WEBVTT

1
00:00:00.720 --> 00:00:03.799
<v Speaker 1>You're listening to Later with Moe Kelly on de Man

2
00:00:04.120 --> 00:00:06.000
<v Speaker 1>from KFI AM six forty.

3
00:00:06.160 --> 00:00:09.519
<v Speaker 2>The spirit of jazz vocal gymnast al Jiou has been

4
00:00:09.560 --> 00:00:14.119
<v Speaker 2>revived in a rare lost live recording back from nineteen

5
00:00:14.240 --> 00:00:18.239
<v Speaker 2>seventy six. The new album includes five songs never before

6
00:00:18.359 --> 00:00:21.719
<v Speaker 2>on a live Durou recording, and it's titled Al Jiou

7
00:00:22.039 --> 00:00:26.640
<v Speaker 2>Wow Live at the Child Herald in Washington, DC. In fact,

8
00:00:26.679 --> 00:00:29.800
<v Speaker 2>it was Durou's first performance ever in DC, and the

9
00:00:29.879 --> 00:00:32.880
<v Speaker 2>audio has been missing for the forty eight years since.

10
00:00:33.200 --> 00:00:36.280
<v Speaker 2>It will be released on November twenty ninth, Yes Black Friday,

11
00:00:36.640 --> 00:00:40.640
<v Speaker 2>as a limited edition to LP set at select independent

12
00:00:40.759 --> 00:00:43.960
<v Speaker 2>record stores, but you can pre order it online now.

13
00:00:44.320 --> 00:00:47.479
<v Speaker 2>Joining me to talk jazz and diro Is music journalist

14
00:00:47.520 --> 00:00:48.560
<v Speaker 2>and musicologists.

15
00:00:48.640 --> 00:00:51.439
<v Speaker 3>Hey Scott Galloway, Scott is good to see you. My

16
00:00:51.479 --> 00:00:53.079
<v Speaker 3>friend has been way too long. How you been.

17
00:00:53.679 --> 00:00:56.079
<v Speaker 4>I've been hanging in there, brother, and it's always a

18
00:00:56.119 --> 00:00:58.640
<v Speaker 4>pleasure to hear and see you at the same time.

19
00:00:58.679 --> 00:01:00.920
<v Speaker 4>I'm used to hearing you, but seeing you as an

20
00:01:00.920 --> 00:01:01.640
<v Speaker 4>extra pleasure.

21
00:01:02.560 --> 00:01:06.480
<v Speaker 2>I appreciate that my friend Algio wasn't just special as

22
00:01:06.519 --> 00:01:10.840
<v Speaker 2>a singer. He was special as a musician, imitating instruments

23
00:01:10.840 --> 00:01:14.400
<v Speaker 2>and providing a musical exchange with audiences that I would

24
00:01:14.400 --> 00:01:17.239
<v Speaker 2>say most people didn't hear or had not heard before.

25
00:01:17.400 --> 00:01:20.560
<v Speaker 2>In the times I met him, I never, and I

26
00:01:20.599 --> 00:01:24.000
<v Speaker 2>mean never, did I see him without a smile. Yeah,

27
00:01:24.079 --> 00:01:26.760
<v Speaker 2>he had this ever present joy about him. What were

28
00:01:26.840 --> 00:01:29.879
<v Speaker 2>your personal memories of Algio the person?

29
00:01:30.680 --> 00:01:33.680
<v Speaker 4>Oh man Al was just the warmest cat. He was

30
00:01:33.719 --> 00:01:36.920
<v Speaker 4>a lot of fun. I had the honor of interviewing

31
00:01:37.000 --> 00:01:41.719
<v Speaker 4>him the Delmonico Seafood House and Ensino for several hours

32
00:01:41.840 --> 00:01:45.719
<v Speaker 4>man for his album Tomorrow Today, and it's one of

33
00:01:45.760 --> 00:01:49.920
<v Speaker 4>the most incredible interviews I've ever had. I most particularly

34
00:01:49.959 --> 00:01:54.079
<v Speaker 4>remember having him break down every lyric that he wrote

35
00:01:54.159 --> 00:01:58.519
<v Speaker 4>for a song called Oh Remarking Me that was written

36
00:01:58.560 --> 00:02:00.920
<v Speaker 4>by Jose Aweno and then heed it into a song

37
00:02:01.000 --> 00:02:04.599
<v Speaker 4>called something that You Said, and for him to break

38
00:02:04.680 --> 00:02:07.959
<v Speaker 4>down every single line of it because it was very

39
00:02:08.360 --> 00:02:12.680
<v Speaker 4>metaphorical and poetic and win in so many directions. And

40
00:02:13.319 --> 00:02:15.520
<v Speaker 4>he loved doing it because I don't think anybody had

41
00:02:15.520 --> 00:02:17.919
<v Speaker 4>ever asked him to do anything like that before. And

42
00:02:18.120 --> 00:02:21.520
<v Speaker 4>I just had a ball listening to him as a lyricist,

43
00:02:21.560 --> 00:02:23.719
<v Speaker 4>you know, really breaking down lyricists. We all know that

44
00:02:23.759 --> 00:02:27.520
<v Speaker 4>he was an incomparable singer, but just a really warm guy,

45
00:02:27.560 --> 00:02:30.719
<v Speaker 4>a smart guy, a lot of humanity for the world,

46
00:02:31.560 --> 00:02:33.360
<v Speaker 4>just an honor man. And I saw him a concert

47
00:02:33.639 --> 00:02:36.439
<v Speaker 4>at least ten times, and it was always like Uncle

48
00:02:36.520 --> 00:02:41.159
<v Speaker 4>Ale on stage, rocking it and bringing you good times,

49
00:02:41.199 --> 00:02:43.120
<v Speaker 4>you know, just bringing the good times.

50
00:02:43.400 --> 00:02:47.000
<v Speaker 2>It's interesting how you characterized him as a lyricist. I

51
00:02:47.199 --> 00:02:53.039
<v Speaker 2>struggled to adequately describe the fullness of his abilities, his talents,

52
00:02:53.360 --> 00:02:56.280
<v Speaker 2>his music. He was unique in that, at the height

53
00:02:56.319 --> 00:02:59.520
<v Speaker 2>of his career he was receiving airplay across a variety

54
00:02:59.560 --> 00:03:02.000
<v Speaker 2>of four me from jazz to R and B to

55
00:03:02.120 --> 00:03:05.360
<v Speaker 2>pop stations. People learned of him at different times, in

56
00:03:05.439 --> 00:03:06.840
<v Speaker 2>different points in his career.

57
00:03:07.199 --> 00:03:09.400
<v Speaker 3>How did you first hear of him musically?

58
00:03:10.159 --> 00:03:14.280
<v Speaker 4>I was over my friend Eric's house and his mother, Judy,

59
00:03:14.680 --> 00:03:16.840
<v Speaker 4>had a wonderful record collection. She was the one that

60
00:03:16.879 --> 00:03:20.159
<v Speaker 4>would have stuff like Ashford and Simpson and ROBERTA. Flack

61
00:03:20.280 --> 00:03:24.800
<v Speaker 4>and other people, and she had the Algia live album

62
00:03:25.080 --> 00:03:29.280
<v Speaker 4>Look to the Rainbow, and man, I mean that record.

63
00:03:29.560 --> 00:03:31.759
<v Speaker 4>I mean I was always I was already into jazz

64
00:03:31.759 --> 00:03:34.000
<v Speaker 4>and stuff. My parents had great had a great record

65
00:03:34.039 --> 00:03:37.479
<v Speaker 4>collection as well, but we did not have Algio and

66
00:03:37.599 --> 00:03:40.960
<v Speaker 4>that record was a two album set live in Europe,

67
00:03:41.520 --> 00:03:44.280
<v Speaker 4>and I just felt like the hips kid on the

68
00:03:44.319 --> 00:03:48.080
<v Speaker 4>planet getting into him doing things like take five, the

69
00:03:48.120 --> 00:03:52.280
<v Speaker 4>great Dave Grupbek song, and all of his gymnastic vocals

70
00:03:52.319 --> 00:03:55.319
<v Speaker 4>on that, you know, his mouth percussion and a whole

71
00:03:55.400 --> 00:03:59.000
<v Speaker 4>solo of this acapella you know, mouth beats, you know,

72
00:03:59.400 --> 00:04:02.560
<v Speaker 4>before the human and beat box, before hip hop, al

73
00:04:02.639 --> 00:04:05.960
<v Speaker 4>was doing this thing, man, And then beautiful songs like

74
00:04:06.039 --> 00:04:10.280
<v Speaker 4>We Got By, and particularly one called you Don't See Me,

75
00:04:10.680 --> 00:04:14.080
<v Speaker 4>which is also on this new project, and it's one

76
00:04:14.120 --> 00:04:17.240
<v Speaker 4>of the songs I was most interested in bringing to

77
00:04:17.279 --> 00:04:21.360
<v Speaker 4>your attention because it's a song he recorded many times,

78
00:04:21.879 --> 00:04:24.959
<v Speaker 4>but most people kind of never got it or you know,

79
00:04:25.000 --> 00:04:28.920
<v Speaker 4>it wasn't ever really talked about in the press, and

80
00:04:28.959 --> 00:04:33.000
<v Speaker 4>it's probably his most you know, militant socio political tune

81
00:04:33.360 --> 00:04:35.199
<v Speaker 4>from a black man's point of view. You know, it's

82
00:04:35.199 --> 00:04:37.439
<v Speaker 4>talked about you don't see Me. You know, I'm out

83
00:04:37.480 --> 00:04:40.000
<v Speaker 4>here doing the best I can. I'm beating the pavement

84
00:04:40.360 --> 00:04:43.160
<v Speaker 4>and you don't care. And so guess what, you know,

85
00:04:43.240 --> 00:04:45.639
<v Speaker 4>I'm just going to flip the script, and it's kind

86
00:04:45.639 --> 00:04:52.120
<v Speaker 4>of about how the seeds of gangsterism and crime and

87
00:04:52.199 --> 00:04:55.839
<v Speaker 4>whatever well up and certain brothers in the hood because

88
00:04:55.839 --> 00:04:58.040
<v Speaker 4>they haven't been seen, they haven't been given a chance.

89
00:04:58.240 --> 00:05:00.839
<v Speaker 4>It's kind of like a chin to songs like Little

90
00:05:00.879 --> 00:05:04.519
<v Speaker 4>Child Running Wild from Superfly or The Whispers had a

91
00:05:04.560 --> 00:05:07.560
<v Speaker 4>song that was also along the same lines. But most

92
00:05:07.560 --> 00:05:10.759
<v Speaker 4>people think about Bro like you said, moonlighting and they're

93
00:05:10.879 --> 00:05:13.879
<v Speaker 4>in this love together and mourning, and you know, they

94
00:05:13.879 --> 00:05:15.759
<v Speaker 4>think of him as his great jazz vocalist of that.

95
00:05:15.879 --> 00:05:19.000
<v Speaker 4>But when he wrote his own material, a lot of

96
00:05:19.040 --> 00:05:23.199
<v Speaker 4>it was very deep. And that particular song is on

97
00:05:23.360 --> 00:05:27.120
<v Speaker 4>the new project. It's on originally from his album, his

98
00:05:27.319 --> 00:05:30.160
<v Speaker 4>very first album, We Got By. He did it on

99
00:05:30.240 --> 00:05:32.439
<v Speaker 4>Look to the Rainbow. He did it again on Tenderness Like.

100
00:05:32.480 --> 00:05:36.399
<v Speaker 4>He never let that song leave his live performances in Cannon,

101
00:05:36.759 --> 00:05:40.000
<v Speaker 4>but for whatever reason, it never got a lot of focus.

102
00:05:40.519 --> 00:05:43.680
<v Speaker 4>I definitely want to point your listeners in the direction

103
00:05:44.279 --> 00:05:47.120
<v Speaker 4>of that particular song. The album has love songs, it

104
00:05:47.120 --> 00:05:49.600
<v Speaker 4>has a lot of fun things on it, and you

105
00:05:49.639 --> 00:05:54.399
<v Speaker 4>get to hear Al sing al on stage and just personable,

106
00:05:54.920 --> 00:05:58.279
<v Speaker 4>good humored guy. But I definitely direct people to the

107
00:05:58.319 --> 00:06:01.480
<v Speaker 4>song you Don't See Me. It'll be eye opening for

108
00:06:01.519 --> 00:06:04.680
<v Speaker 4>a lot of people, and I think it's super relevant

109
00:06:04.720 --> 00:06:07.120
<v Speaker 4>once again with what we have going on and about

110
00:06:07.120 --> 00:06:08.519
<v Speaker 4>to go on in this country.

111
00:06:08.920 --> 00:06:11.160
<v Speaker 2>I will play that as the bumper as the lead

112
00:06:11.199 --> 00:06:14.879
<v Speaker 2>into our next segment. But Scott, I wonder if you

113
00:06:15.079 --> 00:06:17.720
<v Speaker 2>perceive the fullness of his career as I do with

114
00:06:17.800 --> 00:06:20.319
<v Speaker 2>all of that that you said, I think it lends

115
00:06:20.360 --> 00:06:23.879
<v Speaker 2>credence what I'm about to allege that al Jiau, despite

116
00:06:23.959 --> 00:06:27.920
<v Speaker 2>all of his acclaim, despite how the world loved him musically,

117
00:06:28.120 --> 00:06:31.639
<v Speaker 2>I felt that he never got his just due as

118
00:06:31.720 --> 00:06:36.959
<v Speaker 2>an artist for the fullness of his talent, career and contributions.

119
00:06:37.199 --> 00:06:38.639
<v Speaker 2>Would you agree with that anyway?

120
00:06:39.279 --> 00:06:42.279
<v Speaker 4>Oh, I'd absolutely agree. There are very few people, I mean,

121
00:06:42.279 --> 00:06:44.720
<v Speaker 4>there are people out there that do get that breath

122
00:06:44.800 --> 00:06:47.240
<v Speaker 4>in depth because you know, you start off doing cover

123
00:06:47.480 --> 00:06:51.560
<v Speaker 4>material James Taylor and again to Dave Brubak piece and

124
00:06:52.160 --> 00:06:54.800
<v Speaker 4>all that, but he was always doing original material and

125
00:06:54.839 --> 00:06:59.000
<v Speaker 4>his material spanned from pop to blues, through gospel, tanged

126
00:06:59.319 --> 00:07:04.079
<v Speaker 4>to He is most often considered to be a jazz musician,

127
00:07:04.160 --> 00:07:08.279
<v Speaker 4>but he's really not. He's just somebody that incorporated jazz

128
00:07:08.319 --> 00:07:13.199
<v Speaker 4>in a very fluid and proactive way in his music.

129
00:07:13.680 --> 00:07:16.839
<v Speaker 4>But his music had some of everything in it. And

130
00:07:16.879 --> 00:07:18.839
<v Speaker 4>because of that, I think he touched a lot of

131
00:07:18.839 --> 00:07:22.560
<v Speaker 4>different niches, but there's very few people that just have

132
00:07:22.759 --> 00:07:27.639
<v Speaker 4>really absorbed a wail of what that brother was about.

133
00:07:28.040 --> 00:07:32.639
<v Speaker 4>Just an incredible, all around original, one of a kind musician.

134
00:07:32.959 --> 00:07:33.720
<v Speaker 3>If you just two to get.

135
00:07:33.759 --> 00:07:37.759
<v Speaker 2>My guest right now is a Scott Galloway, Music journalists, musicologists.

136
00:07:37.759 --> 00:07:42.279
<v Speaker 2>We're talking about the new release of Algio Wow Live

137
00:07:42.360 --> 00:07:45.759
<v Speaker 2>at the Child Herald in Washington DC. It'll be released

138
00:07:45.759 --> 00:07:49.319
<v Speaker 2>Black Friday as a limited edition to LP set at

139
00:07:49.439 --> 00:07:53.439
<v Speaker 2>select independent record stores, but you can preorder it online

140
00:07:53.480 --> 00:07:56.480
<v Speaker 2>now more with a Scott Galloway at just a moment.

141
00:07:56.879 --> 00:08:00.480
<v Speaker 1>You're listening to Later with Moe Kelly on demand from

142
00:08:00.560 --> 00:08:02.120
<v Speaker 1>KFI A six forty.

143
00:08:02.399 --> 00:08:05.000
<v Speaker 2>My guest right now a Scott Galloway, as we talk

144
00:08:05.079 --> 00:08:09.319
<v Speaker 2>about this new posthumous release of Algio, which is titled

145
00:08:09.360 --> 00:08:13.319
<v Speaker 2>Algiou Wow Live of the Child Herald in Washington, d C.

146
00:08:13.879 --> 00:08:18.120
<v Speaker 2>It's been uncovered after some forty eight years and includes

147
00:08:18.519 --> 00:08:23.040
<v Speaker 2>new songs covers of some hit songs. Scott, let's get

148
00:08:23.079 --> 00:08:26.720
<v Speaker 2>into that. Take me to Washington, d C. And I know,

149
00:08:26.800 --> 00:08:29.120
<v Speaker 2>and you know, Washington, d C. Is obviously best known

150
00:08:29.160 --> 00:08:33.440
<v Speaker 2>for politics, but it's also had a vibrant music and

151
00:08:33.600 --> 00:08:36.679
<v Speaker 2>jazz scene. I know that first dand but it struck

152
00:08:36.759 --> 00:08:41.000
<v Speaker 2>me that this performance of Algio was his first in Washington, DC.

153
00:08:41.360 --> 00:08:43.519
<v Speaker 2>And I think he was around thirty six at the time.

154
00:08:43.960 --> 00:08:45.720
<v Speaker 2>Why do you think, and there's no way to know,

155
00:08:45.799 --> 00:08:47.720
<v Speaker 2>but why do you think it took him so long

156
00:08:47.759 --> 00:08:48.799
<v Speaker 2>to make his way to DC.

157
00:08:49.679 --> 00:08:54.159
<v Speaker 4>Well, he's from Milwaukee and he moved from there to California,

158
00:08:54.200 --> 00:08:58.200
<v Speaker 4>where he had a very slow burning rise up through

159
00:08:58.919 --> 00:09:02.360
<v Speaker 4>the ranks of recognized. He played a club out in

160
00:09:02.600 --> 00:09:04.919
<v Speaker 4>Los Angeles, actually in the San Fernando Valley called the

161
00:09:04.919 --> 00:09:07.480
<v Speaker 4>Black Black Cafe kind of set up there and he

162
00:09:07.559 --> 00:09:09.960
<v Speaker 4>was playing, you know, once a week. He had a residency,

163
00:09:10.559 --> 00:09:14.200
<v Speaker 4>and you know, he just really started there and his

164
00:09:14.320 --> 00:09:17.720
<v Speaker 4>music was very grassroots, so he didn't initially once he

165
00:09:17.799 --> 00:09:21.000
<v Speaker 4>got signed to Warner Brothers, he wasn't getting to do

166
00:09:21.120 --> 00:09:24.879
<v Speaker 4>a whole lot of traveling because his records didn't warrant

167
00:09:25.000 --> 00:09:26.840
<v Speaker 4>the sales. You know, they're trying to figure out what

168
00:09:26.879 --> 00:09:29.080
<v Speaker 4>to do with them. They knew they had a talented cat,

169
00:09:29.440 --> 00:09:33.320
<v Speaker 4>but they didn't quite know exactly how to promote him

170
00:09:33.399 --> 00:09:37.200
<v Speaker 4>and get him heard. So it's through the radio station.

171
00:09:37.440 --> 00:09:40.799
<v Speaker 4>I think it was WHYZ, but also have to say

172
00:09:40.799 --> 00:09:43.759
<v Speaker 4>that the Quiet Storm station most likely had something to

173
00:09:43.799 --> 00:09:47.799
<v Speaker 4>do with it as well. Was WHR. Howard University. They

174
00:09:48.399 --> 00:09:51.600
<v Speaker 4>you know, you have a cosmopolitan kind of an audience

175
00:09:51.759 --> 00:09:54.519
<v Speaker 4>in that area and people that are arts oriented and

176
00:09:54.600 --> 00:09:58.240
<v Speaker 4>people that are open minded and into new things, and

177
00:09:58.279 --> 00:10:01.360
<v Speaker 4>it was a natural kind of peach dish for an artist,

178
00:10:01.639 --> 00:10:05.080
<v Speaker 4>a black man from Milwaukee who's doing, you know, cover

179
00:10:05.200 --> 00:10:09.320
<v Speaker 4>material of James Taylor in a soulful way and also

180
00:10:09.360 --> 00:10:11.799
<v Speaker 4>writing songs and as a little gospel and little R

181
00:10:11.799 --> 00:10:15.720
<v Speaker 4>and B and little jazz in the mid seventies when

182
00:10:16.279 --> 00:10:18.679
<v Speaker 4>you know, there are aspects of the country that are

183
00:10:18.679 --> 00:10:21.159
<v Speaker 4>coming together a little bit more, a little more unity,

184
00:10:21.200 --> 00:10:24.039
<v Speaker 4>a little more being into what's going on the other

185
00:10:24.120 --> 00:10:27.639
<v Speaker 4>sides of the fences. I was like the perfect artist

186
00:10:28.240 --> 00:10:32.159
<v Speaker 4>to blossom in that kind of environment. And he was conscious,

187
00:10:32.200 --> 00:10:35.399
<v Speaker 4>but he was also artful, and he was also you know,

188
00:10:35.440 --> 00:10:38.360
<v Speaker 4>I think he just had an appeal as an artist

189
00:10:38.399 --> 00:10:42.000
<v Speaker 4>that everybody could get into because he wasn't threatening, but

190
00:10:42.120 --> 00:10:44.759
<v Speaker 4>he also wasn't a pushover.

191
00:10:45.399 --> 00:10:48.320
<v Speaker 2>I got the sense when I met him and talk

192
00:10:48.440 --> 00:10:51.200
<v Speaker 2>with him. I was at Warner Brothers a little bit

193
00:10:51.279 --> 00:10:55.039
<v Speaker 2>after him, but we were still cross paths here and there.

194
00:10:55.360 --> 00:10:58.559
<v Speaker 2>I got the sense that there was a degree my word,

195
00:10:59.039 --> 00:11:02.639
<v Speaker 2>of resentment that he was not more widely embraced in

196
00:11:02.679 --> 00:11:03.919
<v Speaker 2>a radio sense.

197
00:11:04.480 --> 00:11:06.159
<v Speaker 3>Did you get that sense as well?

198
00:11:06.919 --> 00:11:09.879
<v Speaker 4>I absolutely did. I mean, this era that we're talking

199
00:11:09.879 --> 00:11:13.440
<v Speaker 4>about is kind of the golden beginning era of algia

200
00:11:13.519 --> 00:11:16.720
<v Speaker 4>where he's his grassroots artist. But as time went on

201
00:11:16.799 --> 00:11:18.960
<v Speaker 4>and he was on Warner Brothers, he really did. I mean,

202
00:11:19.000 --> 00:11:22.320
<v Speaker 4>he literally told me and other people he wanted to

203
00:11:22.360 --> 00:11:24.720
<v Speaker 4>be and felt that he deserved to be as big

204
00:11:24.720 --> 00:11:29.000
<v Speaker 4>as Michael Jackson. He wanted to be on that level,

205
00:11:29.039 --> 00:11:30.840
<v Speaker 4>you know, And him being in the weird of the

206
00:11:30.840 --> 00:11:34.919
<v Speaker 4>world sessions with Quincy Jones is a whole nother story.

207
00:11:34.919 --> 00:11:37.279
<v Speaker 4>But I mean, in that place, man, I'm sure he

208
00:11:37.360 --> 00:11:40.679
<v Speaker 4>was loving it, but also very nervous because Quince he

209
00:11:40.720 --> 00:11:42.879
<v Speaker 4>put him right there. You're right there with Bob Billon,

210
00:11:42.919 --> 00:11:44.759
<v Speaker 4>You're right there with Tina Turner, You're right there with

211
00:11:44.919 --> 00:11:48.639
<v Speaker 4>Lionel all the big people of the day. And he

212
00:11:48.720 --> 00:11:51.120
<v Speaker 4>was an anomaly, you know, because people were still looking

213
00:11:51.159 --> 00:11:55.159
<v Speaker 4>at him as a jazz musician, and the early fans,

214
00:11:55.320 --> 00:11:57.720
<v Speaker 4>some of them kind of resented, you know. You get

215
00:11:57.840 --> 00:12:00.879
<v Speaker 4>you know, the fans that like you certain way, and

216
00:12:00.960 --> 00:12:03.080
<v Speaker 4>they might have felt he got too commercial and he

217
00:12:03.159 --> 00:12:07.679
<v Speaker 4>got tupop and he has videos on MTV and BET

218
00:12:07.799 --> 00:12:10.240
<v Speaker 4>and VH one more likely more VH one be et

219
00:12:11.159 --> 00:12:12.919
<v Speaker 4>and it's like, you're getting away from the jazz, You're

220
00:12:12.960 --> 00:12:15.200
<v Speaker 4>getting away from the adult music that we really like

221
00:12:15.279 --> 00:12:19.120
<v Speaker 4>from you, you know. But at heart, Al always had

222
00:12:19.159 --> 00:12:23.360
<v Speaker 4>an identity issue. You know. There were audiences that really

223
00:12:23.440 --> 00:12:27.320
<v Speaker 4>looked at him as a jazz artist, but his heart

224
00:12:27.440 --> 00:12:32.039
<v Speaker 4>was way bigger and it didn't always sit well with

225
00:12:32.120 --> 00:12:34.440
<v Speaker 4>him that people wanted him to just go back and

226
00:12:34.480 --> 00:12:37.360
<v Speaker 4>be that guy that he started off as. He really

227
00:12:37.399 --> 00:12:41.000
<v Speaker 4>had superstar aspirations and that's why his music took the

228
00:12:41.120 --> 00:12:43.360
<v Speaker 4>changes that it did, and it they did him a

229
00:12:43.440 --> 00:12:46.399
<v Speaker 4>larger audience, but of course he never became as big

230
00:12:46.639 --> 00:12:48.440
<v Speaker 4>as the others. He was a platinum seller and a

231
00:12:48.519 --> 00:12:51.559
<v Speaker 4>multi Grammy winner, but I think at the end of

232
00:12:51.600 --> 00:12:53.720
<v Speaker 4>the day, by the end of his career, he was

233
00:12:53.759 --> 00:12:58.000
<v Speaker 4>back to doing pretty much jazz material, working with jazz bands,

234
00:12:58.559 --> 00:13:02.639
<v Speaker 4>big bands, classical orchestras in that sort of thing.

235
00:13:03.159 --> 00:13:05.759
<v Speaker 2>In my introduction, as we go to this next commercial break,

236
00:13:05.799 --> 00:13:09.519
<v Speaker 2>I indicated or introduced him as a jazz vocalist. But

237
00:13:09.679 --> 00:13:13.039
<v Speaker 2>I never wanted to undersell what he did. But that's

238
00:13:13.279 --> 00:13:17.120
<v Speaker 2>most often the reference point people have for Algiou, So

239
00:13:17.360 --> 00:13:19.919
<v Speaker 2>A Scott Galloway. When we come back, let's get into

240
00:13:20.000 --> 00:13:25.120
<v Speaker 2>this new two LP set titled Algiou Wow Live at

241
00:13:25.120 --> 00:13:27.279
<v Speaker 2>the Child Harold in Washington DC.

242
00:13:27.480 --> 00:13:28.639
<v Speaker 3>Can you do that for me, sir?

243
00:13:28.919 --> 00:13:29.600
<v Speaker 4>Absolutely.

244
00:13:30.159 --> 00:13:33.720
<v Speaker 1>You're listening to Later with Moe Kelly on demand from

245
00:13:33.840 --> 00:13:36.159
<v Speaker 1>KFI AM six forty KFI.

246
00:13:36.279 --> 00:13:39.080
<v Speaker 2>Mo Kelly here with A Scott Galloway as we talk

247
00:13:39.159 --> 00:13:43.960
<v Speaker 2>about the late al Giau, his musical contributions and obviously

248
00:13:44.120 --> 00:13:47.559
<v Speaker 2>how he was I would say underappreciated. But some of

249
00:13:47.600 --> 00:13:49.879
<v Speaker 2>that is about to change, as there is a new

250
00:13:50.039 --> 00:13:55.320
<v Speaker 2>uncovered recording titled Algiau Wow Live at the Child Harold

251
00:13:55.639 --> 00:13:59.360
<v Speaker 2>in Washington, DC, his live set recorded some forty eight

252
00:13:59.399 --> 00:14:03.320
<v Speaker 2>years ago. Well now seeing and hearing the light of day.

253
00:14:03.679 --> 00:14:06.919
<v Speaker 2>It will be released officially black Friday as a limited

254
00:14:07.120 --> 00:14:11.679
<v Speaker 2>edition two LP set at select independent record stores. Music

255
00:14:11.720 --> 00:14:15.320
<v Speaker 2>journalists and musicologists. A. Scott Galloway has been joining me

256
00:14:15.360 --> 00:14:18.159
<v Speaker 2>since the top of the hour. We're talking about the life,

257
00:14:18.440 --> 00:14:22.120
<v Speaker 2>career and legacy of Algio. Now, Scott, let's get into

258
00:14:22.320 --> 00:14:26.080
<v Speaker 2>Algiou Wow Live at the Child Herald in Washington, d C.

259
00:14:26.559 --> 00:14:30.080
<v Speaker 2>Give us some context as to why this album is

260
00:14:30.519 --> 00:14:31.399
<v Speaker 2>and what it is.

261
00:14:32.200 --> 00:14:35.799
<v Speaker 4>Okay, this album is very important. Wow Live at the

262
00:14:35.840 --> 00:14:39.559
<v Speaker 4>Child Herald is important because it is a live recording

263
00:14:39.600 --> 00:14:43.240
<v Speaker 4>that document him just at the week of release of

264
00:14:43.320 --> 00:14:46.720
<v Speaker 4>his second album Blow. He's in Washington, d C. He's

265
00:14:46.720 --> 00:14:49.840
<v Speaker 4>got a new an audience that's really curious about him

266
00:14:49.879 --> 00:14:55.039
<v Speaker 4>and everything, and he's had two albums and this record,

267
00:14:55.240 --> 00:14:58.639
<v Speaker 4>you know, it shows somebody really incredible just at that

268
00:14:58.879 --> 00:15:03.919
<v Speaker 4>percolating about to take off period, which is super important.

269
00:15:03.919 --> 00:15:06.480
<v Speaker 4>But in the case of al Gireau, what we've all

270
00:15:06.559 --> 00:15:09.519
<v Speaker 4>learned over the years is that his records were one thing,

271
00:15:09.759 --> 00:15:12.960
<v Speaker 4>but seeing him live was another. And to hear the

272
00:15:13.000 --> 00:15:17.679
<v Speaker 4>material that he is doing in this concert, with the

273
00:15:18.200 --> 00:15:21.279
<v Speaker 4>reprotee that he has and the vibe that he gets

274
00:15:21.399 --> 00:15:24.919
<v Speaker 4>and develops with the audience, it's just really special. I mean,

275
00:15:24.960 --> 00:15:28.600
<v Speaker 4>his next official album, after Blow, which is the one

276
00:15:28.639 --> 00:15:30.960
<v Speaker 4>that he was throwing for at the time, was a

277
00:15:30.960 --> 00:15:33.960
<v Speaker 4>live record and he was before a much bigger audience

278
00:15:34.279 --> 00:15:38.240
<v Speaker 4>in Europe. But this one captures him two years earlier,

279
00:15:38.519 --> 00:15:40.759
<v Speaker 4>actually about just a little over a year earlier, and

280
00:15:40.840 --> 00:15:45.159
<v Speaker 4>he's developing all the things that became special. You hear

281
00:15:45.519 --> 00:15:48.919
<v Speaker 4>some of the editing that happened with him later, where

282
00:15:48.919 --> 00:15:52.759
<v Speaker 4>he was refining things. Here on Wow, it's more raw.

283
00:15:53.240 --> 00:15:56.360
<v Speaker 4>You hear him working things out that would become staples

284
00:15:56.759 --> 00:16:00.799
<v Speaker 4>of his act. His balancing act of all different styles

285
00:16:00.799 --> 00:16:04.960
<v Speaker 4>of music, is balancing act of humor and social commentary,

286
00:16:05.240 --> 00:16:07.879
<v Speaker 4>is balancing act of R and B and pop and

287
00:16:07.960 --> 00:16:10.879
<v Speaker 4>all that jazz. And it's just him with a trio.

288
00:16:11.360 --> 00:16:13.799
<v Speaker 4>Tom Canning is the keyboard player that he brought with

289
00:16:13.879 --> 00:16:18.399
<v Speaker 4>him from Los Angeles. They got two pickup musicians on

290
00:16:19.600 --> 00:16:24.279
<v Speaker 4>bass and drums, and they just we're just going to town. Man.

291
00:16:24.480 --> 00:16:28.879
<v Speaker 4>It's like hearing somebody just about to truly be born.

292
00:16:29.039 --> 00:16:30.799
<v Speaker 4>It's just like nothing that you're going to hear. If

293
00:16:30.799 --> 00:16:33.600
<v Speaker 4>you're an algi Ro fan already, you're going to be

294
00:16:33.679 --> 00:16:37.360
<v Speaker 4>thrilled to hear this. And if you haven't really gotten

295
00:16:37.360 --> 00:16:39.960
<v Speaker 4>into him before, they're going to be like, wow, you know,

296
00:16:40.039 --> 00:16:43.840
<v Speaker 4>this is a raw document of something amazing that was

297
00:16:43.919 --> 00:16:45.559
<v Speaker 4>just about to break on the bubble.

298
00:16:46.080 --> 00:16:48.960
<v Speaker 2>You have covered music, and I'm not going to limit

299
00:16:49.000 --> 00:16:52.320
<v Speaker 2>you to any genre, but you've covered music for the

300
00:16:52.360 --> 00:16:53.600
<v Speaker 2>better part of forty years?

301
00:16:53.639 --> 00:16:54.440
<v Speaker 3>Is that fair to say?

302
00:16:54.960 --> 00:16:59.320
<v Speaker 4>Yes, I've been in the music industry since nineteen eighty

303
00:16:59.399 --> 00:17:02.840
<v Speaker 4>two and I've been writing about music music since eighty eight.

304
00:17:02.879 --> 00:17:05.200
<v Speaker 4>And in between eighty two and eighty eight I worked

305
00:17:05.200 --> 00:17:09.319
<v Speaker 4>at the Quiet Storm Kute in Los Angeles, which was

306
00:17:09.480 --> 00:17:12.079
<v Speaker 4>you know, Algira was a core artist.

307
00:17:12.079 --> 00:17:16.480
<v Speaker 2>Rush Qute one O two. I remember it well growing up.

308
00:17:16.680 --> 00:17:21.880
<v Speaker 2>But my question is this, how does a music piece

309
00:17:22.039 --> 00:17:24.640
<v Speaker 2>like this, How do the tapes disappear? How does someone

310
00:17:24.920 --> 00:17:28.119
<v Speaker 2>not know that they're sitting around in someone's vault and

311
00:17:28.200 --> 00:17:30.799
<v Speaker 2>then be able to restore it to a level of

312
00:17:30.920 --> 00:17:33.759
<v Speaker 2>quality which can be released. How first, how could they

313
00:17:33.759 --> 00:17:35.640
<v Speaker 2>lose it? And then how can they restore it?

314
00:17:36.000 --> 00:17:38.400
<v Speaker 4>Well, this is an interesting case where I don't believe

315
00:17:38.400 --> 00:17:41.359
<v Speaker 4>the tapes were actually lost. It was a radio broadcast

316
00:17:41.960 --> 00:17:44.440
<v Speaker 4>and so it was and it happened to be recorded

317
00:17:44.559 --> 00:17:47.519
<v Speaker 4>very well, and it happened because it was for broadcast,

318
00:17:47.920 --> 00:17:50.400
<v Speaker 4>and then it was just kind of set aside, and

319
00:17:50.440 --> 00:17:52.880
<v Speaker 4>it was not the kind of thing that anybody ever

320
00:17:53.319 --> 00:17:56.039
<v Speaker 4>back in the day thought was going to be you know,

321
00:17:56.200 --> 00:18:01.240
<v Speaker 4>released as a commercial viable product, you know, but you know,

322
00:18:01.319 --> 00:18:07.000
<v Speaker 4>to the radio station and the venues, good credit, you know,

323
00:18:07.039 --> 00:18:09.559
<v Speaker 4>it was something that was never wiped, never he raised.

324
00:18:09.640 --> 00:18:13.319
<v Speaker 4>It was just set aside. And the story is that

325
00:18:13.680 --> 00:18:16.680
<v Speaker 4>zeb Feldman, who's the producer of this project, uh and

326
00:18:16.920 --> 00:18:22.240
<v Speaker 4>he's world famous as his nickname the Jazz Detective. He

327
00:18:22.359 --> 00:18:26.200
<v Speaker 4>happened to have a conversation with Algero where al told

328
00:18:26.279 --> 00:18:28.759
<v Speaker 4>him about the first time he played in Washington, DC

329
00:18:29.400 --> 00:18:32.599
<v Speaker 4>and at the Child Herald and and what a great

330
00:18:32.640 --> 00:18:36.319
<v Speaker 4>performance it was. And then Zev was having a conversation

331
00:18:36.680 --> 00:18:40.000
<v Speaker 4>with someone else decades later. It happened to be someone

332
00:18:40.039 --> 00:18:42.359
<v Speaker 4>that said, oh, yeah, we you know, we have I

333
00:18:42.400 --> 00:18:44.359
<v Speaker 4>have a recording of that. You know, I was the

334
00:18:44.480 --> 00:18:49.319
<v Speaker 4>engineer for that particular radio station at the time, and

335
00:18:49.400 --> 00:18:52.400
<v Speaker 4>you know we still have the tapes. And Zev, a

336
00:18:52.440 --> 00:18:55.000
<v Speaker 4>big Algio fan, you know, lost his mind. It was

337
00:18:55.039 --> 00:19:00.240
<v Speaker 4>such a beautiful coincidence, such an incredible find, you know,

338
00:19:00.559 --> 00:19:03.640
<v Speaker 4>for Ou to have mentioned that to him and then

339
00:19:03.680 --> 00:19:06.279
<v Speaker 4>for him to meet this guy that actually has the tape.

340
00:19:06.559 --> 00:19:08.519
<v Speaker 4>They didn't have to do a whole lot of fixing

341
00:19:09.039 --> 00:19:11.160
<v Speaker 4>or digging or whatever. They really just had to deal

342
00:19:11.200 --> 00:19:13.480
<v Speaker 4>with making sure that the rights were fine with the

343
00:19:13.559 --> 00:19:15.960
<v Speaker 4>Alt d Row of State and with Warner Brothers, who

344
00:19:16.000 --> 00:19:18.799
<v Speaker 4>he was signed to you at the time. Warner's you know,

345
00:19:19.200 --> 00:19:21.880
<v Speaker 4>huge company. Now, I don't think they were necessarily just

346
00:19:21.960 --> 00:19:24.359
<v Speaker 4>had to sign off on it. They it wasn't something

347
00:19:24.400 --> 00:19:27.480
<v Speaker 4>they were going to try to claim. And it's perfect

348
00:19:27.519 --> 00:19:30.519
<v Speaker 4>for it to be coming out through Residence Records and

349
00:19:30.759 --> 00:19:34.079
<v Speaker 4>everything that Zev is doing because he's been covering everybody

350
00:19:34.160 --> 00:19:38.200
<v Speaker 4>from Bill Evans to Wes Montgomery and all these other

351
00:19:38.240 --> 00:19:43.799
<v Speaker 4>things that he's been so awarded and honored for finding

352
00:19:44.160 --> 00:19:48.400
<v Speaker 4>these old tapes and everything. So it's perfect for this

353
00:19:48.480 --> 00:19:49.960
<v Speaker 4>kind of a project to come out thro him because

354
00:19:49.960 --> 00:19:52.640
<v Speaker 4>it's a little different for Zev, you know, mostly straight

355
00:19:52.680 --> 00:19:57.079
<v Speaker 4>ahead jazz things he's done. This is an amazing crossover

356
00:19:57.200 --> 00:20:00.359
<v Speaker 4>project that will have a broader appeal some of the

357
00:20:00.359 --> 00:20:02.799
<v Speaker 4>more traditional jazz pieces that he's done.

358
00:20:03.359 --> 00:20:06.400
<v Speaker 2>Well, we are all fortunate to have one more listen

359
00:20:06.599 --> 00:20:10.720
<v Speaker 2>to the late great al Gireau. The project is titled

360
00:20:10.759 --> 00:20:15.279
<v Speaker 2>While Live at the Child Herold in Washington, DC. It

361
00:20:15.319 --> 00:20:19.279
<v Speaker 2>will officially be released on Black Friday as a limited

362
00:20:19.440 --> 00:20:23.480
<v Speaker 2>edition to LP set at select independent record stores, but

363
00:20:23.519 --> 00:20:25.240
<v Speaker 2>you don't have to wait. You can pre order it

364
00:20:25.400 --> 00:20:29.039
<v Speaker 2>now online. I want to thank my guests, musicologists and

365
00:20:29.160 --> 00:20:31.880
<v Speaker 2>music journalists. It's hard for me to choose what to

366
00:20:32.000 --> 00:20:35.480
<v Speaker 2>call you, so I'll give you both titles. A Scott Galloway.

367
00:20:35.799 --> 00:20:38.640
<v Speaker 2>I've known you for at least I want to say

368
00:20:39.279 --> 00:20:43.559
<v Speaker 2>thirty years at this point, and absolutely I've never shied

369
00:20:43.599 --> 00:20:46.960
<v Speaker 2>away at the opportunity to talk music with you. You love

370
00:20:47.079 --> 00:20:49.720
<v Speaker 2>music arguably more than I do, and I love it

371
00:20:49.759 --> 00:20:51.640
<v Speaker 2>a hell of a lot, so there was no one

372
00:20:51.640 --> 00:20:54.359
<v Speaker 2>else I would want to have this conversation with than you.

373
00:20:54.599 --> 00:20:56.799
<v Speaker 3>A Scott Galloway. Thank you for coming on.

374
00:20:56.920 --> 00:20:59.119
<v Speaker 2>You've been on before many years ago, but I hope

375
00:20:59.160 --> 00:21:00.559
<v Speaker 2>to have you on again in the future.

376
00:21:00.880 --> 00:21:02.960
<v Speaker 4>I'm always here for you and it's always an honor

377
00:21:03.039 --> 00:21:05.000
<v Speaker 4>my brother, much much respect.

378
00:21:05.359 --> 00:21:07.960
<v Speaker 2>It's Later with mo Kelly caf I AM six forty

379
00:21:08.000 --> 00:21:09.920
<v Speaker 2>live everywhere in the iHeartRadio app.

380
00:21:10.519 --> 00:21:14.119
<v Speaker 1>You're listening to Later with mo Kelly on demand from

381
00:21:14.200 --> 00:21:15.759
<v Speaker 1>KFI AM six forty