saturday, May twenty four,

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twenty twenty five. By the way, we've had a great

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show so far. Of course, we just had Eli lev

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on in the second hour and that was always amazing

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and I learned something from him. He mentioned he said

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this to me off air, and then I repeated it

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on air that apparently the Northeast is the highest concentration

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of pollen in the world, which I had no idea.

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Speaker 3: We do.

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Speaker 16: We have more pollen than anywhere in the world, so

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that explains why this happens to me. That was kind

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of stink. Yes, yes, but yeah. So so we've we

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really enjoyed hanging out with Eli, and of course in

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the first hour we had King Polo with us. And

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right now, let me get that mic up. We have

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Jack Liano says here, Hello Jack, Hello, guys, welcome to

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the program.

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Speaker 7: Thank you.

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Speaker 15: You're already getting some love in the chat room. We

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haven't even started yet. Darlene Hill is in the chat

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and said, uh, Jack's show last week was amazing everybody

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needs to see here the PMJ Ensemble. I can't wait

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to hear him live again from our listening room in

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the fall.

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Speaker 16: Very nice. Yeah, we had.

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Speaker 15: Probably probably less than a year ago. I don't know,

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it all becomes a blur, but yeah, we had Kate

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on the show talking about the listening room at Prayers

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of Nature and uh, yeah, sounds like sounds like your performance.

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Speaker 16: There was a success.

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Speaker 4: Yeah.

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Speaker 7: So I've been working with Katie a little bit and

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we're trying to set something up coming up this fall.

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But I invited her to come see my the group

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I've put together, which is called the Perimeter Jazz Ensemble.

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And this group's been kind of two years in the

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making and it's all come to like it's the concert

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we did recently was like the pinnacle of the group.

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And so, you know, two years ago I went to

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one of my band directors and I was like, hey,

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I I want to start a jazz big band and

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he was like, that's an interesting idea, and he was like,

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let's do it. Let's do it. And so what I

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did is, you know a little bit more backstory is

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the year before that, I had made Jazz All State

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as a sophomore, and I, you know, I was talking

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to a bunch of the guys there, and I got

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a lot of their contact info, like phone numbers, Instagrams

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and whatnot, and you know, I was kind of sad

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because a group that great only rehearsed one weekend a year,

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and so I was thinking, like, okay, what if we

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just do it more right? And so I called a

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lot of them, uh or I called all of them,

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and a lot of them said yes, some of them

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said no. And I called around and asked friends of

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friends to see, you know, like who would be you know,

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fitting to fill certain positions and whatnot. And we had

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a concert at the end of last year. We rented

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out the space at Manchester Community Music School and we

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did a concert there. It was pretty good. If you

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search up my YouTube under Jack Leennis, you know it'll

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be I think two of the oldest links on there.

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And the group sounded really good. And then, you know,

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the challenge we faced this year is eight of our

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players left because they were seniors and they graduated and

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they're off at college now, and so I had to

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fill all of those shoes and we put a we

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got a date at the Rex theater, and you know,

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it was all of it came together. I think it

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was awesome.

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Speaker 16: How many so eight of them left? How many in

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the group total?

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Speaker 7: So it's a group of eighteen eighteen?

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Speaker 10: Wow?

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Speaker 16: So you put this together?

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Speaker 7: I did.

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Speaker 16: Sounds very stressful.

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Speaker 7: It's a lot of a lot of work, a lot

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of it's like hurting cats, you know.

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Speaker 16: No, I can imagine. Yeah, because you know, it's funny.

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This comes up on the show a lot.

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Speaker 15: I explain a lot of bands and I remember, you know,

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being in a band with you know, three four other

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people that can be hard to manage, you know, And

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and a lot of the solo acts who come on

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the show. You know, we'll talk to a lot of

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singer songwriters for example, who used to be in bands.

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We'll talk about, oh, it's so much easier being a

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solo act. But I can't even imagine what it's like. Well,

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like you said, it's like hurting cats, right when you've

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got that many people.

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Speaker 7: So, you know, when we have that amount of people,

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there's a lot of challenges that to rise up. You know,

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like if you have say a three or four piece

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band and someone can't make it, then it's like okay,

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maybe we just don't everhearsle today or something like that, right,

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or if you just struggling to figure out a date

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to rehearse, Like I'm I'm playing this four piece band

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on June first. We're doing a show at the Capital

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Center's Bank of New Hampshire Stage and Conquered Nice. So

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it's like kind of more like a folk southern rock,

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like old school country type of show, and it's I'm

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really excited for it. The guy who's running the group

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his names Dakota Smart. But that band, you know, like

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there's four of us and we struggle to like find

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rehearsal times that work for all of us, but with

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the big band of eighteen pieces and plus you know,

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we have two co directors that kind of split everything up. Yeah,

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we what we had to do is we had to

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establish a day of the week that we're gonna meet

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and post a rehearsal schedule. And you know, like there

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were some people that were really really talented players, but

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they said, hey, I can't do it because of the

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like I can't make Monday's work in my schedule, and

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so you know, unfortunately we had to continue on without

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them and find you know, other people who you know,

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we're able to do it. But yeah, that's that's the

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tricky part is like, you know, realizing that you can't

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have some people in the band because of when you

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choose to rehearse right right.

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Speaker 16: And then what do you do if?

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Speaker 15: So, if you have a show and what if like

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what if somebody gets sick or something. I mean, is

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it possible to go on without with one missing piece

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when it's that many people or what do you do?

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Speaker 16: Yes?

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Speaker 7: But you know with the big band, everybody's part is different.

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So if you're missing somebody, you're gonna be missing you know,

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a voicing in the harmony or something. Yeah, so you

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know you have to have uh what we call you know,

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you have to have your list of fill ins and

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just people that you you know, you think you can

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call on the day of the show if someone can't

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make it or you know, like another thing is like

248
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if someone's instrument breaks or someone loses their music. Oh yeah, right,

249
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Like the day of the show. I had one of

250
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the players. The show was at noon. I had them

251
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call me at like nine am. He's like, hey, I

252
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left my music in my school and this is a Sunday.

253
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Oh god, So we had to, you know, go through

254
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a big chain of like calling band directors and be like, hey,

255
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do you have this band director's number? Can you get

256
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you know, have access to the school, do you have

257
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a key? And so we ended up getting him as

258
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music and all was well, definitely little bit stressful before

259
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before my big show.

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Speaker 16: So yeah, I mean you.

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Speaker 15: Sound like, uh, but you sound like you're you handle

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00:19:15,839 --> 00:19:17,440
it well and you've got a good attitude about it.

263
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I don't know what your long term career plans are,

264
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but if you considered project management, no, because you obviously

265
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you the fact that you're able to do that and uh,

266
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you know, because honestly, a lot of people in that

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situation would just say, oh, this is too hard, right,

268
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you know what I mean. But but but you're committed

269
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and you do it and and I'm sure it's stressful

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in the moment, but you seem to have a very

271
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you seem to have the right attitude about it, and

272
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it sounds like you're very organized.

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Speaker 7: Yeah. I wouldn't call myself super organized, but you know,

274
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there's there's some things that you have to just pay

275
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attention to and you have to keep in line. You know,

276
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you have to plan ahead because like with you know,

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like if you have like a three piece gig, you

278
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can just say, hey, you guys for you this Saturday,

279
00:20:00,839 --> 00:20:03,799
this venue wants us to play. But with eighteen people,

280
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somebody's going to be doing something. So the concert at

281
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the Rex I planned. So this was May of twenty five.

282
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I planned it, I think June or July of twenty

283
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twenty four. Okay, so you know, you just have to

284
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be planning ahead and if you can do that, then

285
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you know, that's that's one of the tips and tricks

286
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to running a group like that.

287
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Speaker 15: Yeah wow, So what are what are kind of your

288
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your long term I mean in terms of that project,

289
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did you intend to continue that or.

290
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Speaker 7: So I'm not continuing it. I have a successor planned

291
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and so he's going to keep the group going. Yeah,

292
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because you know I'm going to college next year.

293
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Speaker 16: Yeah, excellent.

294
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Speaker 7: I've committed to the New School, which is a it's

295
00:20:45,440 --> 00:20:48,519
a like art and design and music school in Manhattan.

296
00:20:48,759 --> 00:20:51,240
Oh wow, good for you. Yeah, so it's it's one

297
00:20:51,240 --> 00:20:53,839
of the top music schools down there. Awesome, and I'm

298
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really glad I'm able to go.

299
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Speaker 16: So yeah, yeah, that's really cool. What's kind of do

300
00:20:59,240 --> 00:21:01,759
you know and you may not know yet what your

301
00:21:01,920 --> 00:21:04,559
kind of long term goals are in terms of a

302
00:21:04,640 --> 00:21:06,799
music career. Do you have some ideas or Yeah.

303
00:21:06,960 --> 00:21:08,839
Speaker 7: So a lot of my friends right now they're thinking

304
00:21:08,880 --> 00:21:12,200
of teaching, but you know, I I don't really see

305
00:21:12,279 --> 00:21:15,920
teaching in my career. Yeah, so you know, I'm kind

306
00:21:15,960 --> 00:21:17,920
of looking at like just you know, going for a

307
00:21:17,960 --> 00:21:21,680
performance degree, and you know, like there's for for me,

308
00:21:21,839 --> 00:21:24,799
there's no real better city, you know, around here than

309
00:21:24,960 --> 00:21:28,319
New York City for jazz. Sure, sure, because like if

310
00:21:28,359 --> 00:21:30,440
you look at you know, like where people go and

311
00:21:30,559 --> 00:21:32,640
travel to go see jazz. You know, you have New

312
00:21:32,720 --> 00:21:35,079
York City and New Orleans. And New Orleans has a

313
00:21:35,119 --> 00:21:37,240
lot of tuba, and so as a bass player, I'd

314
00:21:37,279 --> 00:21:38,960
have to either learn tu but or just go you

315
00:21:39,000 --> 00:21:39,680
know to New York.

316
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Speaker 15: So right right, that's interesting. Yeah, I was curious about soul.

317
00:21:43,119 --> 00:21:45,039
Would you say New York is number one for jazz

318
00:21:45,079 --> 00:21:46,240
and New Orleans number two.

319
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Speaker 7: It's it's a different style of jazz. There's a lot

320
00:21:50,480 --> 00:21:55,119
of a lot of great artists, I think for modern jazz. Nowadays,

321
00:21:55,200 --> 00:21:57,119
the West Coast is starting to open up, so a

322
00:21:57,160 --> 00:21:59,880
little bit of lay in there. Yeah, so you know,

323
00:22:00,000 --> 00:22:02,480
there's a lot of great, a little great artists that

324
00:22:02,559 --> 00:22:04,880
come from that area. If you listen to a lot

325
00:22:04,920 --> 00:22:07,279
of modern jazz. There's a saxophone players. His name is

326
00:22:07,359 --> 00:22:12,279
Joshua Redmond. Yes, phenomenal player. He's from LA so I

327
00:22:12,359 --> 00:22:14,319
know he spends a lot of time there and he's

328
00:22:14,400 --> 00:22:16,279
kind of traveling around. I saw him at when I

329
00:22:16,319 --> 00:22:20,960
went I flew down to New Orleans over I think

330
00:22:21,000 --> 00:22:24,359
it was the last weekend April and I saw I

331
00:22:24,400 --> 00:22:26,920
saw him play live at New Orleans Jazz Fest. So yeah,

332
00:22:27,079 --> 00:22:28,960
it was it was an incredible experience.

333
00:22:29,519 --> 00:22:32,200
Speaker 16: Do you uh, you probably play multiple instruments, I assume right.

334
00:22:33,680 --> 00:22:36,720
Speaker 7: I I dabble a little bit, but I focus mostly

335
00:22:36,799 --> 00:22:41,720
on bass. So I started playing violin, and I didn't

336
00:22:41,759 --> 00:22:44,079
really play it much after middle school. So if you

337
00:22:44,200 --> 00:22:46,039
handed me a violin, I'd be able to play it

338
00:22:46,119 --> 00:22:49,240
at about a middle school level, Okay. And you know,

339
00:22:49,359 --> 00:22:52,599
like I I kind of know keyboard, so like if

340
00:22:52,640 --> 00:22:54,359
you if you give me like a chord sheet, I'll

341
00:22:54,359 --> 00:22:56,720
be like, Okay, that's this chord, that chord whatnot. But

342
00:22:56,920 --> 00:22:59,319
I can't sight read on piano like a lot of

343
00:22:59,400 --> 00:22:59,880
people can.

344
00:23:00,160 --> 00:23:03,200
Speaker 15: Yeah, but just knowing the basics of keyboard, right, Like,

345
00:23:03,319 --> 00:23:08,400
I've heard so many music instructors and various various people

346
00:23:08,400 --> 00:23:10,559
who have taught music say that that is such a

347
00:23:11,200 --> 00:23:13,359
that's such a good foundation to have, you know, even

348
00:23:13,359 --> 00:23:16,440
if even if you have no interest in actually really

349
00:23:16,519 --> 00:23:19,079
playing the keyboard, but just to know the basics of it.

350
00:23:19,240 --> 00:23:21,599
I never learned the basics of it. And I'm I'm

351
00:23:21,640 --> 00:23:23,039
a bass player, but I you know, I don't have

352
00:23:23,079 --> 00:23:24,839
the chops to play jazz. You know, I just played

353
00:23:24,960 --> 00:23:28,039
played a lot of rock bands. But but I've just

354
00:23:28,079 --> 00:23:30,839
heard a lot of instructors say just knowing basic keyboard

355
00:23:31,079 --> 00:23:36,160
is just will help you in any other instrument, playing

356
00:23:36,200 --> 00:23:38,519
any other instrument that that that you could imagine.

357
00:23:38,640 --> 00:23:41,119
Speaker 7: It's such a visual instrument like a lot of instruments.

358
00:23:41,240 --> 00:23:43,799
Like you know, if you're playing saxophone, you can't like

359
00:23:44,119 --> 00:23:46,119
you're holding it like right against your body. You can't

360
00:23:46,119 --> 00:23:47,799
see the court. Yeah, you know, you know you have

361
00:23:48,000 --> 00:23:49,680
you know, you just put your hand down, you see

362
00:23:49,720 --> 00:23:51,720
the notes, you see the distance between the notes, you

363
00:23:51,759 --> 00:23:54,079
see the relationship that they have, and so you know,

364
00:23:54,200 --> 00:23:56,720
it's it brings like a visual perspective to like the

365
00:23:56,839 --> 00:23:58,279
music instead of just cheat music.

366
00:23:58,400 --> 00:24:00,440
Speaker 16: That's the way I've heard it described to the way.

367
00:24:00,440 --> 00:24:02,480
Speaker 15: I've heard people say, you know, it teaches you to,

368
00:24:03,359 --> 00:24:05,559
as you said, to see the relationship between the notes

369
00:24:05,960 --> 00:24:09,119
when you're forming chords and all that. Oh, by the way,

370
00:24:09,319 --> 00:24:11,400
Darling Hill in the shot says, the keyboard was a

371
00:24:11,440 --> 00:24:12,440
game changer for me.

372
00:24:13,279 --> 00:24:13,480
Speaker 16: Yeah.

373
00:24:13,799 --> 00:24:16,160
Speaker 15: I had a little Cassio keyboard growing up, but I

374
00:24:16,200 --> 00:24:18,319
didn't learn to play. I don't really learned to play it.

375
00:24:18,440 --> 00:24:23,359
But so, so you said us some music. So now

376
00:24:23,480 --> 00:24:27,400
one of these is I assume this is the big

377
00:24:27,519 --> 00:24:32,000
band Perimeter Jazz Ensemble twenty five. That is, let's see

378
00:24:32,079 --> 00:24:34,599
so maybe we so this is so how many people

379
00:24:34,640 --> 00:24:34,920
are in this?

380
00:24:35,079 --> 00:24:37,559
Speaker 7: So there's eighteen eighteen players and two directors.

381
00:24:37,720 --> 00:24:39,720
Speaker 16: Good lord, it just sounds overwhelming to me.

382
00:24:40,319 --> 00:24:42,079
Speaker 7: When you listen to it, you'll be like, I know

383
00:24:42,240 --> 00:24:44,839
why he spent all that time. This group is just incredible.

384
00:24:44,920 --> 00:24:46,640
Speaker 16: All right, Let's let's let's listen to a little bit

385
00:24:46,680 --> 00:24:48,440
of this. Let's see what we've what we've got.

386
00:24:48,359 --> 00:25:16,440
Speaker 2: Here standing.

387
00:26:30,440 --> 00:26:40,920
Speaker 17: And alas as I don't know, as a.

388
00:27:06,200 --> 00:27:53,359
Speaker 13: Stand and traversing a.

389
00:27:55,119 --> 00:29:32,920
Speaker 8: N'ing cool, I see what you mean.

390
00:29:33,000 --> 00:29:33,839
Speaker 16: Though, you know, it's funny.

391
00:29:33,960 --> 00:29:36,240
Speaker 15: As you were listening to that, I was thinking about,

392
00:29:37,519 --> 00:29:39,799
you know, as I was asking you, you know, what

393
00:29:39,920 --> 00:29:42,240
happens if somebody can't make it, if somebody's sick or whatever.

394
00:29:42,720 --> 00:29:45,200
And I can kind of see or here as I'm

395
00:29:45,240 --> 00:29:47,599
listening to it, how it's kind of like Jenga, Right,

396
00:29:47,680 --> 00:29:49,400
you take one piece out of that, that whole thing

397
00:29:49,480 --> 00:29:50,119
might collapse.

398
00:29:50,480 --> 00:29:53,720
Speaker 7: Right. So yeah, So, you know, like rehearsals, like if

399
00:29:53,799 --> 00:29:56,839
someone if one person cancels and rehearsal, then it's like, okay,

400
00:29:56,920 --> 00:29:59,119
we still have to do rehearsal because the other seventeen

401
00:29:59,160 --> 00:29:59,759
can make it, you know.

402
00:30:00,119 --> 00:30:01,039
Speaker 16: Yeah, And so.

403
00:30:02,640 --> 00:30:06,279
Speaker 7: Sometimes like during rehearsals, like you'll hear certain players that

404
00:30:06,359 --> 00:30:08,359
are missing, and it's like, okay, I can hear the

405
00:30:08,400 --> 00:30:08,839
hole there.

406
00:30:09,119 --> 00:30:09,319
Speaker 1: Yeah.

407
00:30:10,200 --> 00:30:12,200
Speaker 7: But circling back a little bit, so that tune we

408
00:30:12,359 --> 00:30:16,839
just played was a Mike Conrad arrangement of I'm Not

409
00:30:17,000 --> 00:30:20,400
So Sure, which is a tune that Roy Hargrove made

410
00:30:20,480 --> 00:30:24,200
famous on his two thousand and eight album called Earfood. Okay,

411
00:30:24,480 --> 00:30:26,720
and so it was, you know, it was adapted for

412
00:30:26,799 --> 00:30:29,160
Big Band, and I think it sounds awesome.

413
00:30:32,119 --> 00:30:32,559
Speaker 16: By the way.

414
00:30:32,720 --> 00:30:35,400
Speaker 15: Uh oh, here it is. I lost it for a

415
00:30:35,440 --> 00:30:38,400
second there. Kate in the chat room, she said, she

416
00:30:38,480 --> 00:30:41,319
has a good question. How many schools are in the PMJ,

417
00:30:42,119 --> 00:30:45,359
so out of the perimeter jazz and somb but we have.

418
00:30:47,000 --> 00:30:50,039
Speaker 7: There's eighteen players from sixteen different high schools.

419
00:30:50,599 --> 00:30:53,720
Speaker 16: So wow, yeah, that's still that still just amazes me

420
00:30:53,799 --> 00:30:56,680
that you're able to organize all that. What is PMJ?

421
00:30:57,519 --> 00:30:59,839
Speaker 7: So it's I think you might have gotten it wrong.

422
00:31:00,039 --> 00:31:05,279
It's p e J. Oh, it's okay, sorry, okay, give

423
00:31:05,279 --> 00:31:08,759
it a jazz ensemble. Yeah, and then you've got so

424
00:31:08,839 --> 00:31:13,480
you also sent us all of me yes, and this

425
00:31:13,759 --> 00:31:16,799
is is this just the three piece spanned? Yeah, So

426
00:31:16,880 --> 00:31:19,000
it's a little trio I worked with. I worked with

427
00:31:19,119 --> 00:31:22,119
so I had a drummer and a pianist. And what

428
00:31:22,279 --> 00:31:26,359
we did is we did for I made the mistake

429
00:31:26,400 --> 00:31:28,839
of applying to I think sixteen different colleges.

430
00:31:29,319 --> 00:31:30,880
Speaker 4: So did you really?

431
00:31:31,000 --> 00:31:33,720
Speaker 7: I did so, you know a lot of them asked

432
00:31:33,759 --> 00:31:36,960
for video recordings before you came down for the auditions.

433
00:31:37,079 --> 00:31:37,279
Speaker 18: Yeah.

434
00:31:37,319 --> 00:31:39,400
Speaker 7: I had to do a bunch of them, and this

435
00:31:39,519 --> 00:31:40,599
was one of the better ones I think.

436
00:31:40,680 --> 00:31:43,400
Speaker 16: So, yeah, you applied to how many schools?

437
00:31:43,400 --> 00:31:43,599
Speaker 12: I think?

438
00:31:43,759 --> 00:31:43,799
Speaker 1: Is?

439
00:31:46,519 --> 00:31:48,759
Speaker 7: I mean I'm sixteen or seventeen, I've don't remember.

440
00:31:48,880 --> 00:31:50,920
Speaker 16: I've heard of having a safety school, but my god.

441
00:31:51,799 --> 00:31:54,599
Speaker 7: Yeah, So the whole goal was to kind of apply

442
00:31:54,680 --> 00:31:57,720
to a bunch of them and you know, kind of

443
00:31:57,839 --> 00:31:59,799
follow the one that gives like the best, you know,

444
00:32:01,279 --> 00:32:02,359
like money to education.

445
00:32:02,640 --> 00:32:02,839
Speaker 16: Yeah.

446
00:32:03,079 --> 00:32:04,640
Speaker 7: So you know, like even though I did get some

447
00:32:04,720 --> 00:32:07,039
schools that are cheaper than the one I'm going to, sure,

448
00:32:07,079 --> 00:32:09,720
you know, I think what I'm getting while i'm there

449
00:32:09,839 --> 00:32:10,839
is completely worth it.

450
00:32:10,920 --> 00:32:13,680
Speaker 15: So yeah, yeah, oh that's what that's what matters. Absolutely,

451
00:32:13,839 --> 00:32:16,720
all right, Cool, let's give this a listen. So this

452
00:32:16,920 --> 00:32:18,319
is all of me and where was this done?

453
00:32:18,480 --> 00:32:19,640
Speaker 7: So this was done in my basement.

454
00:32:20,119 --> 00:32:22,599
Speaker 16: Oh no kidding. Oh, you got a nice basement set

455
00:32:22,680 --> 00:32:23,200
up there. It looks like.

456
00:32:23,400 --> 00:32:25,400
Speaker 7: Yeah, so we spent we spent a good a good time.

457
00:32:25,400 --> 00:32:27,680
Because it's a video proportion to it. My dad spent

458
00:32:27,759 --> 00:32:29,880
a lot of time getting the lighting done. Oh really,

459
00:32:30,000 --> 00:32:31,880
he's you know, he kind of knows what he's doing

460
00:32:31,920 --> 00:32:36,200
because he spent before see when he got out of college,

461
00:32:36,200 --> 00:32:38,240
I want to say, he spent fifteen or twenty years

462
00:32:38,599 --> 00:32:41,319
working for news companies. So he's like lighting and sound.

463
00:32:41,519 --> 00:32:44,880
Speaker 16: Oh cool, So he worked for that's a good resource

464
00:32:44,920 --> 00:32:45,079
to have.

465
00:32:45,359 --> 00:32:47,359
Speaker 7: Yeah, he worked for Channel nine in Manchester for a

466
00:32:47,440 --> 00:32:49,599
long time. Oh and every day, you know, every now

467
00:32:49,640 --> 00:32:51,640
and then we go see like the Fourth of July fireworks,

468
00:32:51,680 --> 00:32:53,319
it'll be like I remember I used to stand on

469
00:32:53,440 --> 00:32:56,319
top of that building and you know it's cool.

470
00:32:56,400 --> 00:32:59,640
Speaker 16: Oh, no kidding, Oh that's awesome, that's awesome. Yeah, let's

471
00:32:59,680 --> 00:33:01,920
give this listen. So this is this is all of me.

472
00:35:19,719 --> 00:36:53,679
Speaker 18: Bah, that's cool, that's cool.

473
00:36:54,000 --> 00:36:56,360
Speaker 16: Yeah, all of me. Jacquelianis and who else is I

474
00:36:56,480 --> 00:36:57,039
on that with you?

475
00:36:57,320 --> 00:36:57,360
Speaker 1: So?

476
00:36:58,519 --> 00:37:00,800
Speaker 7: I have a drummer's name sabat Ashton Keene and the

477
00:37:00,840 --> 00:37:03,519
piano player is Nick Vallatin. Both of them were in

478
00:37:03,559 --> 00:37:04,920
the Perimeter Jazz Ensembles.

479
00:37:05,039 --> 00:37:07,199
Speaker 16: Oh okay, gotcha believe it or not.

480
00:37:07,559 --> 00:37:10,039
Speaker 7: Piano player Nick is a year under me and he's

481
00:37:10,079 --> 00:37:11,360
going to be taking it over next year.

482
00:37:11,440 --> 00:37:13,679
Speaker 16: Oh that's he's the guy. Huh, it's all on him.

483
00:37:13,960 --> 00:37:16,039
Speaker 7: I said to him, I said, it's your problem now,

484
00:37:16,119 --> 00:37:18,800
and we all joke about it. Yeah, because the amount

485
00:37:18,800 --> 00:37:21,320
of you know, amount of effort and wrangling the herd

486
00:37:21,360 --> 00:37:23,280
of cats is it's a lot.

487
00:37:23,440 --> 00:37:23,880
Speaker 16: No doubt.

488
00:37:25,400 --> 00:37:27,119
Speaker 15: Yeah, we were playing that from YouTube and I'm just

489
00:37:27,119 --> 00:37:28,559
you know, I'm a bass player, so I'm just kind

490
00:37:28,559 --> 00:37:30,840
of watching your fingers and kind of an od to

491
00:37:30,920 --> 00:37:32,840
be honest with you, because so I've never learned to

492
00:37:32,880 --> 00:37:34,559
play an upright bass. I've never actually I have never

493
00:37:34,599 --> 00:37:36,400
even touched him upright bass. And I'm just watching you

494
00:37:36,480 --> 00:37:38,679
and it's just especially when you have to go way

495
00:37:38,719 --> 00:37:39,320
up the neck.

496
00:37:39,960 --> 00:37:43,159
Speaker 7: It's like, yeah, wow, so impressive to a lot of

497
00:37:43,199 --> 00:37:44,719
people are like, oh, how do you do it? You know,

498
00:37:45,119 --> 00:37:48,639
there's no frets, there's no dots, like what you know,

499
00:37:48,760 --> 00:37:51,079
how do you do it? And while I started in violin,

500
00:37:51,280 --> 00:37:54,480
which had no frets and no dots, and so I

501
00:37:54,559 --> 00:37:57,280
went from violin to bass, and frets are weird to me.

502
00:37:57,360 --> 00:37:59,280
If you hand me an upright bass or not an

503
00:37:59,400 --> 00:38:01,239
upright babe, you me electric bass, I'll be like, what

504
00:38:01,360 --> 00:38:03,320
do these dots mean? Yeah, Like I know the two

505
00:38:03,400 --> 00:38:04,880
in the middle is the octave, but like.

506
00:38:05,559 --> 00:38:07,440
Speaker 16: Does it almost feel like the frets themselves are in

507
00:38:07,519 --> 00:38:09,480
the way a little bit?

508
00:38:09,559 --> 00:38:13,119
Speaker 7: Yeah, a little bit in the way. And the fact

509
00:38:13,159 --> 00:38:16,199
that it's sideways is different, you know, because like instead

510
00:38:16,199 --> 00:38:18,719
of you know, having your hand, you know, completely upright,

511
00:38:18,760 --> 00:38:20,800
you're just like you're watching your hand now instead of

512
00:38:20,840 --> 00:38:23,400
your hand being almost behind your head. Yeah, you know,

513
00:38:23,639 --> 00:38:25,719
like it's weird, Yeah.

514
00:38:25,679 --> 00:38:28,800
Speaker 16: Yeah, your hands must be pretty calloused, I would imagine.

515
00:38:28,480 --> 00:38:30,840
Speaker 7: Yeah they are. They are.

516
00:38:31,079 --> 00:38:33,400
Speaker 16: Yeah, no, that's cool though, that's cool. And then you've

517
00:38:33,440 --> 00:38:36,199
got another thing that you sent us. Let's see what's this.

518
00:38:36,519 --> 00:38:39,320
Speaker 7: So it's the Nick Old Soul Spencer Vand.

519
00:38:39,239 --> 00:38:40,199
Speaker 16: Yeah, I'm curious about this.

520
00:38:40,480 --> 00:38:44,800
Speaker 7: So this is a blues group. Okay, we we've done

521
00:38:45,039 --> 00:38:47,159
a little bit, you know, bits and pieces here and there.

522
00:38:48,440 --> 00:38:50,760
The drummer, Sebastian Keen is on this one as well.

523
00:38:51,199 --> 00:38:54,519
He's a very talented drummer. He's does everything. So he's

524
00:38:54,639 --> 00:38:58,440
going he's committed to Berkeley next year actually going there.

525
00:38:59,079 --> 00:39:01,400
And then the guitar is of this group. His name

526
00:39:01,519 --> 00:39:04,800
is Nick Spencer, and everyone calls him Old Soul because

527
00:39:05,039 --> 00:39:10,559
he dresses like an old man and so, you know,

528
00:39:10,639 --> 00:39:13,760
and he's his playing is very reminiscent of some of

529
00:39:13,800 --> 00:39:17,239
the you know, older blues artists as well, so you

530
00:39:17,320 --> 00:39:19,920
know a lot of local blues artists have have found

531
00:39:20,000 --> 00:39:23,079
him and really like his playing. And so now he's

532
00:39:23,239 --> 00:39:26,400
at Berkeley and he's the guitarist of the blues band

533
00:39:26,480 --> 00:39:28,760
called Frankie Boy in the Blues Express or now the

534
00:39:28,800 --> 00:39:32,360
Blues Express. They changed the name. Okay, but so this

535
00:39:32,480 --> 00:39:34,960
blues trio is just kind of something we've we've been doing.

536
00:39:35,199 --> 00:39:38,480
I met Nick through some friends because they were at

537
00:39:38,519 --> 00:39:42,360
Bedford High School and they needed a bass player. So

538
00:39:42,679 --> 00:39:45,280
there's a group of Bedford kids and then they're like, well,

539
00:39:45,400 --> 00:39:48,239
we need a bass player. So they called me and

540
00:39:48,320 --> 00:39:50,159
I was like, yeah, sure, I'll show up and so

541
00:39:50,400 --> 00:39:53,480
we hung out and Nick and I were like instant friends,

542
00:39:54,000 --> 00:39:57,920
and so you know, we hit it off and we've

543
00:39:57,920 --> 00:40:00,760
spent a lot of time together over the years. Last

544
00:40:00,840 --> 00:40:04,039
year for April vacation because you know, New Hampshire schools

545
00:40:04,079 --> 00:40:06,159
get out the last week in April, and so we

546
00:40:06,360 --> 00:40:08,880
decided to drive down to New Orleans and spend a

547
00:40:08,960 --> 00:40:12,639
week there. So it's me and then three other friends,

548
00:40:12,760 --> 00:40:15,000
and then a couple more flew in and so we

549
00:40:15,159 --> 00:40:19,599
drove down. It was a two day drive. They drove

550
00:40:19,679 --> 00:40:21,639
down for two days and then we spent three days

551
00:40:21,679 --> 00:40:24,320
in the city and we drove two days back. Wow,

552
00:40:24,400 --> 00:40:28,559
So it was you know, it was a lot of driving.

553
00:40:30,079 --> 00:40:30,239
Speaker 14: Yea.

554
00:40:30,320 --> 00:40:32,639
Speaker 7: We became very close because of that though, So of course,

555
00:40:32,760 --> 00:40:35,360
you know, but Nick and I we've done a lot together,

556
00:40:36,559 --> 00:40:39,199
and you know, I anticipate us doing some more stuff

557
00:40:39,239 --> 00:40:43,400
in the future. So the clip that you have is

558
00:40:43,920 --> 00:40:47,760
was recorded live from Frank Walsh's TV show Talking Tunes.

559
00:40:47,880 --> 00:40:49,320
Speaker 16: So, okay, where does that air?

560
00:40:49,960 --> 00:40:53,960
Speaker 7: So it's it airs. It's a little bit south of Boston. Okay, okay, yeah, cool,

561
00:40:54,199 --> 00:40:55,960
all right, let's give this a listen. I'm very curious

562
00:40:55,960 --> 00:40:59,360
to hear this and making tunes the Nick Old School

563
00:40:59,360 --> 00:41:02,400
Spencer Band featuring Jaquionos. What what's the name of the song? So,

564
00:41:02,480 --> 00:41:04,800
the name of the song is Walking by Myself. It's

565
00:41:04,840 --> 00:41:07,719
an old Jimmy Rogers tune. Okay, you get to hear

566
00:41:07,760 --> 00:41:08,079
me sing.

567
00:41:08,519 --> 00:41:11,079
Speaker 16: Oh nice? Are you leader or backing vocal?

568
00:41:11,320 --> 00:41:11,719
Speaker 7: I'm lead?

569
00:41:11,800 --> 00:41:13,119
Speaker 16: Oh you're oh? This is you singing lead?

570
00:41:13,159 --> 00:41:13,239
Speaker 12: Oh?

571
00:41:13,280 --> 00:41:13,679
Speaker 16: Excellent?

572
00:41:14,079 --> 00:41:16,199
Speaker 7: Singing and playing bassis One of the hardest things I've

573
00:41:16,199 --> 00:41:17,719
ever done is very difficult.

574
00:41:17,800 --> 00:41:20,880
Speaker 16: Yeah all right, very curious here this, So let's give

575
00:41:20,920 --> 00:41:22,119
this a spin. Yeah, thank you.

576
00:41:22,239 --> 00:41:23,480
Speaker 4: That's a Muddy Waters tune.

577
00:41:24,239 --> 00:41:26,719
Speaker 1: I learned that from Bob Mark gooldan personally.

578
00:41:38,639 --> 00:41:47,239
Speaker 6: Walking why myself? If you understand, I just want to.

579
00:41:48,039 --> 00:41:55,519
Speaker 16: Be your love and man, I love you, Yes, I

580
00:41:55,840 --> 00:41:56,320
love you.

581
00:41:57,079 --> 00:42:02,880
Speaker 4: Oh my heart and soul whipus, treat you full my

582
00:42:03,000 --> 00:42:11,960
weight and gone. You know, I love you. You know

583
00:42:12,400 --> 00:42:18,800
it's true, Give you all of my love? It what

584
00:42:19,239 --> 00:42:21,000
more can I do?

585
00:42:22,119 --> 00:42:27,679
Speaker 6: Walking by MYSELFA hope you'll understand.

586
00:42:29,800 --> 00:42:34,320
Speaker 4: I just want to be a loving man. What you got, Nick?

587
00:42:59,760 --> 00:43:13,840
You know I love you. You know it's true. Give

588
00:43:13,920 --> 00:43:19,480
you all of my love? And what more can I do?

589
00:43:20,519 --> 00:43:30,360
Speaker 6: Walking by myself? You'll understand? I just want to be

590
00:43:30,679 --> 00:43:33,719
your loving man. Let me chirp out something.

591
00:44:05,280 --> 00:44:12,639
Speaker 4: You know I love you, you know it's true. Give

592
00:44:12,719 --> 00:44:14,159
you all of my love?

593
00:44:14,480 --> 00:44:14,599
Speaker 7: Man?

594
00:44:15,880 --> 00:44:18,239
Speaker 4: What more can I do?

595
00:44:19,280 --> 00:44:24,920
Speaker 6: Logging bozo, Oh you understand?

596
00:44:27,039 --> 00:44:30,480
Speaker 4: I just want to be your love and man?

597
00:44:35,719 --> 00:44:37,239
Speaker 7: My work is he there?

598
00:44:37,280 --> 00:44:37,440
Speaker 19: We go?

599
00:44:38,719 --> 00:44:39,119
Speaker 7: Very cool?

600
00:44:39,239 --> 00:44:39,800
Speaker 16: That's awesome.

601
00:44:39,880 --> 00:44:43,400
Speaker 15: Yeah, jacque le uh leono's my saying that correct le

602
00:44:44,039 --> 00:44:45,639
Jacque Liana's on lead vocal there.

603
00:44:46,079 --> 00:44:50,760
Speaker 7: Yeah, it's that's that song. I really like that song

604
00:44:50,920 --> 00:44:53,440
because it's one verse and a chorus.

605
00:44:54,000 --> 00:44:54,159
Speaker 11: Yeah.

606
00:44:54,360 --> 00:44:56,679
Speaker 7: I can't remember anything more than that, man, the amount

607
00:44:56,719 --> 00:44:58,760
of times I've tried to remember more than that. I

608
00:44:58,800 --> 00:45:01,280
think there's a clip of me floating out there somewhere

609
00:45:01,280 --> 00:45:06,039
of me absolutely messing up. Falso, Prison Blues is really

610
00:45:06,119 --> 00:45:07,280
really it's an easy song.

611
00:45:07,480 --> 00:45:07,719
Speaker 16: Yeah.

612
00:45:08,119 --> 00:45:09,960
Speaker 7: I think it's three or four verses and then that's it.

613
00:45:11,159 --> 00:45:15,239
I can't remember. I like by the words, you know,

614
00:45:15,239 --> 00:45:17,559
they're supposed to go through in your brain, through your

615
00:45:17,599 --> 00:45:20,920
mouth to the mic. They just they just disappear. They

616
00:45:21,000 --> 00:45:22,880
leave my brain. I don't know where they go. I

617
00:45:22,880 --> 00:45:24,360
don't know if in my leg or something.

618
00:45:24,480 --> 00:45:27,719
Speaker 15: But well, I like you were saying, though you've it's

619
00:45:27,800 --> 00:45:30,280
challenging to, you know, play bass and sing at the

620
00:45:30,320 --> 00:45:32,679
same time. Is that something that's gotten easier for you

621
00:45:32,760 --> 00:45:33,400
over time.

622
00:45:33,320 --> 00:45:37,679
Speaker 7: Or just like everything, the more you practice it the more. Yeah, yeah,

623
00:45:38,199 --> 00:45:41,840
so I get I guess so yeah, but it's still

624
00:45:41,960 --> 00:45:44,920
like learning new songs is tricky because I will forget

625
00:45:45,000 --> 00:45:48,079
lyrics names too. I'm terrible with really.

626
00:45:48,239 --> 00:45:48,440
Speaker 16: Yeah.

627
00:45:48,519 --> 00:45:53,000
Speaker 15: Yeah, when you when you play a bass solo and

628
00:45:53,039 --> 00:45:56,039
a song like that, are you do you just kind

629
00:45:56,039 --> 00:45:58,159
of play your own thing for the solo or are

630
00:45:58,199 --> 00:46:00,480
you trying to replicate what was what the original if

631
00:46:00,519 --> 00:46:03,039
there was a bass solo on the original version of that.

632
00:46:03,119 --> 00:46:05,480
Speaker 7: Song or yeah, so for that song, I was just

633
00:46:05,519 --> 00:46:08,440
doing my own thing, you know. Some like I've been

634
00:46:08,480 --> 00:46:11,519
working on, like for more jazz stuff is like transcribing

635
00:46:11,760 --> 00:46:14,360
like what certain artists are playing. Okay, so you know,

636
00:46:14,519 --> 00:46:18,079
like like there's a lot of saxophone solos that I

637
00:46:18,079 --> 00:46:20,239
think are really great and a lot of great jazz records,

638
00:46:20,280 --> 00:46:22,280
and so I'm trying to take those and transcribe them

639
00:46:22,320 --> 00:46:24,360
and be able to play them on bass. Oh it's

640
00:46:24,400 --> 00:46:27,039
not easy because you could play a lot of notes

641
00:46:27,159 --> 00:46:30,360
really fast, and saxophone sure, and bassis you cannot play

642
00:46:30,360 --> 00:46:32,159
a lot and it's really fast. It's a very it's

643
00:46:32,280 --> 00:46:35,239
it's a big instrument. And so yeah, you know, playing

644
00:46:35,360 --> 00:46:38,159
sixteen sixteenth note runs or thirty second note runs are

645
00:46:38,239 --> 00:46:38,840
very difficult.

646
00:46:39,159 --> 00:46:39,800
Speaker 16: That's interesting.

647
00:46:39,880 --> 00:46:41,800
Speaker 15: That's another thing that never really occurred to me about

648
00:46:41,800 --> 00:46:43,280
it until you said it. Like I said, I've never

649
00:46:43,320 --> 00:46:44,960
played an upright bass, but until you said that, I

650
00:46:45,079 --> 00:46:46,159
never really thought of it that way.

651
00:46:46,280 --> 00:46:47,719
Speaker 16: But yeah, that makes sense.

652
00:46:47,960 --> 00:46:50,000
Speaker 7: Yeah, Like like I do a lot of orchestra work

653
00:46:50,039 --> 00:46:52,679
as well. Yeah, I'm part of the New Hampshire Philharmonic Orchestra.

654
00:46:52,800 --> 00:46:57,119
Oh you are yeah, wow cool, And so like there'll

655
00:46:57,159 --> 00:46:59,800
be violin parts that have like just littered with sixteenth

656
00:47:00,000 --> 00:47:02,000
notes and thirty second notes and eighth notes and then

657
00:47:02,039 --> 00:47:03,440
I get quarter notes in the bass part.

658
00:47:03,800 --> 00:47:04,000
Speaker 16: Yeah.

659
00:47:04,159 --> 00:47:07,159
Speaker 7: And you know, like I used to play violin, Like

660
00:47:07,159 --> 00:47:09,199
if you give me a violin, I can play like

661
00:47:09,360 --> 00:47:12,280
notes faster because it's a smaller instruments, way easier to move.

662
00:47:12,480 --> 00:47:16,360
Speaker 15: Yeah, so that makes sense, that makes sense. You sent

663
00:47:16,440 --> 00:47:19,679
us one other thing here labeled audition three two.

664
00:47:20,239 --> 00:47:20,440
Speaker 16: Yeah.

665
00:47:20,519 --> 00:47:23,800
Speaker 7: So this this is a clip from one of my auditions.

666
00:47:24,960 --> 00:47:27,119
I was lucky enough they let me record it live

667
00:47:27,159 --> 00:47:28,800
and I thought it sounds good enough to put on

668
00:47:28,880 --> 00:47:29,280
the radio.

669
00:47:29,400 --> 00:47:32,000
Speaker 16: So, oh okay, all right, let's check this out. Yeah,

670
00:47:32,039 --> 00:47:33,039
where was this done?

671
00:47:33,159 --> 00:47:36,199
Speaker 7: So? This was done in New York City? Oh, no, kidding,

672
00:47:36,239 --> 00:47:39,239
So this was actually at the New School. Oh so

673
00:47:39,400 --> 00:47:41,400
this was the one of This is a song from

674
00:47:41,400 --> 00:47:42,679
the audition that got me in there.

675
00:47:42,800 --> 00:47:46,760
Speaker 16: So this was this is what we're gonna play here.

676
00:47:46,800 --> 00:47:49,599
This was a pivotal moment. Yeah, right, I could have been.

677
00:47:49,800 --> 00:47:50,760
Speaker 7: I was very nervous.

678
00:47:50,840 --> 00:47:53,159
Speaker 16: I can imagine, I can imagine. All right, let's check

679
00:47:53,199 --> 00:47:53,559
this out.

680
00:50:04,920 --> 00:50:06,960
Speaker 19: M m.

681
00:50:23,440 --> 00:50:32,679
Speaker 1: M m.

682
00:50:43,719 --> 00:50:47,159
Speaker 15: So I'm really curious. So when when you're in that

683
00:50:47,280 --> 00:50:49,679
situation where you're auditioning, and again this is obviously a

684
00:50:49,760 --> 00:50:52,519
high pressure moment for you, who are the other the

685
00:50:52,639 --> 00:50:54,679
other two people who are playing with you, the drummer

686
00:50:54,719 --> 00:50:56,320
and the and the piano player.

687
00:50:56,679 --> 00:50:58,719
Speaker 16: Are they just there at the school or what?

688
00:50:58,960 --> 00:51:01,880
Speaker 7: Yeah? So there's students the school. I never met them

689
00:51:01,880 --> 00:51:04,639
prior to walking into the audition room. Oh wow, I

690
00:51:04,679 --> 00:51:07,480
don't remember the piano player, but the drummer his name

691
00:51:07,559 --> 00:51:11,280
is Yoshi Okay, that's and I saw him afterwards. And

692
00:51:11,320 --> 00:51:13,159
I have a couple of friends that are at that school,

693
00:51:13,159 --> 00:51:14,440
and so I hung out with them for a little bit.

694
00:51:14,639 --> 00:51:14,840
Speaker 16: Yeah.

695
00:51:15,800 --> 00:51:18,480
Speaker 7: But yeah, so I so I walked in this room

696
00:51:18,519 --> 00:51:20,360
with my bass and there's two people I've never met,

697
00:51:20,400 --> 00:51:21,840
and I just have to make some music with them

698
00:51:21,840 --> 00:51:23,480
and hope they, you know, know the song well enough.

699
00:51:23,559 --> 00:51:25,719
So yeah, I was very fortunate that piano player knew

700
00:51:25,719 --> 00:51:27,320
the song and he camped me pretty nicely.

701
00:51:27,400 --> 00:51:30,679
Speaker 16: So what, like, uh, how much pressure do you put

702
00:51:30,719 --> 00:51:31,880
on yourself in that situation?

703
00:51:32,079 --> 00:51:33,920
Speaker 15: Like were you really worried about it or did you

704
00:51:33,960 --> 00:51:35,559
approach it more like, I'm just gonna do the best

705
00:51:35,599 --> 00:51:37,000
I can and what happens happens or.

706
00:51:37,039 --> 00:51:40,199
Speaker 7: What I mean, I'm just showing them what I have,

707
00:51:40,360 --> 00:51:41,880
and so you know, if they like what I have,

708
00:51:42,119 --> 00:51:44,840
then you then that's good. But if they don't like

709
00:51:44,920 --> 00:51:46,400
what I have, then I don't really have anything else

710
00:51:46,440 --> 00:51:46,880
to show him.

711
00:51:46,920 --> 00:51:48,719
Speaker 16: So yeah, that's a good way to think about it.

712
00:51:48,800 --> 00:51:50,840
Speaker 15: I think because that way, you're not psyching yourself out

713
00:51:50,880 --> 00:51:53,599
by going in there with the idea that I have

714
00:51:53,760 --> 00:51:55,559
to do well, I have to do well. Instead, it's

715
00:51:55,559 --> 00:51:57,320
more like I'm gonna show him what I got. If

716
00:51:57,360 --> 00:51:58,960
they like it, they like it. If they don't, they don't.

717
00:51:59,440 --> 00:52:02,199
Speaker 7: Right, So this is a very it's tricky because it's

718
00:52:02,199 --> 00:52:05,880
a very subjective, you know, genre, and so like I know,

719
00:52:05,960 --> 00:52:08,800
I have some friends that are phenomenal, phenomenal piano players,

720
00:52:08,840 --> 00:52:10,960
but they've struggled to make you know, New Hampshire all

721
00:52:11,000 --> 00:52:13,440
state because they only take two piano players. And so

722
00:52:14,480 --> 00:52:17,239
like they, I've played with them, and I've played with,

723
00:52:17,360 --> 00:52:18,760
you know, the piano players that are on top, and

724
00:52:19,000 --> 00:52:21,519
personally I think they're better than the piano players that

725
00:52:21,599 --> 00:52:23,960
are on top. But you know, the judge it's a

726
00:52:23,960 --> 00:52:26,159
different style of piano playing too, so you know, like

727
00:52:26,199 --> 00:52:28,360
the judge in the audition room might like, you know,

728
00:52:28,480 --> 00:52:31,199
more of a felonious Monk style player instead of someone

729
00:52:31,239 --> 00:52:35,960
who's like, you know, more more busy, like more flonious monk,

730
00:52:36,039 --> 00:52:38,400
more dissonant, other than Oscar Peterson who's like fits in

731
00:52:38,440 --> 00:52:40,840
the cores better better, or you know, maybe Ama Jamal

732
00:52:40,880 --> 00:52:44,079
who leaves a lot more space than you know Oscar

733
00:52:44,920 --> 00:52:47,159
or you know, like there's a lot of great pianists

734
00:52:47,199 --> 00:52:47,519
out there.

735
00:52:47,760 --> 00:52:52,159
Speaker 15: Yeah, interesting, interesting, all very different. So yeah, yeah, so

736
00:52:52,280 --> 00:52:54,840
you're going next school year, that's when you go.

737
00:52:55,079 --> 00:52:57,880
Speaker 7: So I leave August, so it's the last week August

738
00:52:57,960 --> 00:52:59,119
or second to last week August.

739
00:52:59,199 --> 00:53:01,920
Speaker 15: But yeah, yeah, oh good for you. That's that's fantastic.

740
00:53:02,119 --> 00:53:05,360
That's fantastic. Are you Are you nervous at all?

741
00:53:05,519 --> 00:53:07,880
Speaker 7: Or maybe maybe more so excited?

742
00:53:08,039 --> 00:53:09,880
Speaker 15: Maybe maybe when it gets closer, you might be a

743
00:53:09,880 --> 00:53:12,079
little more have the butterflies in a good way, you know.

744
00:53:12,199 --> 00:53:13,079
Speaker 16: It's it's exciting.

745
00:53:13,360 --> 00:53:14,440
Speaker 7: I'm ready, man, I'm ready.

746
00:53:14,519 --> 00:53:15,079
Speaker 16: I'm exciting.

747
00:53:15,199 --> 00:53:15,400
Speaker 19: Yeah.

748
00:53:15,519 --> 00:53:17,719
Speaker 7: I have nine school days left to high school and

749
00:53:17,760 --> 00:53:20,280
that I'm done. Man, I'm so excited to be done.

750
00:53:20,519 --> 00:53:21,039
Are you really?

751
00:53:22,639 --> 00:53:23,440
Speaker 16: I was weird.

752
00:53:23,519 --> 00:53:25,360
Speaker 15: I remember my senior year of high school. I kind

753
00:53:25,360 --> 00:53:27,519
of didn't want it to end. I don't know why,

754
00:53:27,679 --> 00:53:29,960
but I went to I was fortunate to go to

755
00:53:30,039 --> 00:53:33,000
a good school. But uh, but yeah, but no, it's

756
00:53:33,320 --> 00:53:36,440
that's very exciting. Before we run out of time, it's

757
00:53:36,719 --> 00:53:38,400
the time goes so quick, it's already almost the top

758
00:53:38,440 --> 00:53:41,760
of the hour. What should our listeners know about where

759
00:53:41,880 --> 00:53:43,639
best to go online to keep up with everything that

760
00:53:43,679 --> 00:53:44,079
you're doing.

761
00:53:44,400 --> 00:53:47,280
Speaker 7: Yeah, so if you search my name up, I'm very

762
00:53:47,440 --> 00:53:50,039
fortunate that I'm the only person like on this side

763
00:53:50,079 --> 00:53:52,199
of the world with my name, Like, if you punch

764
00:53:52,280 --> 00:53:53,639
in my name at Google, I did it last night

765
00:53:53,639 --> 00:53:56,480
because and you have to go to the third page

766
00:53:56,519 --> 00:53:59,280
of Google before you find someone that's not me, and

767
00:53:59,400 --> 00:54:01,920
it's I think the last link in the third page.

768
00:54:01,960 --> 00:54:03,519
So if you search my name up on Google, you

769
00:54:03,559 --> 00:54:08,280
can find my Instagram, my Facebook, hopefully, my YouTube, my LinkedIn,

770
00:54:08,440 --> 00:54:10,159
even though I don't use it. Yeah, you know, like,

771
00:54:11,039 --> 00:54:14,679
but I post a lot on my Facebook and Instagram.

772
00:54:14,719 --> 00:54:16,320
I think I post more on Facebook than I do

773
00:54:16,360 --> 00:54:19,400
on Instagram. Yeah, and then there's my YouTube that I

774
00:54:19,519 --> 00:54:21,719
throw stuff up on every now and then. Yeah, so

775
00:54:22,000 --> 00:54:24,320
you know, sometimes you'll see stuff on my YouTube. Sometimes

776
00:54:24,360 --> 00:54:27,119
you won't. Yeah, the stuff on my YouTube, I don't

777
00:54:27,159 --> 00:54:30,119
advertise it well, but it's a really nice resource because

778
00:54:30,119 --> 00:54:32,320
if someone you know, looks me up and they want

779
00:54:32,320 --> 00:54:34,280
to see, like, okay, can this guy play, and then

780
00:54:34,280 --> 00:54:36,800
they see my YouTube and then they decide for themselves,

781
00:54:36,840 --> 00:54:39,679
because that's my YouTube is a fairly accurate representation of

782
00:54:39,719 --> 00:54:40,119
what I can do.

783
00:54:40,320 --> 00:54:42,000
Speaker 16: Well, there you go, there you go. But yeah, it's

784
00:54:42,039 --> 00:54:43,400
nice to have an unusual name, isn't it.

785
00:54:43,679 --> 00:54:44,519
Speaker 7: It is very nice?

786
00:54:45,320 --> 00:54:49,119
Speaker 16: Yeah, very cool. Well, Jack, this has been wonderful. Thank

787
00:54:49,159 --> 00:54:49,559
you so much.

788
00:54:49,639 --> 00:54:51,280
Speaker 15: We'll have to do it again on in the future.

789
00:54:51,280 --> 00:54:52,800
I want to keep up with everything that you're doing,

790
00:54:52,920 --> 00:54:54,960
so thank you. Thank you for coming in today and

791
00:54:55,519 --> 00:54:58,000
sharing some of the music. Great stuff, great stuff, and

792
00:54:58,199 --> 00:55:01,559
for having me absolutely absolutely, And before we go, Jenny,

793
00:55:01,599 --> 00:55:03,239
dear mind, you've been doing a lot of stuff too.

794
00:55:03,280 --> 00:55:05,199
Of course you're always very busy. You want to remind

795
00:55:05,239 --> 00:55:07,400
people of your website. You can check out what I'm

796
00:55:07,880 --> 00:55:11,159
doing or trouble I'm getting into at gencoffee dot com.

797
00:55:11,480 --> 00:55:13,440
Speaker 7: J E N N co O F f u I

798
00:55:13,719 --> 00:55:14,119
dot com.

799
00:55:14,519 --> 00:55:16,599
Speaker 15: Yes, very good, And if you miss any part of

800
00:55:16,639 --> 00:55:18,239
today's show, it will be up in just a little

801
00:55:18,280 --> 00:55:22,679
bit at Wmnhradio dot org and my website Matt Connorton

802
00:55:22,800 --> 00:55:25,719
dot com. And uh again, thank you to everybody who

803
00:55:25,800 --> 00:55:28,920
joined us today, Eli lev and uh King Polo and

804
00:55:29,400 --> 00:55:31,559
everybody and Jack Leanos thank you so much.

805
00:55:32,159 --> 00:55:35,079
Speaker 16: Yeah, and we will talk to y'all a little bit later. Bye, everybody.

806
00:55:35,440 --> 00:55:40,360
Enjoy your Memorial Day weekend. Now exclusively on w m

807
00:55:40,639 --> 00:55:45,039
n H ninety five point three FM. Matt Connorton Unleashed

808
00:55:45,159 --> 00:55:50,199
presents the American radio premiere of Gold, the brand new

809
00:55:50,320 --> 00:55:52,519
single from the Worry People.

810
00:56:05,159 --> 00:56:10,800
Speaker 4: Would you recognize me if you saw me now? I

811
00:56:10,960 --> 00:56:14,239
cut my head to spatch your fist like him holy

812
00:56:14,480 --> 00:56:18,960
un't Now we will bear strangers.

813
00:56:19,239 --> 00:56:23,039
Speaker 14: And I thought that had dream was gone. It sts

814
00:56:23,280 --> 00:56:26,840
time to come around, But the season's coming gone.

815
00:56:28,599 --> 00:56:33,159
Speaker 19: Calling me opin your gold and wrapped me around your finger.

816
00:56:34,400 --> 00:56:40,000
Give you something to put me even something like forever whirl.

817
00:56:42,480 --> 00:57:03,440
Speaker 14: World, house building, houses on foundations may no sense. So

818
00:57:03,679 --> 00:57:06,760
why I was as surprised when it all.

819
00:57:06,719 --> 00:57:07,760
Speaker 16: Came crashing down.

820
00:57:09,559 --> 00:57:14,039
Speaker 14: Don't want to call it lot not me came so close,

821
00:57:14,800 --> 00:57:18,679
but the rob it just reminds me I was a tourist.

822
00:57:18,880 --> 00:57:19,840
Speaker 20: I'm not cross.

823
00:57:21,320 --> 00:57:24,960
Speaker 19: Call me live being your gold and raped me around

824
00:57:25,079 --> 00:57:25,840
your finger.

825
00:57:27,119 --> 00:57:32,320
Speaker 20: Give you something too, believe in something like hever w.

826
00:57:37,639 --> 00:57:37,719
Speaker 1: Up.

827
00:58:49,079 --> 00:58:53,039
Speaker 19: Don't many no thing, no go about many around.

828
00:58:52,880 --> 00:58:58,440
Speaker 20: Joping uh nme something something they have in, something like

829
00:58:58,719 --> 00:58:59,559
going maund.

830
00:59:02,960 --> 00:59:10,599
Speaker 2: Well, conding me a thing you go and rap thing around.

831
00:59:10,480 --> 00:59:15,000
Speaker 20: Jumping h get something something real and.

832
00:59:15,159 --> 00:59:16,920
Speaker 14: Something like or whatever

833
00:59:20,519 --> 00:59:36,159
Speaker 7: We you are listening to do w um and h