WEBVTT 1 00:00:00.600 --> 00:00:02.720 Hudson River Radio dot com. 2 00:00:03.000 --> 00:00:04.320 It beats listening to nothing. 3 00:00:04.919 --> 00:00:10.119 Oh my godness, Being Franklin, where the only way to 4 00:00:10.119 --> 00:00:16.039 be is Frank. Well everyone, and welcome to Being frank. 5 00:00:16.079 --> 00:00:19.600 We're the only way to be is Frank. I'm your host, 6 00:00:19.640 --> 00:00:21.960 Frank Lebuono, and i'd like to thank you for joining 7 00:00:22.039 --> 00:00:24.960 us here on what we like to call the Intelligent 8 00:00:25.039 --> 00:00:28.879 Conversation podcast, where no conversation is out of bounds and 9 00:00:29.000 --> 00:00:31.600 all points of view are welcome. As you know, we 10 00:00:31.679 --> 00:00:33.399 go live to tape and I give you the date 11 00:00:33.479 --> 00:00:36.799 so you'd have some context and relevance. It's the twenty 12 00:00:37.159 --> 00:00:40.600 second of October, in the middle of a beautiful autumn 13 00:00:40.679 --> 00:00:44.079 season here in New York. Listeners of this podcast know 14 00:00:44.200 --> 00:00:46.560 that one of the more common themes at Being Frank 15 00:00:46.679 --> 00:00:49.600 is that, despite the fact that we stream from a 16 00:00:49.640 --> 00:00:53.560 pretty small corner of New York, Rockland County, Rockland has 17 00:00:53.560 --> 00:00:57.520 an extraordinary music scene, not only locally but internationally too, 18 00:00:57.560 --> 00:01:00.880 with the likes of Bruce Springsteen, Jimmy HENDRYX McJagger, and 19 00:01:00.920 --> 00:01:05.359 many others who have either lived or recorded here. But 20 00:01:05.439 --> 00:01:08.560 it's not just the international scene that makes it so vibrant. 21 00:01:08.879 --> 00:01:12.920 It's the bevy of extremely talented local musicians but made 22 00:01:13.040 --> 00:01:16.400 Rockland a great source for music of all kinds. And 23 00:01:16.519 --> 00:01:19.640 more than that, these musicians have established a legacy of 24 00:01:19.680 --> 00:01:23.120 giving back to the communities in which they perform, lending 25 00:01:23.159 --> 00:01:27.400 their considerable talents to charitable events and teaching moments. We 26 00:01:27.439 --> 00:01:31.280 have featured many such musicians previously and are proud to 27 00:01:31.359 --> 00:01:34.959 do so once again. New York Area guitarist, composer, and 28 00:01:35.120 --> 00:01:38.319 educator Eric DeVito has been performing throughout the Greater New 29 00:01:38.400 --> 00:01:41.920 York area since two thousand and three. Either as a 30 00:01:41.959 --> 00:01:44.760 soloist leading his own groups, he has performed at many 31 00:01:44.760 --> 00:01:48.640 of New York City's renowned jazz clubs and live music venues, 32 00:01:48.879 --> 00:01:52.480 as well as performances and festivals both domestic and abroad. 33 00:01:53.040 --> 00:01:58.280 DeVito has recorded two studio albums and one solo classic album, 34 00:01:58.400 --> 00:02:02.359 Soothing Classic Guitar Music, from Inner Splendor Media in twenty sixteen. 35 00:02:02.879 --> 00:02:06.760 As an educator, mister DeVito has taught classroom and instrumental 36 00:02:06.840 --> 00:02:09.560 music in the New York City Public schools and west 37 00:02:09.639 --> 00:02:13.759 Chester School districts since two thousand and six. He teaches 38 00:02:13.960 --> 00:02:17.879 is an adjunct lecturer of music at Dominican University in Orangeburg, 39 00:02:18.000 --> 00:02:21.039 New York, as well as his private guitar studio. In 40 00:02:21.080 --> 00:02:24.919 both person and remotely, DeVito is an Eastman guitar artist 41 00:02:24.960 --> 00:02:28.639 that has been published several times in Downbeat Magazine, are 42 00:02:28.800 --> 00:02:33.120 A Magazine, Playjazz guitar dot Com, and more. He lives 43 00:02:33.120 --> 00:02:35.719 with his wife and three children right here in Rockland 44 00:02:35.759 --> 00:02:38.759 County in Proliver, New York. Eric, thank you so much 45 00:02:38.759 --> 00:02:40.599 for joining us, taking the time. You're a busy guy. 46 00:02:40.639 --> 00:02:42.080 We're going to talk about that. You've got a lot 47 00:02:42.080 --> 00:02:42.520 coming up. 48 00:02:42.759 --> 00:02:44.599 Yeah, thanks for having me. I'm very excited to be here. 49 00:02:44.639 --> 00:02:45.319 I appreciate it. 50 00:02:45.919 --> 00:02:48.240 You know. Before we get into a lot of the things, 51 00:02:48.240 --> 00:02:50.599 we want to talk about some of the musical history 52 00:02:50.639 --> 00:02:52.759 that you're involved with and some of the events you're planning, 53 00:02:52.840 --> 00:02:55.879 let's talk a little bit about Eric DeVito. What was 54 00:02:55.919 --> 00:02:59.319 your earliest exposure to music. When did you know that 55 00:02:59.639 --> 00:03:01.639 it was going to be music for you in your life? 56 00:03:03.000 --> 00:03:04.120 Huh? 57 00:03:04.199 --> 00:03:06.360 I did know early on. I don't know if it 58 00:03:06.439 --> 00:03:11.439 was Wow, we're going way back here. I guess by 59 00:03:11.479 --> 00:03:14.800 the time I was kind of like in middle school, 60 00:03:15.000 --> 00:03:17.319 I got really into guitar and I knew that I 61 00:03:17.360 --> 00:03:20.199 wanted to, you know, pursue music kind of most of 62 00:03:20.240 --> 00:03:22.479 the time. I don't know if I knew then I 63 00:03:22.599 --> 00:03:25.120 definitely was going to be a career path, but that 64 00:03:25.240 --> 00:03:26.919 was kind of what occupied. 65 00:03:26.439 --> 00:03:27.319 Most of my time. 66 00:03:27.360 --> 00:03:29.960 By the time I picked up the guitar in about 67 00:03:30.280 --> 00:03:34.159 fifth grade or something like that. By the time I 68 00:03:34.199 --> 00:03:36.360 got into high school, I was kind of operating on 69 00:03:36.520 --> 00:03:39.680 a you know, I'm only here so I can get 70 00:03:39.719 --> 00:03:42.199 into music college path by the time I was in 71 00:03:42.280 --> 00:03:44.039 high school, so I. 72 00:03:43.599 --> 00:03:46.599 Kind of, you know, had a mission in high school 73 00:03:46.599 --> 00:03:46.960 to get it. 74 00:03:47.039 --> 00:03:49.439 All my class is done and all my courses done, 75 00:03:49.759 --> 00:03:53.840 so you know, I could maximize my time in college 76 00:03:53.960 --> 00:03:56.479 studying music so I didn't have to take a lot 77 00:03:56.479 --> 00:04:00.319 of the you know, English courses and foreign language courses stuff, 78 00:04:00.319 --> 00:04:02.400 because I knew I wanted to do that. But i'd 79 00:04:02.439 --> 00:04:05.719 say kind of by middle school I started to formulate 80 00:04:05.759 --> 00:04:08.520 that idea and kind of operate under that assumption that 81 00:04:08.719 --> 00:04:11.560 that's that's what I was going to do in some form. 82 00:04:12.000 --> 00:04:15.199 Let's talk about some of your early influences. Not only 83 00:04:15.240 --> 00:04:19.319 you know, professionally musicians themselves, but often people have family influences, 84 00:04:20.319 --> 00:04:23.120 a parent or a brother or sister who also accomplished 85 00:04:23.120 --> 00:04:26.120 in music. Did you have anyone like that in Yeah, 86 00:04:26.360 --> 00:04:28.600 you did tell us about and some of the others 87 00:04:28.639 --> 00:04:31.360 who were influential for you early in your life. 88 00:04:31.600 --> 00:04:31.920 Sure. 89 00:04:32.000 --> 00:04:35.439 So, well, I started out as a percussionist actually, like 90 00:04:36.000 --> 00:04:38.399 in third grade when most people, you know, choose to 91 00:04:38.439 --> 00:04:41.680 take band or orchestra. So I chose the band and 92 00:04:41.720 --> 00:04:45.040 I started out as a percussionist and I continued with 93 00:04:45.079 --> 00:04:49.000 that even after I picked up the guitar. But in 94 00:04:49.120 --> 00:04:51.439 terms of influences, you know, I had there were some 95 00:04:51.480 --> 00:04:54.120 people in my family that are you know, we had 96 00:04:54.160 --> 00:04:56.959 played music, so there was some exposure. You know, both 97 00:04:57.000 --> 00:04:59.920 my parents played guitar, but I kind of consider that 98 00:05:00.240 --> 00:05:03.000 like your typical they were your typical amateur guitar players. 99 00:05:03.000 --> 00:05:05.519 But there was a guitar around, and there was exposure. 100 00:05:06.160 --> 00:05:08.160 But actually, I have a cousin you might, I don't 101 00:05:08.160 --> 00:05:12.560 know if you know him, but he's actually also a Rockland. 102 00:05:12.240 --> 00:05:13.720 County based musician. 103 00:05:13.759 --> 00:05:18.879 His name's Larry Siegel, and he he's my mom's first cousin. 104 00:05:19.319 --> 00:05:21.240 And when I was very young, you know, he would 105 00:05:21.240 --> 00:05:23.199 always be around and he would often like crash at 106 00:05:23.199 --> 00:05:25.680 our house in between gigs or stuff, and so I 107 00:05:25.720 --> 00:05:29.639 always was kind of exposed to him kind of being, 108 00:05:29.720 --> 00:05:32.519 you know, living the life of a professional musician, and 109 00:05:33.480 --> 00:05:35.040 you know, he kind of taught. 110 00:05:34.839 --> 00:05:37.120 Me some of my first things on guitar and things. 111 00:05:37.199 --> 00:05:39.920 I always remember that, and then you know, we kind 112 00:05:39.920 --> 00:05:43.120 of keep in touch when I got older. He also 113 00:05:43.160 --> 00:05:46.439 had a music business, like a book where you know, 114 00:05:46.480 --> 00:05:48.959 people would call him and he would provide music for 115 00:05:49.079 --> 00:05:52.480 like literally any event. His Guy's networking book was huge. 116 00:05:52.600 --> 00:05:54.199 When I got a little older, you know, he would 117 00:05:54.240 --> 00:05:57.000 be he would call me for certain gigs, like classical 118 00:05:57.000 --> 00:06:00.519 guitar gigs or more traditional or straight up head jazz 119 00:06:00.600 --> 00:06:02.879 kind of stuff. But he was actually a pretty early 120 00:06:02.920 --> 00:06:05.839 influence because I was like, you know, it was cool 121 00:06:05.879 --> 00:06:08.720 to hear about his you know, life as a musician. 122 00:06:08.920 --> 00:06:11.720 He plays banjo, guitar, he sings, he plays everything. 123 00:06:12.360 --> 00:06:14.759 He's a true, true entertainer. Larry Siegel. He's a great guy. 124 00:06:14.759 --> 00:06:16.879 He'sed check him out every time he plays over you know, 125 00:06:16.920 --> 00:06:19.360 throughout New York a lot too, especially in Rockland County. 126 00:06:20.720 --> 00:06:23.040 So there was him, and then a lot of the 127 00:06:23.120 --> 00:06:24.600 rest was really teachers. I had. 128 00:06:25.439 --> 00:06:27.759 Some of the biggest influences in my life were music 129 00:06:27.759 --> 00:06:30.399 teachers that I had, And that might be maybe why 130 00:06:30.480 --> 00:06:34.000 I kind of gravitated because I always, you know, felt 131 00:06:34.079 --> 00:06:36.959 very inspired by those music teachers and that they were 132 00:06:37.040 --> 00:06:39.360 kind of I said, oh, like I want to do that, 133 00:06:39.399 --> 00:06:40.759 you know, I want to be like that, or I 134 00:06:40.920 --> 00:06:42.959 like how this teacher is that. So you know, I 135 00:06:43.160 --> 00:06:46.360 have a few specific teachers in mind that from very 136 00:06:46.360 --> 00:06:49.120 early on kind of shaped me into maybe they kind 137 00:06:49.120 --> 00:06:51.439 of nudged me in the direction. So I remember, like 138 00:06:51.480 --> 00:06:55.279 my middle school band director was this brilliant percussionist named 139 00:06:55.279 --> 00:06:58.600 Steve Payson, and he actually passed away a few years ago, 140 00:06:59.759 --> 00:07:03.079 kind of unexpectedly, but he was actually pretty pretty well 141 00:07:03.120 --> 00:07:07.160 known and pretty renowned performer, and he's played with some 142 00:07:07.360 --> 00:07:11.600 like he was really into like contemporary classical music, which 143 00:07:11.639 --> 00:07:15.360 a lot of kids were not into, like twentieth century music, 144 00:07:15.439 --> 00:07:17.279 or even like music that was kind of headed into 145 00:07:17.360 --> 00:07:19.560 the twenty first century, you know, back when I was 146 00:07:19.600 --> 00:07:24.240 a kid in the nineties, but stuff that most kids 147 00:07:24.279 --> 00:07:25.519 weren't listening to. Like I remember he was on a 148 00:07:25.560 --> 00:07:27.600 George Crumb album. I don't if you're familiar with George 149 00:07:27.639 --> 00:07:30.519 Crumb and very kind of like avant garde twentieth century 150 00:07:30.560 --> 00:07:33.360 classical composer, and he was very into that and he 151 00:07:33.439 --> 00:07:35.639 used to do a lot of projects and things in 152 00:07:35.680 --> 00:07:38.319 the city. So he and he was a great jazz drummer, 153 00:07:38.360 --> 00:07:40.079 and I was in the jazz band with him too. 154 00:07:40.199 --> 00:07:43.079 He actually is to kind of encouraged me to play 155 00:07:43.240 --> 00:07:46.199 jazz guitar. I was really into playing drums and into 156 00:07:46.240 --> 00:07:48.480 the jazz band with him on drums, and he said, 157 00:07:48.519 --> 00:07:51.240 you know, you play guitar, why don't you studies more, 158 00:07:51.279 --> 00:07:54.800 harmony more and really, you know, learn the guitar thing. 159 00:07:54.839 --> 00:07:56.959 And that's kind of how it started actually with me 160 00:07:57.079 --> 00:07:59.600 being in I think it was like maybe eighth grade 161 00:07:59.680 --> 00:08:00.959 jazz ensemble with him. 162 00:08:01.000 --> 00:08:04.319 He really got me into that. Let me be sixth grade, let. 163 00:08:04.279 --> 00:08:06.759 Me jump in with that too. Did you ever have 164 00:08:06.839 --> 00:08:09.399 any kind of like people call it an epiphany moment 165 00:08:09.439 --> 00:08:12.680 where in speaking with him or picking up the guitar, 166 00:08:12.920 --> 00:08:15.600 all of a sudden one moment you said, Wow, I 167 00:08:16.439 --> 00:08:19.240 like this and I can do this. Do you have 168 00:08:19.279 --> 00:08:20.040 a moment like that? 169 00:08:21.360 --> 00:08:24.680 Yeah, I think they kind of came in little, you know, 170 00:08:24.920 --> 00:08:27.839 I think being in the in his performing groups and 171 00:08:27.920 --> 00:08:30.639 you kind of you know, he'd really push you to work, 172 00:08:30.680 --> 00:08:33.480 and then of course you'd have those little musical moments 173 00:08:33.519 --> 00:08:35.759 that you'd be very proud of or that. You know, 174 00:08:35.840 --> 00:08:38.480 he'd inspire the group to get and then you'd go, 175 00:08:38.559 --> 00:08:41.600 you know, have those aha moments like wow, that was cool. 176 00:08:41.639 --> 00:08:45.559 You know this is cool. It's worth the you know, challenges, 177 00:08:45.639 --> 00:08:47.919 it's worth the struggle to kind of do this because 178 00:08:48.279 --> 00:08:50.679 you know, this is what we'd be wanting, me and 179 00:08:50.679 --> 00:08:51.840 my buddies who were into music. 180 00:08:51.840 --> 00:08:53.519 This is what we were doing in our free time. Anyways, 181 00:08:53.600 --> 00:08:55.279 we didn't have to do it. So yeah, I think 182 00:08:55.320 --> 00:08:56.879 a lot of that did start with him. 183 00:08:57.320 --> 00:08:57.480 You know. 184 00:08:57.480 --> 00:09:01.120 I remember once he used to bring this always stands out. 185 00:09:01.120 --> 00:09:03.559 He used to bring in pieces he was working on, 186 00:09:03.679 --> 00:09:05.360 and he was a great percussionist and he play a 187 00:09:05.360 --> 00:09:07.759 lot of mallet percussion, like he played marimba, and that 188 00:09:07.879 --> 00:09:09.440 was like the first time I'd ever seen somebody play 189 00:09:09.480 --> 00:09:10.360 four mallet marina. 190 00:09:10.360 --> 00:09:11.919 But he might even played six mallet marimba, but I 191 00:09:11.919 --> 00:09:12.399 don't remember. 192 00:09:12.600 --> 00:09:16.240 But you know, this was in middle school and probably 193 00:09:16.320 --> 00:09:18.720 you know, most people wouldn't have been maybe that interested 194 00:09:18.759 --> 00:09:21.000 in what he was playing. He was, but I just 195 00:09:21.080 --> 00:09:23.480 thought it was fascinating how he was playing like four 196 00:09:23.759 --> 00:09:25.000 six mallet marimba. 197 00:09:25.039 --> 00:09:26.360 And I think it was like a I think it 198 00:09:26.399 --> 00:09:29.600 was a jazz piece, like a solo jazz, you know, 199 00:09:29.799 --> 00:09:31.759 something for the marimba repertoire. 200 00:09:32.320 --> 00:09:34.480 And I just remember being blown away by the technique 201 00:09:34.480 --> 00:09:36.559 and the musicianship and all that stuff. 202 00:09:38.000 --> 00:09:39.639 And then I just like talking to him about jazz. 203 00:09:39.679 --> 00:09:41.360 He knew a lot about jazz, and I kind of 204 00:09:41.399 --> 00:09:42.279 got into jazz. 205 00:09:42.960 --> 00:09:45.720 You know, the improvisation aspect, I think really clicked with me, 206 00:09:45.840 --> 00:09:49.960 and he really kind of encouraged us to improvise and 207 00:09:49.960 --> 00:09:50.759 and to kind. 208 00:09:50.519 --> 00:09:52.000 Of listen to each other. 209 00:09:52.480 --> 00:09:55.840 He did a really good job explaining the roles of 210 00:09:55.879 --> 00:09:58.120 the rhythm section to a bunch of young kids, you 211 00:09:58.120 --> 00:09:59.960 know who just wanted to you know, most of a 212 00:10:00.120 --> 00:10:02.960 had like rock backgrounds and stuff, but he would talk 213 00:10:03.000 --> 00:10:05.480 about you know, the time and the high hat symbol 214 00:10:05.519 --> 00:10:07.480 or the ride symbol, and the bass locking in with 215 00:10:07.519 --> 00:10:09.799 the drums and the role of the guitar and a 216 00:10:09.799 --> 00:10:12.120 big band and things like that that you know kind 217 00:10:12.120 --> 00:10:15.360 of we found or I found really interesting. So really 218 00:10:15.399 --> 00:10:17.159 every moment with him, I always found was like a 219 00:10:17.240 --> 00:10:20.200 learning experience. And he was one of those teachers that 220 00:10:20.639 --> 00:10:22.039 when I when we were in middle school, you know, 221 00:10:22.080 --> 00:10:25.120 he'd let you we'd hang out instead of going to 222 00:10:25.159 --> 00:10:27.240 recess we'd go and hang out in his office and 223 00:10:27.279 --> 00:10:29.480 he'd listen to music with us, play jazz, or let 224 00:10:29.559 --> 00:10:31.639 us go practice on the drum set or do whatever. 225 00:10:31.720 --> 00:10:31.879 You know. 226 00:10:32.440 --> 00:10:34.440 So it's kind of like one of those very inspiring 227 00:10:34.480 --> 00:10:37.200 teachers that you know, probably get characterized in like a 228 00:10:37.200 --> 00:10:39.080 sitcom or a movie. But he like really was one 229 00:10:39.120 --> 00:10:42.320 of those kind of teachers. And actually he became you know, 230 00:10:42.360 --> 00:10:45.200 my mom was a teacher in my district, so he 231 00:10:45.240 --> 00:10:46.840 was kind of like also a family friend. 232 00:10:47.279 --> 00:10:49.240 And I remember when I got you know. 233 00:10:49.279 --> 00:10:51.360 Older, as an adult and started doing gigs, he would 234 00:10:51.360 --> 00:10:53.559 come to my gigs and you know, him and my 235 00:10:53.639 --> 00:10:55.639 parents would hang out. They'd come show up at jazz 236 00:10:55.639 --> 00:10:57.879 clubs and stuff in the city, and I always thought 237 00:10:57.879 --> 00:11:00.639 that was really, uh, you know, kind of cool that 238 00:11:00.720 --> 00:11:03.080 he kind of was there, you know, later on, And 239 00:11:03.519 --> 00:11:05.240 really a lot of that started with him. And when 240 00:11:05.279 --> 00:11:08.080 I became a teacher, he really encouraged me to be 241 00:11:08.120 --> 00:11:09.879 a music teacher. You know, he knew a lot of 242 00:11:09.919 --> 00:11:12.480 musicians and he said, hey, man, like this is cool, 243 00:11:12.480 --> 00:11:15.279 but if you want to eat, get a music education degree. 244 00:11:15.320 --> 00:11:17.159 And my parents kind of had always been telling me that, 245 00:11:17.279 --> 00:11:20.960 but mister Payson, you know, Steve kind of sometimes you 246 00:11:21.000 --> 00:11:22.759 listen to other people more than your parents, you know, 247 00:11:23.320 --> 00:11:25.879 and he would have he would let me come in 248 00:11:26.039 --> 00:11:27.679 and work with the band, like when I was a 249 00:11:27.679 --> 00:11:30.320 little older. He'd let me sit in with the bands 250 00:11:30.360 --> 00:11:32.759 and stuff and kind of get a little practice like 251 00:11:32.840 --> 00:11:36.360 teaching lessons and conducting and stuff. So definitely a huge 252 00:11:36.360 --> 00:11:39.799 influence in kind of my entire you know, education and 253 00:11:40.159 --> 00:11:41.120 professional life. 254 00:11:41.559 --> 00:11:44.120 What are the professionals you message, teachers and of course 255 00:11:44.159 --> 00:11:46.320 there and you teach, and I teach as well. And 256 00:11:46.360 --> 00:11:48.039 we talk a little bit more about that later in 257 00:11:48.039 --> 00:11:51.799 our discussion. What about professionally, what people during the course 258 00:11:51.840 --> 00:11:55.279 of your journey, your musical journey, have really influenced you 259 00:11:55.960 --> 00:11:57.120 as a profession. 260 00:11:57.639 --> 00:12:01.440 Yeah, so we talk guitarists here or just any kind 261 00:12:01.440 --> 00:12:03.440 of music guitar and go. 262 00:12:03.480 --> 00:12:05.960 Down the list. Who are some of the people that say, wow, 263 00:12:06.320 --> 00:12:07.840 they do it for me. Yeah. 264 00:12:07.840 --> 00:12:10.480 I remember being first kind of really blown away by 265 00:12:12.799 --> 00:12:14.519 believe it or not. I remember listening to this. 266 00:12:14.480 --> 00:12:17.679 Bud Powell Trio record, Bud Powell Trio and really just 267 00:12:17.720 --> 00:12:21.200 being blown away by like the trio kind of. 268 00:12:21.679 --> 00:12:23.960 Form, concept of the format of a trio. 269 00:12:24.120 --> 00:12:26.519 Yeah, and just just the way they kind of you know, 270 00:12:26.600 --> 00:12:30.639 the space and the collaboration. So I remember, like really 271 00:12:30.679 --> 00:12:32.840 just you know, back then, I was listening to CDs 272 00:12:32.879 --> 00:12:35.240 on a discman and all that just done. And I 273 00:12:35.279 --> 00:12:39.480 remember like wearing out this Bud Bud Powell CD. I 274 00:12:39.480 --> 00:12:41.000 can't remember the name of the record now. It was 275 00:12:41.039 --> 00:12:42.519 something like Boxes or something. 276 00:12:42.559 --> 00:12:45.440 I don't remember. It was really cool. That's probably not 277 00:12:45.480 --> 00:12:47.600 the name of it, but I have to check it out. 278 00:12:47.840 --> 00:12:50.120 But then I really got into you know, by then, 279 00:12:50.320 --> 00:12:53.759 I was really trying to find guitarists that spoke to me. 280 00:12:53.799 --> 00:12:56.399 And you know, very early on, I was into Jim Hall. 281 00:12:57.519 --> 00:13:01.879 He's probably one of my most you know, influential influences, 282 00:13:01.919 --> 00:13:03.519 if you want to say. I guess I wanted to 283 00:13:03.519 --> 00:13:05.639 copy him as much as I could, so I listened to. 284 00:13:05.639 --> 00:13:06.240 A lot of Jim Hall. 285 00:13:06.240 --> 00:13:08.639 I always liked his use of space, you know, he 286 00:13:08.679 --> 00:13:11.679 was a very less is more kind of player, and 287 00:13:11.720 --> 00:13:12.639 I always kind. 288 00:13:12.440 --> 00:13:14.720 Of dug that about Jim Hall. 289 00:13:16.120 --> 00:13:18.320 And also one of the first records I really got 290 00:13:18.320 --> 00:13:21.600 into was his duo records with Bill Evans. You know, 291 00:13:21.639 --> 00:13:25.799 he has this record called Intermodulation and also Undercurrent, especially Undercurrent, 292 00:13:27.159 --> 00:13:30.559 and I was always really inspired by, like how they 293 00:13:30.799 --> 00:13:32.679 It was almost like a telepathy that they had with 294 00:13:32.720 --> 00:13:35.639 each other. And so I very quickly kind of got 295 00:13:35.679 --> 00:13:39.679 into not just you know, the notes and stuff and 296 00:13:40.000 --> 00:13:44.600 the technique, but kind of the the collaboration. So records 297 00:13:44.639 --> 00:13:45.960 where I could felt like there was a lot of 298 00:13:46.000 --> 00:13:51.200 collaboration and dialogue between the group always kind of moved me. 299 00:13:51.440 --> 00:13:53.519 That's another reason why I was big into the Bill 300 00:13:53.559 --> 00:13:56.679 Evans Trio records, especially like the Live at the Village 301 00:13:56.759 --> 00:14:01.120 Vanguard stuff that's kind of like an iconic record in 302 00:14:01.159 --> 00:14:06.000 my own upbringing. You know, I can remember like pivotal 303 00:14:06.039 --> 00:14:09.120 moments of my life where I was like unsure of 304 00:14:09.200 --> 00:14:11.320 something and I'd put on you know, Bill Evans Trio 305 00:14:11.399 --> 00:14:14.919 Live at the Village Vanguard to kind of you know, we. 306 00:14:14.799 --> 00:14:18.279 All have a particular set of music or whatever that 307 00:14:18.320 --> 00:14:20.440 we can go back to at times when we really 308 00:14:20.480 --> 00:14:22.240 need it, and the plays of an important role. 309 00:14:22.720 --> 00:14:25.600 Yeah, But I always find with those records it's I 310 00:14:25.639 --> 00:14:28.279 listened to them over and over and it still amazes me, 311 00:14:28.320 --> 00:14:30.480 you know, and I can know every note and now 312 00:14:30.519 --> 00:14:32.120 at this point, I know what's going to happen, I 313 00:14:32.799 --> 00:14:36.080 know the comping rhythms at this point, but it still 314 00:14:36.120 --> 00:14:39.279 sounds like they're just they're just you know, they just 315 00:14:39.360 --> 00:14:41.399 recorded it yesterday and they had you know, they hadn't 316 00:14:41.440 --> 00:14:43.440 rehearsed it or everything was just so tight and so 317 00:14:44.080 --> 00:14:48.000 kind of in sync. So records like that. But Jim 318 00:14:48.039 --> 00:14:50.639 Hall in terms of like tone, I always loved his 319 00:14:50.759 --> 00:14:54.159 tone and his use of space. Then I got big 320 00:14:54.200 --> 00:14:57.559 into Joe Pass. I mean, I don't know a guitar 321 00:14:57.600 --> 00:15:00.639 player who's not influenced by Joe Pass. But being a 322 00:15:00.679 --> 00:15:03.519 classical guitarist and playing a lot of solo fingerstyle stuff, 323 00:15:04.039 --> 00:15:05.799 Joe Pass is kind of like one of my main 324 00:15:07.000 --> 00:15:10.080 guys that I really just love to study and copy, 325 00:15:10.320 --> 00:15:12.039 you know, copy a lot of stuff. I mean, he's 326 00:15:12.240 --> 00:15:15.240 he plays a lot of great licks that everybody plays, 327 00:15:15.240 --> 00:15:18.639 but you know they're Joe Pass licks. 328 00:15:19.440 --> 00:15:20.679 So he's a big one. 329 00:15:20.720 --> 00:15:23.440 And then I kind of got really big into I 330 00:15:23.440 --> 00:15:24.799 went through like a little Grand Green thing. 331 00:15:24.799 --> 00:15:27.320 I think everybody loves Grand Green and his blues feel. 332 00:15:28.279 --> 00:15:30.240 But then I kind of got heavy into Pat Metheni 333 00:15:30.279 --> 00:15:33.000 for a while, and I think I kind of a 334 00:15:33.039 --> 00:15:33.720 fusion guy. 335 00:15:33.799 --> 00:15:37.480 I labeled as if you and I'm not a chance 336 00:15:37.919 --> 00:15:41.080 a historician like yourself, but it's that's what comes to 337 00:15:41.320 --> 00:15:42.200 mind when you hear. 338 00:15:42.080 --> 00:15:44.679 His yeah and actually his more fusions. 339 00:15:44.720 --> 00:15:46.200 You know, one of the things I love about Papadini 340 00:15:46.279 --> 00:15:47.879 is when you try to put you know, when you 341 00:15:47.919 --> 00:15:50.159 try to define him, he goes in another direction, which 342 00:15:50.200 --> 00:15:54.279 I love. But you know, there's certainly records that are 343 00:15:54.559 --> 00:15:56.480 very much you could call them fusion that he did, 344 00:15:56.519 --> 00:15:58.960 and that's usually actually not my favorite stuff by him. 345 00:15:58.960 --> 00:16:02.960 My real favor stuff by him is the stuff that 346 00:16:03.000 --> 00:16:05.440 he does more straight ahead jazz stuff on because I 347 00:16:05.519 --> 00:16:10.480 like how he approaches it, because the fusion stuff is not, 348 00:16:10.799 --> 00:16:15.320 like probably not my favorite type of format in terms 349 00:16:15.320 --> 00:16:18.559 of how I kind of hear, you know, the music 350 00:16:18.679 --> 00:16:23.120 compositionally and improvisationally. But I like when he plays more 351 00:16:23.200 --> 00:16:25.679 straight ahead or bebop stuff, but he comes at it 352 00:16:25.720 --> 00:16:28.840 with such a unique style that's kind of rooted in. 353 00:16:28.879 --> 00:16:32.039 Rock and fusion. And I don't know. 354 00:16:32.000 --> 00:16:34.159 I just some about that, But like his trio records 355 00:16:34.200 --> 00:16:36.480 are actually my favorite. Some of my favorite records, like 356 00:16:36.799 --> 00:16:39.120 stuff that he has a great record with Dave Holland 357 00:16:39.120 --> 00:16:41.559 and Roy Haynes. I think that's called question and answer, 358 00:16:41.639 --> 00:16:45.120 I want to say, And his trio album like ninety 359 00:16:45.200 --> 00:16:46.919 nine two thousand that's another record. 360 00:16:46.919 --> 00:16:47.919 I remember just. 361 00:16:47.879 --> 00:16:51.440 Being blown away by he played steel string guitar on it, 362 00:16:52.279 --> 00:16:54.919 and I remember being really inspired by the compositions that 363 00:16:54.960 --> 00:16:58.000 he wrote. So he kind of really got me interested 364 00:16:58.240 --> 00:17:00.799 in like being a composer a little more like, oh, 365 00:17:00.879 --> 00:17:03.440 you can be a guitar player, but you can also, 366 00:17:03.679 --> 00:17:04.960 you know, be a composer. 367 00:17:05.000 --> 00:17:08.799 And listening to all the you know, he can't. 368 00:17:08.640 --> 00:17:12.440 He wasn't writing tunes that sounded like jazz standards, even 369 00:17:12.480 --> 00:17:14.039 though he was playing with the jazz trio. He was 370 00:17:14.039 --> 00:17:17.440 playing tunes that had you know, pop changes and rock 371 00:17:17.519 --> 00:17:19.960 changes and things that you'd kind of associate maybe a 372 00:17:20.000 --> 00:17:22.359 little more with non jazz groups. And I really got 373 00:17:22.559 --> 00:17:24.559 kind of inspired by that with my own writing. 374 00:17:25.000 --> 00:17:26.799 You know, perfect time if I might jump in here, 375 00:17:26.920 --> 00:17:31.119 Eric too, because it's a word that's popped up versatility. 376 00:17:31.440 --> 00:17:35.039 You consider yourself a versatile musician. I got that from 377 00:17:35.079 --> 00:17:37.839 reading your bio and meeting you, etc. And some of 378 00:17:37.839 --> 00:17:40.880 the things that you describe from these other musicians is 379 00:17:40.880 --> 00:17:43.359 their versatility that they may be great with in a 380 00:17:43.359 --> 00:17:46.680 particular genre, but they can play a lot of different 381 00:17:46.920 --> 00:17:52.960 ways and continue to improvise and create original material. Why 382 00:17:52.960 --> 00:17:55.000 do you feel it's important for someone to be a 383 00:17:55.119 --> 00:17:58.680 versatile musician. It's always amazing to me. I have friends. 384 00:17:58.759 --> 00:18:01.960 Ken Harden comes to mind. I watch him and sometimes 385 00:18:01.960 --> 00:18:05.599 in any given event he'll play three or four different instruments, 386 00:18:05.599 --> 00:18:09.119 And well, why is it, Why is it important, especially 387 00:18:09.200 --> 00:18:12.079 today for a musician to have that kind of versatility. 388 00:18:12.759 --> 00:18:14.599 Yeah, I mean I think it's a good question. 389 00:18:14.680 --> 00:18:17.799 And you know, sometimes you want to specialize, you know, 390 00:18:17.880 --> 00:18:20.880 like sometimes nobody wants to be mediocre at a lot 391 00:18:20.880 --> 00:18:23.720 of things, right, so, you know, part of us always 392 00:18:23.759 --> 00:18:26.680 wants to be like really focused, you know, and sometimes 393 00:18:26.680 --> 00:18:29.359 that comes with like a genre. Like you know, for 394 00:18:29.400 --> 00:18:31.880 a while, I wanted to like really be like a 395 00:18:32.759 --> 00:18:38.920 modern jazz guitar player, you know, but there there was 396 00:18:38.960 --> 00:18:41.119 already like five of those in New York that were 397 00:18:41.119 --> 00:18:43.039 getting most of the gigs. So there wasn't a whole 398 00:18:43.079 --> 00:18:45.519 lot of work for another one that sounded like the 399 00:18:45.559 --> 00:18:50.640 other five anyways, And you know, I think just there's 400 00:18:50.720 --> 00:18:52.960 too much great other music out there that I still 401 00:18:52.960 --> 00:18:57.839