1 00:00:00,400 --> 00:00:03,919 Speaker 1: I am so excited that Carmen Lundon has walked in 2 00:00:04,000 --> 00:00:04,759 this studio. 3 00:00:05,000 --> 00:00:06,519 Speaker 2: I was just saying to her, seeing. 4 00:00:06,360 --> 00:00:08,560 Speaker 1: Each other, We've done this a few times of the 5 00:00:08,560 --> 00:00:10,240 course of my career, and I considered it one of 6 00:00:10,279 --> 00:00:13,320 the signal honors of my career to have had the 7 00:00:13,359 --> 00:00:15,279 opportunity on multiple occasions to. 8 00:00:15,240 --> 00:00:17,679 Speaker 2: Talk to Carmen Lunday. She's in studio right now. 9 00:00:17,839 --> 00:00:20,679 Speaker 1: She was named this year as a National Endowment for 10 00:00:20,719 --> 00:00:22,199 the Art Jazz master. 11 00:00:22,800 --> 00:00:25,519 Speaker 2: As we say, that's high cotton. That is high cotton. 12 00:00:25,559 --> 00:00:28,519 Speaker 1: So we're gonna celebrate Carmen Lundy in this hour now 13 00:00:28,600 --> 00:00:31,000 that she's live in studio and discuss her new project 14 00:00:31,039 --> 00:00:34,520 called Notes from the Wine Seller. Speaking of which, tell 15 00:00:34,600 --> 00:00:37,240 me about this track, Carmen Lundy. 16 00:00:37,880 --> 00:00:42,079 Speaker 3: This is thinking of You tune that was written, believe 17 00:00:42,119 --> 00:00:44,399 it or not. This comes out of the wine cellar. 18 00:00:44,520 --> 00:00:48,359 This was written back in the late seventies, early eighties, 19 00:00:48,399 --> 00:00:52,399 and I could not put these ideas together to form 20 00:00:52,479 --> 00:00:55,399 the kind of track that I could commit to. And 21 00:00:55,399 --> 00:00:58,479 it's tacond me. How many years ago was that? It 22 00:00:58,600 --> 00:01:01,240 second me all this time to feel good about it, 23 00:01:01,640 --> 00:01:04,040 and I was writing, rewriting. I mean, this thing was 24 00:01:04,079 --> 00:01:08,560 on the shelf for too long. So you know, this 25 00:01:08,599 --> 00:01:11,920 whole project has come into fruition. But it took a 26 00:01:11,959 --> 00:01:14,159 good three and a half four years to put these 27 00:01:14,239 --> 00:01:17,680 tracks together. And I'm not exaggerating. Some of them were 28 00:01:17,680 --> 00:01:20,120 written six months before we tracked, and some of them 29 00:01:20,159 --> 00:01:25,359 are written years decades ago. Then I'm really really feeling 30 00:01:25,359 --> 00:01:26,040 great about it. 31 00:01:26,400 --> 00:01:27,920 Speaker 2: Turn it up, Mouse, turning this stuff, trying it up. 32 00:01:34,319 --> 00:01:45,120 Speaker 4: Always, always, I'm gonna let this ride. 33 00:01:45,159 --> 00:01:46,040 Speaker 2: I'm gonna let it ride. 34 00:01:46,359 --> 00:01:49,120 Speaker 1: When we come forward, I'll start my my questions and 35 00:01:49,680 --> 00:01:51,879 I got questions, she's got ANSWER's gonna be great conversation. 36 00:01:51,959 --> 00:01:53,239 Speaker 2: But let this ride. Mouse. 37 00:01:53,280 --> 00:01:57,159 Speaker 1: You're listening to Carmen Lundy twenty six Any jazz master 38 00:01:57,680 --> 00:01:58,519 on Tavis. 39 00:01:58,200 --> 00:02:01,439 Speaker 2: Spine to the Church on Top, it's Carmen Lunday. 40 00:02:02,159 --> 00:02:04,640 Speaker 1: She is the twenty twenty sixth National Endowment for the 41 00:02:04,799 --> 00:02:09,960 Arts of Jazz Master, an iconic honor for an iconic career. 42 00:02:10,120 --> 00:02:12,719 I am honored to have Carmen Lundy join us live 43 00:02:12,759 --> 00:02:14,599 in studio. The new project is called Notes from the 44 00:02:14,680 --> 00:02:18,280 Wine selling You always get me when I hear a 45 00:02:18,319 --> 00:02:21,680 Hammond B three. I grew up on a Pentecostal Apostolic 46 00:02:21,719 --> 00:02:23,639 church we're gonna talk about that in your mama, we 47 00:02:23,759 --> 00:02:25,560 talk about that to say my dad, Yeah, your daddy, 48 00:02:25,560 --> 00:02:26,360 we gonna go there. 49 00:02:26,879 --> 00:02:28,879 Speaker 2: You know I know that backstory, right, we're gonna talk 50 00:02:28,879 --> 00:02:29,199 about that. 51 00:02:29,800 --> 00:02:31,960 Speaker 1: But let it ride mouse. When I hear B three, 52 00:02:32,319 --> 00:02:34,520 you put me in any way, and I love the 53 00:02:34,599 --> 00:02:35,639 way this guy is playing. 54 00:02:36,199 --> 00:02:37,120 Speaker 2: But tell you about this track. 55 00:02:38,479 --> 00:02:41,840 Speaker 3: This track was probably the last track to find its 56 00:02:41,879 --> 00:02:46,039 way onto this project. And you know, my dad lived 57 00:02:46,080 --> 00:02:47,840 and be ninety four years old. 58 00:02:47,719 --> 00:02:49,759 Speaker 2: That' said blessed ninety four. That's a blessing. 59 00:02:50,039 --> 00:02:52,439 Speaker 3: And while my mother made sure I got those piano 60 00:02:52,560 --> 00:02:56,120 lessons we were talking about, right, made sure that that 61 00:02:56,319 --> 00:02:58,599 you know, she made the clothes I said. When I 62 00:02:58,680 --> 00:03:01,000 started my career, when I was all was sixteen years old, 63 00:03:01,080 --> 00:03:05,479 my father was like, oh no, oh no, no, no, no, 64 00:03:06,039 --> 00:03:08,599 and no, and it ain't happening with me. 65 00:03:08,919 --> 00:03:11,240 Speaker 2: So my father never never jumped on board. 66 00:03:11,800 --> 00:03:14,879 Speaker 3: It just never. It was the devil's music. I was like, Dad, 67 00:03:14,919 --> 00:03:18,479 the devil doesn't have music, don't you know that? And 68 00:03:18,680 --> 00:03:22,159 it's like it was my entire career and I wanted 69 00:03:22,240 --> 00:03:25,639 my father's approval and let me know that he was 70 00:03:25,759 --> 00:03:28,439 proud of his young little girl baby girl, you know 71 00:03:28,960 --> 00:03:33,159 didn't happen. So here I am very close to getting this, 72 00:03:33,560 --> 00:03:37,280 this record into the studio finally, and I had to 73 00:03:37,319 --> 00:03:40,039 say goodby to him one last time, and I was 74 00:03:40,080 --> 00:03:44,159 sitting there going, well, they kind of named me a 75 00:03:44,280 --> 00:03:46,879 jazz master, dad, how does that feel? 76 00:03:49,199 --> 00:03:49,479 Speaker 2: Nothing? 77 00:03:50,560 --> 00:03:55,879 Speaker 3: So I needed to release I really I needed to 78 00:03:56,000 --> 00:04:01,000 release that sadness that that I don't know, if disapproval, 79 00:04:01,000 --> 00:04:03,960 I don't know what to call that sort of absolute 80 00:04:04,319 --> 00:04:08,960 sense of a need that's not fulfilled by the one 81 00:04:09,080 --> 00:04:13,120 person who's responsible, the two people the dad responsible for 82 00:04:13,240 --> 00:04:18,879 my getting me here really, so it's interesting. Conversely, it 83 00:04:19,040 --> 00:04:22,279 could be that the fact that he never came on 84 00:04:22,480 --> 00:04:25,199 board is the reason why I stuck with it. Never know, 85 00:04:25,759 --> 00:04:27,040 you see what I mean, you can just say what 86 00:04:27,160 --> 00:04:29,199 the heck, but in Land it for you and just, 87 00:04:29,800 --> 00:04:34,319 you know, just kind of drop out. But it worked 88 00:04:34,360 --> 00:04:37,519 in the reverse for me. It just made me want 89 00:04:37,600 --> 00:04:41,040 It just kind of gave me that other part of 90 00:04:41,279 --> 00:04:45,399 the motivation that you really don't invite. But it really 91 00:04:45,480 --> 00:04:50,839 did make a difference ultimately that I hung in there despite. 92 00:04:50,439 --> 00:04:53,120 Speaker 1: That I didn't know we were going to go here. 93 00:04:53,240 --> 00:04:54,920 But since we're here, we're gonna stay here for a second. 94 00:04:55,040 --> 00:04:57,560 As we said in the Pentecostar church, we're gonna tarry 95 00:04:57,600 --> 00:04:59,639 here for a little bit. Let's just tear here for 96 00:04:59,680 --> 00:05:01,560 a bit. I wanted to ask you, and I'll get 97 00:05:01,560 --> 00:05:03,079 your father in a second. I wanted to ask about 98 00:05:03,079 --> 00:05:05,800 your mother anyway, because your mother sang with the Apostolic Singers. 99 00:05:05,879 --> 00:05:08,439 Speaker 3: My mother was the lead singer and the Apostolic Singers 100 00:05:09,399 --> 00:05:13,319 of Parian, Florida. I'm originally from Miami, Florida, and as 101 00:05:13,360 --> 00:05:16,639 a little girl, they would rehearse in the living room 102 00:05:16,680 --> 00:05:21,000 of my home for the you know, the best, the 103 00:05:21,079 --> 00:05:24,199 best choir in the church always opened up. I think 104 00:05:24,240 --> 00:05:27,639 it was First Sundays. I think it was First Sundays. Yeah, 105 00:05:27,759 --> 00:05:31,000 that Apostolic and we would just wear it out. Okay, 106 00:05:31,120 --> 00:05:33,319 we'd be in church three hours behind those tunes. 107 00:05:33,480 --> 00:05:33,600 Speaker 2: Right. 108 00:05:34,079 --> 00:05:37,639 Speaker 3: But that group was modeled after the Caravans, oh yeah, 109 00:05:37,680 --> 00:05:40,160 and the Albertino Walkers and the Shirley Caesars. 110 00:05:40,240 --> 00:05:40,360 Speaker 2: Right. 111 00:05:40,480 --> 00:05:43,279 Speaker 3: So my mother was that So as a child I 112 00:05:43,360 --> 00:05:46,360 got to watch them rehearse if I behaved myself. And 113 00:05:46,759 --> 00:05:50,279 her younger sister was the penist accompaniment for that, and 114 00:05:50,439 --> 00:05:53,600 she's still she was up in church somewhere in Lakeland, Florida, 115 00:05:53,759 --> 00:05:56,639 Orlando last weekend. My aunt tells her she's still killing 116 00:05:56,680 --> 00:06:01,040 it and she was the B three. Okay, I'm many people. Okay, 117 00:06:01,079 --> 00:06:02,959 we're still in this church thing. How many people have 118 00:06:03,079 --> 00:06:06,920 you watched Saved Soul Saved behind this B three thing? Right? 119 00:06:07,519 --> 00:06:09,360 Speaker 2: So more than I can count. 120 00:06:10,680 --> 00:06:16,360 Speaker 3: So I'm really proud of that. Those are my earliest beginning. 121 00:06:16,399 --> 00:06:19,240 Those are my earliest memories. Okay, the whole thing of 122 00:06:19,360 --> 00:06:23,160 music lessons and studying and you know, going into formal education. 123 00:06:23,519 --> 00:06:25,439 I had that as my foundation. 124 00:06:26,240 --> 00:06:28,800 Speaker 2: Okay, so my mother. 125 00:06:29,160 --> 00:06:31,639 Speaker 3: Actually there's a film called Nothing But the Blood that 126 00:06:31,759 --> 00:06:36,800 I released and it won the Best Documentary Music Doctrinary 127 00:06:36,920 --> 00:06:41,160 for the La Jazz Film Festival Downtown, LA Film Festival 128 00:06:41,800 --> 00:06:42,480 three years ago. 129 00:06:42,600 --> 00:06:45,600 Speaker 1: I gotta find this, yes, and the documentary Nothing but 130 00:06:45,720 --> 00:06:46,959 the Blood, is about specifically. 131 00:06:47,040 --> 00:06:51,600 Speaker 3: It's it's about the history of the Apostolic singers. Because 132 00:06:51,639 --> 00:06:55,879 I looked up and I'm now maybe my second dated, 133 00:06:56,279 --> 00:06:59,920 second decade into my career, and I started asking questions, 134 00:07:00,120 --> 00:07:03,000 do you have film about and does anybody have a 135 00:07:03,079 --> 00:07:05,720 cassette of when you guys are ripping? 136 00:07:05,800 --> 00:07:05,839 Speaker 1: It? 137 00:07:06,360 --> 00:07:07,600 Speaker 2: Is any of their music online? 138 00:07:07,839 --> 00:07:09,240 Speaker 3: No, that's what I'm trying to tell you. 139 00:07:09,360 --> 00:07:11,040 Speaker 1: I'm about to tell Miles to go find it right quick. 140 00:07:11,040 --> 00:07:13,399 I wanted to hear it, but the film I kept 141 00:07:13,439 --> 00:07:16,240 the film. The film is done, but I have not 142 00:07:16,480 --> 00:07:17,079 uploaded it. 143 00:07:17,839 --> 00:07:20,800 Speaker 3: It's just a private link to my family on YouTube. Okay, 144 00:07:20,959 --> 00:07:24,279 so it's not for the public consumption at there's point, 145 00:07:24,839 --> 00:07:27,639 but I can share that with you, Tavis. We're live, 146 00:07:28,319 --> 00:07:30,480 and at some point, if we get the right distribution 147 00:07:30,600 --> 00:07:33,279 of the right interest, everybody will know this story. But 148 00:07:33,360 --> 00:07:37,920 it's just a story about the bond between all these 149 00:07:38,120 --> 00:07:43,720 fine these you know, mothers of seven, ten, nine children. 150 00:07:44,160 --> 00:07:46,399 How their story about how they got along and this 151 00:07:46,600 --> 00:07:50,680 racist American society as black women in the church. 152 00:07:50,680 --> 00:07:51,399 Speaker 2: Up in the church. 153 00:07:51,560 --> 00:07:53,720 Speaker 3: And it's a beautiful story. And they tell their own stories. 154 00:07:53,759 --> 00:07:54,639 It's a beautiful story. 155 00:07:54,800 --> 00:07:56,680 Speaker 1: Now I'm curious, this is getting good and we only 156 00:07:56,680 --> 00:07:58,720 need twenty men saying I'm glad you here for the 157 00:07:58,759 --> 00:08:04,319 whole hour. I am curious, being a Pentecostal Apostotics church 158 00:08:04,399 --> 00:08:08,800 member myself, why highlt nothing but the blood. 159 00:08:09,240 --> 00:08:11,680 Speaker 3: That was one of the songs I figured so that 160 00:08:12,680 --> 00:08:15,800 they were recording, but had all these other connotations, you know, 161 00:08:16,000 --> 00:08:20,839 the family and my grandparents own the family market and 162 00:08:20,959 --> 00:08:25,720 it's Brian Florida Matthew's Groceries. So I come from that 163 00:08:25,839 --> 00:08:30,639 family that was revered, you know, prominent. We fed the neighborhood. 164 00:08:31,360 --> 00:08:34,200 My grandfather and his brother built all the homes and 165 00:08:34,240 --> 00:08:37,399 all the businesses, and all of the siblings lived next 166 00:08:37,480 --> 00:08:39,519 door to each other and around the corner. They built 167 00:08:39,559 --> 00:08:42,200 the church three blocks down at the end. Reference church 168 00:08:42,679 --> 00:08:44,559 three blocks at the end of the same block that 169 00:08:44,679 --> 00:08:48,240 I you know. That's it. So all of that is 170 00:08:48,360 --> 00:08:51,879 in this little movie, and it's a story about the 171 00:08:52,000 --> 00:08:55,759 resilience really of the black community and how we can 172 00:08:55,879 --> 00:09:01,799 start with a seed and just roll into making a 173 00:09:02,000 --> 00:09:05,840 huge impact on our communities in our society. Any a 174 00:09:05,960 --> 00:09:09,559 jazz master, okay, but that starts from a little tiny 175 00:09:09,679 --> 00:09:12,679 place somewhere in the most the deepest part of the 176 00:09:13,039 --> 00:09:14,679 American South, which is Miami. 177 00:09:16,679 --> 00:09:20,919 Speaker 1: Myles, there's a Fred Hammond has a blood song medley. 178 00:09:21,559 --> 00:09:23,919 It starts without know it was the blood find Out 179 00:09:23,960 --> 00:09:26,279 medley for me, Me and Karmen. Carmen and me, that 180 00:09:26,320 --> 00:09:29,799 should say me corammatically correct. Carmen and I I have 181 00:09:30,000 --> 00:09:33,600 this conversation about the apostolic prenecoltural tradition. Now I want 182 00:09:33,600 --> 00:09:36,000 to hear something. Tell me what you got it, Myles, 183 00:09:36,200 --> 00:09:38,159 I will just tell you got it. Give me something it, 184 00:09:38,200 --> 00:09:39,440 give me somebody that give it to me. 185 00:10:00,000 --> 00:10:05,679 Speaker 5: Everybody listen, just in case you didn't know, here is 186 00:10:05,840 --> 00:10:07,240 the main ingredient. 187 00:10:07,559 --> 00:10:09,679 Speaker 2: It really changed my life. 188 00:10:10,360 --> 00:10:13,639 Speaker 5: A life would have been equity and they're. 189 00:10:13,559 --> 00:10:14,960 Speaker 3: Already ply stayed. 190 00:10:15,639 --> 00:10:18,879 Speaker 5: But I found my hope. That girl they going from 191 00:10:19,000 --> 00:10:22,919 the same day you had me. If I think it 192 00:10:23,039 --> 00:10:26,440 a work, tell you I don't think, because I know 193 00:10:27,919 --> 00:10:35,360 I know and say things like changing. Come with me 194 00:10:35,679 --> 00:10:36,360 and I tell you. 195 00:10:46,200 --> 00:10:48,840 Speaker 1: That that's that's that's enough of it. That's that's that's 196 00:10:48,919 --> 00:10:51,200 Fridge version of it. Everybody does it their own way. 197 00:10:51,519 --> 00:10:56,519 But you got me thinking about the blood, Carmen, Uh, 198 00:10:57,000 --> 00:10:59,600 nothing but the blood. That's not how we sang it 199 00:10:59,600 --> 00:11:02,279 didn't in our school to church. But I just want 200 00:11:02,320 --> 00:11:05,320 to hear a little bit of that. So your father 201 00:11:06,399 --> 00:11:08,720 and I was struck by your story about your father. 202 00:11:08,799 --> 00:11:12,039 Let me tell you why, because I know something of 203 00:11:12,159 --> 00:11:18,960 your story. I resemble your story when it comes to 204 00:11:19,200 --> 00:11:23,720 being gifted in a particular way and the Apostolic Pentecostal 205 00:11:23,799 --> 00:11:26,320 tradition telling you that what you are gifted at. 206 00:11:26,440 --> 00:11:27,759 Speaker 2: Is not what you ought to be doing. 207 00:11:28,919 --> 00:11:32,159 Speaker 1: Yes, I was discouraged from going to Harvard Law School 208 00:11:33,360 --> 00:11:35,200 because I was told you can't be a lawyer and 209 00:11:35,240 --> 00:11:35,720 go to heaven. 210 00:11:36,799 --> 00:11:37,480 Speaker 2: And I said, why not. 211 00:11:38,200 --> 00:11:41,360 Speaker 6: It's because lawyers lie all the time, and if you lie, you. 212 00:11:41,360 --> 00:11:44,799 Speaker 2: Can't go to heaven. That was beat into me that 213 00:11:44,919 --> 00:11:46,519 I could not be a lawyer. 214 00:11:46,960 --> 00:11:47,480 Speaker 3: I'm sorry. 215 00:11:49,279 --> 00:11:53,240 Speaker 1: My career's worked out, okay, don't get me wrong. And 216 00:11:53,360 --> 00:11:55,279 I employed lawyers, a whole bunch of them, too many 217 00:11:55,279 --> 00:11:58,720 of them, in my pocket everything. But the point is, 218 00:11:59,320 --> 00:12:01,440 and I know others have these same stories of the 219 00:12:01,519 --> 00:12:08,080 ways in which that Apostolic Pentecostual tradition shut them down 220 00:12:08,600 --> 00:12:12,799 from getting on certain on ramps to to their life, 221 00:12:12,840 --> 00:12:16,919 to their future, to their career. But your story hit 222 00:12:17,000 --> 00:12:20,519 me because it says your daddy, it's your father telling 223 00:12:20,559 --> 00:12:24,759 you that, m you should not pursue this. 224 00:12:26,320 --> 00:12:28,159 Speaker 6: And I heard the pain in your voice that your 225 00:12:28,240 --> 00:12:30,399 whole life you've been you've been processing this. 226 00:12:31,879 --> 00:12:33,279 Speaker 1: Just tell me, tell me a bit more about that, 227 00:12:33,360 --> 00:12:36,840 about that journey of of now being a jazz master. 228 00:12:37,000 --> 00:12:38,600 Speaker 2: But your daddy haven't told you a decades. 229 00:12:39,679 --> 00:12:44,440 Speaker 3: I want to say that I have a memory of Uh, 230 00:12:44,639 --> 00:12:46,960 I'm the oldest of seven kids, so you know, you're 231 00:12:47,000 --> 00:12:50,200 kind of stuck with watching the kids too. But there 232 00:12:50,320 --> 00:12:52,440 was a piano in my home when I grew everybody 233 00:12:52,559 --> 00:12:54,240 in my family had a piano in the house. 234 00:12:54,960 --> 00:12:56,600 Speaker 2: So what I would do is. 235 00:12:56,799 --> 00:12:59,720 Speaker 3: Kind of hang and just be with the music, you know, 236 00:13:00,120 --> 00:13:03,000 the turntable and plucking out these songs and teaching myself 237 00:13:03,080 --> 00:13:05,159 all the songs of the of the day, everything from 238 00:13:05,240 --> 00:13:09,600 motown to Donnie Hadaway. So at some point there was 239 00:13:09,679 --> 00:13:12,840 this tune that was really popular by the young Hold Unlimited, 240 00:13:12,919 --> 00:13:16,240 and I plucked that melody out. So my father came 241 00:13:16,320 --> 00:13:18,679 in from work one day and heard me doing this, 242 00:13:19,039 --> 00:13:24,000 and he was really impressed with that. So from that 243 00:13:24,159 --> 00:13:26,360 point on, he would bring his pals over and say 244 00:13:26,440 --> 00:13:28,559 check it. You know, you send out and play that song. 245 00:13:28,720 --> 00:13:30,440 You'll show them what you're doing, you know. So I 246 00:13:30,600 --> 00:13:34,120 kind of loved it that he was encouraging me to, 247 00:13:34,120 --> 00:13:36,720 you know, to kind of show off my little talent, right, 248 00:13:37,519 --> 00:13:40,720 But I think what happened was that was all really okay. 249 00:13:40,960 --> 00:13:43,799 It was just that when I decided to pursue this 250 00:13:44,600 --> 00:13:48,159 and to really make this my you know, to make money, 251 00:13:48,279 --> 00:13:51,679 to like do this for you know, my living. That's 252 00:13:51,720 --> 00:13:56,720 when things got a little squirrelly. So this is not 253 00:13:57,039 --> 00:14:02,120 the kind of thing that you by then, let me 254 00:14:02,240 --> 00:14:04,759 just say this. I was already sure that this is 255 00:14:04,799 --> 00:14:06,120 what I was going to do with my life. 256 00:14:06,200 --> 00:14:07,799 Speaker 2: Okay, so it was. 257 00:14:07,960 --> 00:14:11,840 Speaker 3: It just became something that I really would have loved 258 00:14:11,960 --> 00:14:15,679 to have that reinforcement. But it but I have a 259 00:14:15,799 --> 00:14:18,320 mother who compensated for. 260 00:14:18,399 --> 00:14:20,360 Speaker 6: That in ways that she leaned. 261 00:14:20,840 --> 00:14:25,960 Speaker 3: Oh my gosh. So for it just turns out that 262 00:14:26,120 --> 00:14:29,879 I had the right combination of ingredients. I had great teachers, 263 00:14:30,840 --> 00:14:35,080 and the opportunities presented themselves, and I was always and 264 00:14:35,240 --> 00:14:36,679 I was in love with the music. 265 00:14:36,759 --> 00:14:37,120 Speaker 2: By then. 266 00:14:37,200 --> 00:14:38,879 Speaker 3: There was nothing that was gonna take me away. 267 00:14:38,919 --> 00:14:41,840 Speaker 1: But everybody calm and wants to make their especially black folk. 268 00:14:42,120 --> 00:14:44,519 We want to make our parents proud, yes, sir, make 269 00:14:44,600 --> 00:14:46,000 our mom and daddy prow yes. 270 00:14:46,320 --> 00:14:48,600 Speaker 2: And to be pursuing, to be pursuing something for all 271 00:14:48,639 --> 00:14:49,279 those years that. 272 00:14:50,519 --> 00:14:53,159 Speaker 3: Maybe I maybe he maybe he was proud. It just 273 00:14:53,200 --> 00:14:55,960 didn't know how to say, because saying it would mean 274 00:14:56,000 --> 00:14:58,120 he wouldn't make a to heavn or something. He actually 275 00:14:58,159 --> 00:15:00,159 told me that he actually said he wouldn't go to 276 00:15:00,240 --> 00:15:04,639 heaven okay. So I know that heaven is a beautiful place, 277 00:15:04,879 --> 00:15:07,879 whatever that is, okay, And some of that just might 278 00:15:07,960 --> 00:15:11,840 be somewhere in our space right now. Heaven could be 279 00:15:12,519 --> 00:15:14,720 you and I are sitting You're having this wonderful conversation 280 00:15:14,879 --> 00:15:15,200 about it. 281 00:15:15,759 --> 00:15:17,039 Speaker 2: It is for me. It is for me. 282 00:15:17,840 --> 00:15:24,600 Speaker 3: So with all that being said, I want to thank them. 283 00:15:25,080 --> 00:15:27,480 I want to thank my parents. I want to think 284 00:15:28,519 --> 00:15:33,399 the black community that nurtured me as a young person, 285 00:15:34,240 --> 00:15:36,759 and I want to thank all those teachers. You know, 286 00:15:36,879 --> 00:15:40,039 I went to. My elementary school was completely black. Okay. 287 00:15:40,559 --> 00:15:44,120 I'm just saying that there's a community here too. And 288 00:15:44,559 --> 00:15:47,639 my mother was the oldest of eleven, so that quote 289 00:15:47,720 --> 00:15:53,240 unquote village or whatever. There are so many other influences. Sometimes, 290 00:15:53,360 --> 00:15:58,080 even though your parents may be not so much of 291 00:15:58,240 --> 00:16:02,799 the encouragement that you would like, there are other people 292 00:16:02,840 --> 00:16:05,799 and other experiences that offset that. And I'm happy for 293 00:16:05,919 --> 00:16:06,320 that too. 294 00:16:06,519 --> 00:16:08,039 Speaker 1: We were just talking the other day about the fact 295 00:16:08,080 --> 00:16:10,559 that we are who we are because somebody loved us. 296 00:16:12,159 --> 00:16:14,960 We are who we are because somebody loved us, and 297 00:16:15,120 --> 00:16:18,000 that somebody is a large community for many of us, 298 00:16:18,559 --> 00:16:23,080 even beyond our parents, or sometimes despite our parents, but 299 00:16:23,200 --> 00:16:25,480 we are who we are because somebody loved us, and 300 00:16:25,639 --> 00:16:27,480 I hear that loud and clear in the story that 301 00:16:27,600 --> 00:16:30,399 you are telling. Carmen Lundy is a twenty twenty six 302 00:16:30,559 --> 00:16:31,559 National Endowment for the. 303 00:16:31,679 --> 00:16:32,799 Speaker 2: Arts Jazz Master. 304 00:16:33,879 --> 00:16:38,759 Speaker 1: That's a high, high honor for a career that's been 305 00:16:38,879 --> 00:16:43,320 nothing short of amazing. Vocalist, composer, educator, visual artist. I 306 00:16:43,399 --> 00:16:45,879 am honored to have with one more game in my 307 00:16:46,039 --> 00:16:49,000 presence for an amazing conversation. You've just heard the first 308 00:16:49,039 --> 00:16:50,360 thirty minutes of it. If you missed any of it, 309 00:16:50,480 --> 00:16:53,000 just tuning in. Check out the podcast of this conversation 310 00:16:53,039 --> 00:16:54,120 when it's posted later tonight. 311 00:16:54,159 --> 00:16:55,039 Speaker 2: But we got a half hour to go. 312 00:16:55,519 --> 00:16:57,480 Speaker 1: I got more questions for Karmen Lundy're gonna play some 313 00:16:57,559 --> 00:17:00,879 more music from this new project called from the Wine Cellar. 314 00:17:00,960 --> 00:17:02,480 Speaker 2: We are blessed to have in the studio right now. 315 00:17:02,600 --> 00:17:08,359 Speaker 1: Carmen Lundy, he said, people tend to say that I'm 316 00:17:08,400 --> 00:17:11,160 black and I'm proud, and he says, I'm black and 317 00:17:11,240 --> 00:17:15,160 I can't help it. I'm black and I'm proudly said no, 318 00:17:15,279 --> 00:17:17,279 I'm black and I can't help it. I thought about 319 00:17:17,319 --> 00:17:19,720 that when I heard this track the first time with 320 00:17:19,839 --> 00:17:23,359 that lyric. If you were born another color. 321 00:17:23,440 --> 00:17:25,000 Speaker 3: Born another color. 322 00:17:25,720 --> 00:17:30,079 Speaker 7: At this track, we'll see we're living with, We're living with, 323 00:17:32,079 --> 00:17:39,039 We're in this cycle, citticism in the cycle that is 324 00:17:39,160 --> 00:17:42,640 being forced on us now out of. 325 00:17:44,240 --> 00:17:48,119 Speaker 3: Everybody knows what I'm talking about. But the answer to 326 00:17:48,240 --> 00:17:50,680 this question, if you were born another color, what would 327 00:17:50,720 --> 00:17:55,720 it be the same? That's my ans I would choose 328 00:17:55,759 --> 00:17:56,119 the same. 329 00:17:56,440 --> 00:17:58,759 Speaker 2: I would choose to say, all day, Lord. 330 00:17:58,720 --> 00:18:02,480 Speaker 3: That's not that's not one I've heard some you know sometimes, 331 00:18:02,599 --> 00:18:06,880 and I think it was one of those tunes that 332 00:18:07,400 --> 00:18:09,759 I can't remember. I was working on another song and 333 00:18:09,799 --> 00:18:11,759 I got to the end of the track they had 334 00:18:11,839 --> 00:18:15,440 the you know, tape rolling, and it just came out 335 00:18:15,519 --> 00:18:19,839 of maybe the frustration of the moment, maybe the absolute 336 00:18:20,480 --> 00:18:24,759 disbelief that I could say, if you were born another gender, 337 00:18:25,599 --> 00:18:26,920 you know, I could do you know, you could do 338 00:18:26,960 --> 00:18:29,640 a lot of things with that. But I just don't 339 00:18:29,920 --> 00:18:32,839 quite want to grasp what this problem is. And I 340 00:18:32,960 --> 00:18:38,839 just wish somebody would answer the question why, why why 341 00:18:39,400 --> 00:18:44,680 this particular melon and content of the and Tony Marsha says, 342 00:18:44,759 --> 00:18:47,599 we're the human race. We are the human race, and 343 00:18:47,720 --> 00:18:51,880 everything else is a construct. So I'm addressing all of 344 00:18:52,000 --> 00:18:52,960 that in this tune. 345 00:18:53,359 --> 00:18:55,759 Speaker 1: It's not like when God was passing our colors, people 346 00:18:55,799 --> 00:18:59,359 were volunteering for black. Nobody raised their hand to volunteer 347 00:18:59,400 --> 00:18:59,680 for radew. 348 00:18:59,720 --> 00:19:02,400 Speaker 3: You know, what, can I say something? I think I 349 00:19:02,480 --> 00:19:04,759 would have raised my hand. I want that you give 350 00:19:04,799 --> 00:19:05,039 me that. 351 00:19:05,240 --> 00:19:07,039 Speaker 2: There you go. I'm not I'm not sure I would 352 00:19:07,039 --> 00:19:07,839 have volunteered for it. 353 00:19:08,039 --> 00:19:10,839 Speaker 1: But I tell you this, since I've been in this 354 00:19:11,039 --> 00:19:13,279 skin for all these years, I wouldn't want to be 355 00:19:13,359 --> 00:19:17,000 anything else, all all the struggles and turmoil and it 356 00:19:17,079 --> 00:19:20,279 comes along with it, is nothing else I'd rather be than. 357 00:19:20,160 --> 00:19:20,720 Speaker 2: A black man. 358 00:19:21,279 --> 00:19:22,920 Speaker 3: Well, you know, when you listen to the notes from 359 00:19:22,960 --> 00:19:27,680 the Wine Cellar as a collective project, it's not an 360 00:19:27,720 --> 00:19:30,240 album that's you know, a bunch of love songs. Okay, 361 00:19:30,319 --> 00:19:34,839 it's not an album. It's all about a political perspective. 362 00:19:35,599 --> 00:19:40,200 This is a rendering of an artist saying of my time. 363 00:19:40,559 --> 00:19:44,000 This is what is what I want to say about 364 00:19:44,039 --> 00:19:49,000 what life is like now, for this world we're in now. 365 00:19:49,559 --> 00:19:52,480 So I don't really have an interest in you know, 366 00:19:52,599 --> 00:19:56,359 it's jazz singer, jazzing er, jazz master. There the history 367 00:19:56,480 --> 00:20:01,240 is there, the the time, the knowledge, the study, the 368 00:20:01,359 --> 00:20:05,240 discipline of working at my craft. All of that's there, Okay, 369 00:20:06,079 --> 00:20:08,119 But do I really need to remind and do I 370 00:20:08,240 --> 00:20:09,880 really need to go back and dig up some old 371 00:20:09,960 --> 00:20:11,880 songs for y'all to prove that I'm a jazz singer 372 00:20:11,960 --> 00:20:14,319 start scatting on something. I don't really feel like that 373 00:20:14,519 --> 00:20:19,119 now as a jazz artist, I really want to want 374 00:20:19,200 --> 00:20:23,279 the audience to know that I'm here with you now, 375 00:20:24,000 --> 00:20:28,119 in this moment, and I'm not doing throwback. It's not 376 00:20:28,400 --> 00:20:31,839 interesting to me now. It might have been, you know, 377 00:20:31,960 --> 00:20:34,359 that first couple of three records or something like that, 378 00:20:34,599 --> 00:20:36,559 or maybe starting my career and feeling like it was 379 00:20:36,599 --> 00:20:37,920 a way to get into the game. 380 00:20:38,359 --> 00:20:39,960 Speaker 2: But you're sixteen records in now. 381 00:20:40,519 --> 00:20:43,319 Speaker 3: Yeah, sixteen seventeen, Okay, so. 382 00:20:44,839 --> 00:20:48,119 Speaker 1: There we jumped in so fast. The voice that you 383 00:20:48,359 --> 00:20:52,000 are hearing is common Lundy. We just played the song, 384 00:20:52,079 --> 00:20:54,839 went right into talking about it. It's common Lundy. She 385 00:20:55,039 --> 00:20:57,000 is the twenty twenty sixth Nash and Diamind for the 386 00:20:57,119 --> 00:21:00,599 Arts Jazz Master. Her new project is called Notes from 387 00:21:00,640 --> 00:21:02,680 the Wine Cellar. We've played three or four tracks, may 388 00:21:02,720 --> 00:21:04,079 get another one or two in between. Now on the 389 00:21:04,119 --> 00:21:05,920 top of the album, just giving you a taste of 390 00:21:06,480 --> 00:21:08,400 the beauty and the brilliance. 391 00:21:09,119 --> 00:21:11,079 Speaker 2: Uh that is on this album. I was saying to 392 00:21:11,160 --> 00:21:14,640 Carmen her band, the band is tight. The band is. 393 00:21:15,319 --> 00:21:18,480 Speaker 3: Bass players right here from from from from lem Park, 394 00:21:18,519 --> 00:21:23,519 from Crenshaw, Jermaine Crinch, Jermaine Crenshaw, Jermaine paul Is on drum, 395 00:21:23,640 --> 00:21:27,799 I'm on bass, okay. Julius Rodriguez. This young brother from 396 00:21:27,839 --> 00:21:31,559 New York, he's all Julius wald Regaez. Now that sounds 397 00:21:31,680 --> 00:21:33,839 like he's I don't think he speaks a word of Spanish, 398 00:21:35,559 --> 00:21:40,519 but he's a Haitian brother who is so gifted. Andrew 399 00:21:40,640 --> 00:21:45,680 Renfro from the South on guitar, and Terry on gully 400 00:21:45,720 --> 00:21:49,680 from East Saint Louis. I mean, this is like four players, 401 00:21:49,759 --> 00:21:53,720 and not not to exclude this young she's making a 402 00:21:53,839 --> 00:21:56,559 name for herself. Tantiana Tate Tum. 403 00:21:56,839 --> 00:21:57,000 Speaker 4: Yeah. 404 00:21:57,119 --> 00:22:01,400 Speaker 3: So it's really just the sixth of us bringing forth 405 00:22:01,480 --> 00:22:02,200 this project. 406 00:22:04,720 --> 00:22:05,480 Speaker 2: Let me just go to this. 407 00:22:05,599 --> 00:22:07,200 Speaker 1: Now we've said it three or four times, but I 408 00:22:07,240 --> 00:22:09,279 havn't had a chance to actually lean in to ask 409 00:22:09,319 --> 00:22:10,559 you how it felt. 410 00:22:10,880 --> 00:22:13,960 Speaker 6: When you learned that you were being named a twenty 411 00:22:14,079 --> 00:22:16,359 twenty six jazz master. 412 00:22:17,319 --> 00:22:22,839 Speaker 3: Wow. In the stream of the timing, of it was interesting. 413 00:22:23,119 --> 00:22:27,799 I had received the wonderful honor of being the inaugural 414 00:22:28,000 --> 00:22:32,400 class of the Jazz Foundation of America chor hoots, right. 415 00:22:32,839 --> 00:22:36,160 So this came out of the blue. And then I 416 00:22:36,319 --> 00:22:39,559 learned that these are things you don't apply for. It's 417 00:22:39,599 --> 00:22:43,640 somebody else paying attention. Here's the thing I felt, after 418 00:22:43,799 --> 00:22:46,359 all these years, and after all these records, and after 419 00:22:46,559 --> 00:22:49,559 all this touring and seeing the world and upholding the 420 00:22:49,640 --> 00:22:53,200 integrity of this great into the spectrum jazz music, that 421 00:22:53,440 --> 00:22:57,559 people were actually listening and they were actually aware of 422 00:22:57,720 --> 00:23:05,519 my contribution the whole time. It's an incredible honor. It's 423 00:23:05,519 --> 00:23:12,119 an incredible validation for the work, for having hung in there, 424 00:23:12,319 --> 00:23:17,440 for sticking with it, and for bringing other people along. Okay, 425 00:23:17,680 --> 00:23:19,640 because I don't go to the band stand up there, 426 00:23:19,640 --> 00:23:22,519 and I'm not up there by myself. All right, there 427 00:23:22,680 --> 00:23:27,400 are When my career began, these veterans, these the major 428 00:23:27,519 --> 00:23:29,920 major jazz artists, said come on. They reached out their 429 00:23:29,960 --> 00:23:32,119 hand and gave me a chance. So what do I 430 00:23:32,240 --> 00:23:34,559 look like not doing that for the generation behind me? 431 00:23:35,240 --> 00:23:39,160 So part of my journey is inclusive. It's including the players. 432 00:23:39,200 --> 00:23:41,599 I might add that I have a brother, great basis 433 00:23:41,680 --> 00:23:45,519 Curtis Lundy, who's eleven months to the day, my junior, 434 00:23:46,119 --> 00:23:48,319 and Curtis and I spend a lot of our time 435 00:23:48,400 --> 00:23:51,200 in Miami playing with bands and hooking up, you know, 436 00:23:51,319 --> 00:23:53,839 bringing new people in. He still does that. We both 437 00:23:53,920 --> 00:23:58,960 do that to this day. The Jazz Master the recognition. 438 00:24:00,000 --> 00:24:03,000 It takes place, by the way, September, we're doing a 439 00:24:03,160 --> 00:24:07,240 concert here in Los Angeles. I will be there September fifteenth. 440 00:24:07,279 --> 00:24:08,920 I think it's open to the public. Just get your 441 00:24:08,920 --> 00:24:11,079 tickets so you get the better seats. But it's open 442 00:24:11,160 --> 00:24:14,079 to the public September fifteenth. Where it's not just me, 443 00:24:14,200 --> 00:24:20,799 it's Rond the Hamilton, Aerto Morea, Patrice, Russian, myself. There's 444 00:24:20,839 --> 00:24:23,039 only four of us, and they'll they'll choose. They choose 445 00:24:23,079 --> 00:24:26,039 four every year. But to be part of this is 446 00:24:27,000 --> 00:24:29,279 the highest. They say, it's the highest, aren't honor? Give 447 00:24:29,359 --> 00:24:33,680 it by our country? And now I've got to uphold 448 00:24:33,759 --> 00:24:35,880 it and live up to it. Oh yeah, well let's 449 00:24:35,880 --> 00:24:36,160 see that. 450 00:24:36,400 --> 00:24:38,200 Speaker 2: Now you've done that already. That's why we got it. 451 00:24:38,400 --> 00:24:41,400 So that the heart, the heart part's done. You've done that, 452 00:24:41,720 --> 00:24:44,240 which is right. You received the Jazz Master honor. 453 00:24:44,400 --> 00:24:47,519 Speaker 1: Honorriffic in this particular year when we come forward, Carmen 454 00:24:47,559 --> 00:24:49,720 said's a moment ago that one there just unpacked for me. 455 00:24:50,200 --> 00:24:52,640 So here's the question and she'll address it on the 456 00:24:52,720 --> 00:24:57,960 other side. She said that telling her contribution that people 457 00:24:58,000 --> 00:25:00,839 were paying attention. Indeed, we have been paying attention to 458 00:25:00,920 --> 00:25:02,880 the contribution that you have made. But I want to 459 00:25:02,920 --> 00:25:08,400 know from you what do you hope or believe that 460 00:25:08,599 --> 00:25:12,480 contribution to be. So think about that for a second. 461 00:25:12,519 --> 00:25:15,440 I want to know what she thinks about, what she intended, 462 00:25:15,519 --> 00:25:18,680 what she's attempted, what she hopes and believes her contribution 463 00:25:18,759 --> 00:25:20,079 to all of it. I know what I take away 464 00:25:20,079 --> 00:25:22,400 from her great body at work. What does she think 465 00:25:22,440 --> 00:25:25,519 about the contribution, what she been trying to get us 466 00:25:26,160 --> 00:25:26,799 to tap into. 467 00:25:26,960 --> 00:25:27,440 Speaker 2: That's the question. 468 00:25:27,519 --> 00:25:29,160 Speaker 6: You're listening to Carmen Lundy, and I'm glad about it. 469 00:25:29,359 --> 00:25:30,400 Speaker 2: On Tavis Smiles, your. 470 00:25:30,359 --> 00:25:32,160 Speaker 1: Karmen Lunday would offend you if I say that this 471 00:25:32,319 --> 00:25:35,039 album to my ears is eclectic. 472 00:25:35,839 --> 00:25:38,799 Speaker 3: It's very much. Yeah, that's very much what this is. Yeah, 473 00:25:39,759 --> 00:25:44,359 because that's what our experience is show eclectic. Yes, it is. 474 00:25:44,680 --> 00:25:46,799 Speaker 2: Yeah. I love to listening to her. 475 00:25:46,880 --> 00:25:48,519 Speaker 6: Last night, I'm like, man, Karma's got a little bit 476 00:25:48,559 --> 00:25:49,559 of everything on this project. 477 00:25:50,200 --> 00:25:52,880 Speaker 2: Our guests is Karmel Lundy six. 478 00:25:53,599 --> 00:25:57,200 Speaker 1: Jazz Master is the highest honor that one can receive 479 00:25:57,240 --> 00:25:59,039 as a jazz artist in this country, and she has 480 00:25:59,119 --> 00:26:01,720 earned it. And I could not be more thrilled to 481 00:26:01,799 --> 00:26:03,240 have her in the studio and to know that she 482 00:26:03,440 --> 00:26:05,400 is now. She's always been a jazz master to me, 483 00:26:05,519 --> 00:26:09,480 but now they've said she's a jazz master. Her new 484 00:26:09,519 --> 00:26:11,519 project is called Notes from the Wine Cellar. I've been 485 00:26:11,559 --> 00:26:13,720 giving you a taste of this album over the course 486 00:26:13,759 --> 00:26:15,400 of this hour. My time is getting tied on me, 487 00:26:16,279 --> 00:26:17,559 but let me just let me just tee this art 488 00:26:17,640 --> 00:26:19,720 right quick. There's a lot of conversation here in La 489 00:26:19,759 --> 00:26:21,480 where we see this program, as you know, is heard 490 00:26:22,160 --> 00:26:23,680 all across the country. You've been heard right now in 491 00:26:23,720 --> 00:26:25,880 New York and Detroit and Chicago and Atlanta and everywhere. 492 00:26:26,960 --> 00:26:30,759 But we're based in LA and this La Jazz Festival 493 00:26:30,799 --> 00:26:33,680 that was supposed to happen this year, the inaugural La 494 00:26:33,799 --> 00:26:40,640 Jazz Festival, imploded and everybody is talking about it. The 495 00:26:40,720 --> 00:26:46,000 story has legs about why it cratered. The artists have been, 496 00:26:46,640 --> 00:26:48,960 you know, hurt that they don't get a chance to perform, 497 00:26:49,039 --> 00:26:52,039 et cetera, et cetera, et cetera. My critique of this, 498 00:26:52,160 --> 00:26:53,720 and I have a critiqu. I'm gonna get into all 499 00:26:53,720 --> 00:26:55,440 the details of it, but my critique when I first 500 00:26:55,480 --> 00:27:00,119 saw this is that we are watering down the notion 501 00:27:00,240 --> 00:27:03,880 of what jazz is. When I saw the bill for 502 00:27:03,960 --> 00:27:10,599 all the folk on this inaugural Jazz Festival list, I'm like, 503 00:27:10,839 --> 00:27:13,839 that ain't jazz, and that ain't jazz, and that ain't jazz, 504 00:27:13,920 --> 00:27:16,599 and that ain't jazz, and that showed enough ain't jazz. 505 00:27:17,039 --> 00:27:18,839 I think we have gotten into a place now where 506 00:27:18,839 --> 00:27:20,000 people want to lean into. 507 00:27:19,839 --> 00:27:22,519 Speaker 2: That word, but we've watered down what we. 508 00:27:23,880 --> 00:27:26,559 Speaker 6: Say, what we mean when we use that term. That's 509 00:27:26,640 --> 00:27:28,359 my critique. I'm going to shut up. We just say 510 00:27:28,359 --> 00:27:30,039 a quick word about that before I get to this question. 511 00:27:29,839 --> 00:27:32,920 Speaker 2: About your contribution. Oh and I only something. 512 00:27:33,000 --> 00:27:33,400 Speaker 1: Am I wrong? 513 00:27:33,400 --> 00:27:34,680 Speaker 2: If I'm wrong? To tell me I'm wrong. 514 00:27:34,839 --> 00:27:37,720 Speaker 3: Well, this this music that we've been playing. Someone might argue, 515 00:27:37,960 --> 00:27:44,359 isn't it? But I would say this that you the experience. 516 00:27:44,440 --> 00:27:45,799 I said, jazz is church, y'all. 517 00:27:46,480 --> 00:27:46,839 Speaker 2: I like that. 518 00:27:47,079 --> 00:27:48,359 Speaker 3: Jazz is church. 519 00:27:48,960 --> 00:27:50,039 Speaker 2: I like that. I like that. 520 00:27:50,200 --> 00:27:53,319 Speaker 3: I like that, And there's that moment of being in 521 00:27:53,440 --> 00:27:55,480 this being in the space. But it's more than that. 522 00:27:56,240 --> 00:28:03,160 We have evolved of an art form that incorporates so 523 00:28:03,319 --> 00:28:07,839 many elements of what's the highest level of music. The 524 00:28:08,000 --> 00:28:12,759 possibilities are all in this music. When we talk about scales, 525 00:28:12,839 --> 00:28:15,319 when we talk about chords, when we talk about melody, 526 00:28:15,400 --> 00:28:18,160 we talk about rhythm, we talk about lyrics. We put 527 00:28:18,240 --> 00:28:21,160 this all together, we talk about life experience, and we 528 00:28:21,279 --> 00:28:24,359 talk about this element of that which isn't written down, 529 00:28:24,599 --> 00:28:28,039 that which is occurring in the moment, that conversation between 530 00:28:28,039 --> 00:28:32,519 the musicians and the audience. Okay, so a lot of 531 00:28:32,640 --> 00:28:40,599 what occurs, the variety. That's another thing, This experience of 532 00:28:40,759 --> 00:28:44,680 knowing what I mean when we talk about jazz. Maybe 533 00:28:45,079 --> 00:28:47,839 it has to do with the way we're introduced to 534 00:28:47,880 --> 00:28:50,839 the music in the first place. And right now, I mean, 535 00:28:50,960 --> 00:28:53,039 fortunately for you and I, Tavis, we have the option 536 00:28:53,160 --> 00:28:55,400 of studying music in school. Okay, I don't know if 537 00:28:55,440 --> 00:28:57,920 that's still the case anymore, not so much. And I'm 538 00:28:57,960 --> 00:28:59,599 not going to sit here and say what I know. 539 00:29:00,079 --> 00:29:04,039 Jazz is this Some people say it's America, America's classical music. 540 00:29:05,240 --> 00:29:09,519 I just want to say that the jazz artists deserve 541 00:29:11,240 --> 00:29:18,200 a bit more visibility and recognition for the craft itself. 542 00:29:19,279 --> 00:29:22,759 We're not in this necessarily for popularity or for the 543 00:29:22,920 --> 00:29:26,680 hit record or for the you know, the million million streams. 544 00:29:26,880 --> 00:29:29,079 I don't really think that's why we set out to 545 00:29:29,160 --> 00:29:31,799 do this. It's not for the glamour and the glitz. 546 00:29:32,759 --> 00:29:35,480 There's more to it than that. It's not enough for 547 00:29:35,559 --> 00:29:37,480 me to share this with you in this short time 548 00:29:37,519 --> 00:29:38,920 the tapus than I have together. 549 00:29:39,640 --> 00:29:41,839 Speaker 2: But I will say this just. 550 00:29:42,960 --> 00:29:46,720 Speaker 3: I hope that today, in my conversation with you, has 551 00:29:47,200 --> 00:29:49,960 made you a little more curious about it, that you 552 00:29:50,079 --> 00:29:52,240 really want to go on your own and start listening. 553 00:29:52,920 --> 00:29:55,680 A lot of this music that is jazz, has nothing 554 00:29:55,759 --> 00:29:57,359 to do with the voice. But I want to thank 555 00:29:57,440 --> 00:29:59,960 Louis Armstrong for dropping that paper that day and forgetting 556 00:30:00,119 --> 00:30:01,240 words start act. 557 00:30:01,400 --> 00:30:05,839 Speaker 1: There you go, moments were common Lunday. When we come 558 00:30:05,880 --> 00:30:09,200 forward on to have a smidy I've got two minutes 559 00:30:09,240 --> 00:30:11,519 left in this conversation. We're gonna close every common Lundy, 560 00:30:11,559 --> 00:30:13,519 just as we opened this conversation an hour ago with 561 00:30:13,599 --> 00:30:16,240 Common Lundy. The new album once again is called Notes 562 00:30:16,279 --> 00:30:19,400 from the Wine Cellar. The word is eclectic. She agrees 563 00:30:19,400 --> 00:30:22,279 with that. She is a twenty twenty six National Dobbin 564 00:30:22,359 --> 00:30:25,000 for the arch Jazz Master. What a blessing, what an honor, 565 00:30:25,039 --> 00:30:27,640 what a delight, what a treat to have had you 566 00:30:27,720 --> 00:30:30,200 in studio. One more again, common Lunday, I've got two 567 00:30:30,240 --> 00:30:31,480 minutes left yielded to you. 568 00:30:32,079 --> 00:30:34,200 Speaker 2: What have you hoped? What have you dreamt? What has 569 00:30:34,279 --> 00:30:38,119 been your end? And aim for us with regard to 570 00:30:39,599 --> 00:30:42,400 the next the bounty of your career. 571 00:30:42,319 --> 00:30:44,559 Speaker 3: The next gig, all of la shows up. 572 00:30:44,720 --> 00:30:47,759 Speaker 2: Yeah, that's the goal, right. 573 00:30:50,480 --> 00:30:54,039 Speaker 3: Everybody. Yeah, that's it. I'm a simple girl. I'm a 574 00:30:54,079 --> 00:30:59,319 simple lady, and that the world will follow. Guess you 575 00:30:59,359 --> 00:31:01,960 know everything there's a little nucleus vibe in it. You know, 576 00:31:02,160 --> 00:31:03,039 you can't resist it. 577 00:31:03,279 --> 00:31:03,519 Speaker 2: That's it. 578 00:31:03,839 --> 00:31:06,480 Speaker 3: So if you guys come along, then I know everything's good. 579 00:31:06,880 --> 00:31:11,839 Check Out this band that was Terry on Gully. So 580 00:31:12,400 --> 00:31:16,279 this tune, if you listen to the rhythm, it's Brazilian, 581 00:31:17,160 --> 00:31:21,680 which is also another component of this beautiful African diaspora. Okay, 582 00:31:21,920 --> 00:31:25,079 And that's really what my record is. It is all 583 00:31:25,200 --> 00:31:26,640 the components that make up the. 584 00:31:26,680 --> 00:31:31,440 Speaker 1: African diasporaspectives so many ingredients and you you weave them 585 00:31:31,440 --> 00:31:34,640 all together and you cooking. You're cooking Carmen Carmen Lundy 586 00:31:34,720 --> 00:31:37,559 is cooking on this new project once Oh you know 587 00:31:37,599 --> 00:31:39,680 I love you, I love you. It's called Notes from 588 00:31:39,720 --> 00:31:43,000 the Wine Cellar from the twenty twenty six a. 589 00:31:44,480 --> 00:31:47,319 Speaker 2: Jazz Master. It's about time. She has earned it. 590 00:31:47,480 --> 00:31:51,039 Speaker 1: She deserves it, and I'm just thrilled. I love seeing 591 00:31:51,079 --> 00:31:53,319 my friends. Somebody said I'm rooting for everybody black. I'm 592 00:31:53,359 --> 00:31:56,960 rooting for everybody black, and I love seeing my friends 593 00:31:57,440 --> 00:31:58,519 get the respect and. 594 00:31:58,559 --> 00:32:00,960 Speaker 2: The honor they deserve. Karmon Monday, you deserve it. 595 00:32:01,400 --> 00:32:01,680 Speaker 3: Thank you. 596 00:32:02,000 --> 00:32:04,240 Speaker 1: Good to see you just like that three hours ago 597 00:32:04,240 --> 00:32:06,319 on Tomorrow's Friday, which means that tomorrow is the best 598 00:32:06,400 --> 00:32:09,640 of Tabith Smiley on these stations across America until tomorrow. 599 00:32:10,160 --> 00:32:12,920 Speaker 2: Thanks for listening to Tabith Smiley and as always, keep 600 00:32:12,960 --> 00:32:13,279 the faith