Jazz Legend Ron Carter Discusses a Life in the Music Business

so do you have a manager I have an agent and for me an agent is different in a manager a manager a server actually manages your career and makes those kinds of career directional choices for you do you want to work at this club or Joanna work a disc festival I have an agent and her job is to with me make sure I get a fee that doesn't come worth not manage my career so she she booked the gig she books like the exact we consult on what I want to do it enough so she brings you the opportunities that come your way and you say well um you don't have to look for them cuz I'm already kind of famous you know what she has to do is weed through these offers and find out what's the best one she thinks for me to do the first that we can they can afford we we've been negotiating she's been negotiating with this guy out in Seattle whose name I won't mention was a jazz club and this jazz club is a very nice room and part of his enticement for bands to work out there that you stay at this hotel that is a co-op building he has control over an input - and I've been told about people whose cleanliness I respect to this hotel the condo is really a drag it's awful so I've has instructed her that when this guy calls back don't take his call just hang up because he's often the same kind of money and the same abominable living conditions and her job is in this case to be the bad guy just tell him that he's not available again and again and again we worked out working out the deal to go to the chili for one concert and her job is to do the visa thing make sure the visas make sure the passport employees get the tickets early enough to save on the cost of travel down and back and that's a her job as an agent is a manager kind of dictates to you if you have no career direction you work at New York or do you work - I work Chicago I got to get four years because your career I have people come to the club and view you I have to certain press available to the origin picture in this magazine or that newspaper that's what their job is to do because they're managing you're managing to get you famous their job is to manage this process no no I've always been responsible for saying no I think musicians would say no more often they'd make more money and the reason they don't make much money that the other musicians who are afraid to say no they take the lowest bidder God kills them I'm saying to these people look if you want to get X number of dollars more per night then tell everybody to stop working for less than that that's pretty uncomplicated to me but the problem is - guys are so thirsty for work and believe me I understand it I don't want you to think that I think I'm above I'm above the fray I'm not above the four I'm just like they are the difference is I've accepted consequences of no I mean no work at this club no recording with this guy the concert tour with this manager no I've accepted those choices because if the guy calls me back I'll get three times as much money because he sees clear that mean what I say when I think I want this number of dollars from my services until those musicians get comfortable with sand no and not being able to work because they had a point of view that this law was valid for them the money will never go higher and I mean I'm speaking reasonably so you know I mean this guy can go out and get forty thousand a thousand the concert great for him but that's not in the future for everybody but I do think that this which everybody has been able to work at a club and get more than three dollars a night working three cents that's certainly the realm of possibilities and until the Inquisition began to what I call quantized their talent I mean by them freaking out with they think they're worth and what their financial needs are for this particular gig the laws be stuck working for the door because this is my attitudes for all these years I've been called a lot of not really nice things I've been called a jerk arrogant hostile indignant all those nice terms people call you when you don't bend their way in the wind now I'm okay with all that stuff man I feel good I think if I were a philosopher I would feel to say that if people are mad at you for a second what you're worse you don't need them to make you're worth less unfortunately the industry is caught up like everything else and with the computer age I'm not sure it's just the it's just that the Jazz community end of the self is affected different from the downloading of songs I think people don't really download many jazz songs but that process of loading downloading those other kinds of music songs has made two places excel those records not sell them anymore and because they aren't selling those records anymore they are in Selma jazz records you think because it's go it's closing so we're the victim of Donnelley of downloading due to the fact that the other musics I'd take another downloading and the stores that don't need to sell this physical packet anymore are closing therefore there's no facility left to sell the jazz CD which is not being downloaded as much as everything else Michaelson has always been when they put the law and that they would pay musicians a certain certain monitors download money would go to a bank or an account to be distributed among musicians I was asking Gaga how do you decide who gets them kind of money I mean how do you determine that and how much do they get and how long before they get paid the first payment is in some real interesting financial questions and I got this question mark or gene you don't know what we don't know I feel well don't tell me I'm in good shape I have more questions not that you can answer but I think the musicians are starting to be more self contained than before because there's no one little bit looking out for them but then unfortunately feel that could do it all by themselves they're better off and I'm not sure that's really the case I think to do it all yourself it's just X 2 3 people 1964 my life my late wife and I published my first book a jazz bass line book just before online publishing multicast using the copy editor lets you know where to go to buy get the plates turns out get the photographs or the print and the plate who could do the typesetting winter whole head really hands-on stuff man and we advertise in four or five big european jazz magazines and the colder magazine and canada and may we have thousand of six magazines six seven magazines now it's gone to the mailbox every week picking out two or three hundred orders or just jazz baseline book I mean after a year I just got I just couldn't do it anymore I sheet that tired to I go to the bank man I'm just I'm stamping this little stamp but this 10.20 twenty dollar book for twenty times and I said no now it's easy to do that process because you got internet and all those others other services but man I don't think I wouldn't do that again I'll it's miles publish the book me okay I only get where it is but see I got I can sleep at night I'm not I'm not worrying about the ink of my fingertips and I go to post office now that's not a secretary to similar build in the statement you know a lot of my publishing their own records didn't make the whole CD at all actually to make their own commit their own labels to make their own don't unit I mean and they sell them the gigs where they work and for them that's great but for me I will do that I just feel that that's it that's passed my line of dignity we're after driven music write the music hire the band make the record make the packaging and have somebody heist my to sell it to gig I just can't do all that i won't i won't allow me to do all that stuff anymore so I'm comfortable enough to know them plan the best I can play I got the best friend I come back and hire I've been all I can pay them and hopefully it the people will get on Amazon and buy the record I'm ok with that you know I'm not into I'm not concerned about being stolen blind by the record company you know I said that I got enough worries you know and now I want to add that to my list but you're a lot of guys who who are and they're really on fire but that's Mickey on record McGee on CD and some of the clubs which by the way there is wrong as the companies because they don't pay the guys whose tombs they are on their company and I had my sons recorded by some of these people who record their own label don't record principals pay me like six thousand six cents a to a record where I'm sending my from these guys so they're no better often Blue Note or the major record on these in terms of paying the mechanicals in their correct word it's rebecca's that they do sell that they own of songs on what somebody else I'm sure they aren't going to be a mother big boys in saying it is six dollars for a song for Anna Warner Johnny Mandel tune from our record I made on my own or I'm sure they aren't doing that kind of payment so they're really no better than anybody I'm making any more money they're stealing more money because it's sitting on a much smaller scale but a lot more money so I think that's more than a notion to say I'm gonna make my own naked man I'm gonna make all the money hey man just paying my six cents per record so we can do this it's on what hey bring it on a guy call this guy starting tomorrow you have a publishing company I've had a plug some country since 1964 and you run it I'm in charge of it well I run the company I do have my licenses written by an attorney who does that I do everything else I collect the money comes to me I give him a percentage of what the lawyers fee should be and I go on vacation basically you got an agent an employer I have a man you have the agent and a lawyer who helps write the who who reads the contracts for the briquette contract for example got a Blue Note and he issues the licenses that allows people to record my songs through my company you also you do soundtracks for movies and television I've done those things you know one of the problems with those is those companies they want a large share of the royalties of mechanicals from the publishing company and the writers rights and that I have a hard time agreeing that that's fair it seems to me that when some pub someone when the publisher publishes your song his job is to get that song recorded by someone else and most people who publish that who want a part of this company do not do that they want 50% of your company so my views why should I share my song with this publisher whose job as a guy recorded it is making no effort to get the sum recorded so always I don't do those things often because I can't get the kind of control on one over my music and I can't get the kind of payment skill I'm looking for because they want half of the publishing company to go to them and unfortunately when the baler comes out the money goes from the company or the place to the publisher first they paid you and it feels like it whenever that is mint and the money's land in this count getting interest on that stuff and I'm working with pennies trying to make it work so financially for me it's not the best of any world I mean I'd like to say I did this film at that TV show is nice but there's so much involved past the ego the name on the screen saying music written by I got past that a long time I'm really fast I'm so over there that phrase Dylan I'm so over there yeah I'm sold when I quit teaching school four years ago when things I missed was the students who would upgrade and who would download hip hippo vocabulary for me so I would say I phrased like and then dr. gates I was really old it would just let me know so Carter this is he found another way to say that I said not on Lois okay come come this way he'd go on the screen show me the hip phrases for the day so those phrase if my friend Sandler outdated blaming our retirement yeah I retired from teaching school from 20 years to teach in City College as a streaming professor of music emeritus met in 2002 yes a tough 1983 to 2002 nineteen years I thought a struggle of teaching jazz history and ended up teaching each in the graduate ensemble an undergraduate ensemble at seven private students I taught jazz history that's all arranging on and off for 18 years and that was good money yeah yeah yeah you get better mileage as soon as professor about the salary so you saw youtube starting a publishing company 1964 yeah you only been in the city for five years and I mean the ganado didn't have the thought he would do that and they're still struggling with their thought to do how did you get the idea to start a publishing co well I was working with Randy Weston in 1960 Randy Weston was a great friend of gigi gryce Gigi breathless and Alto player who was in New York in the earlier fifties who was one the first musicians to tears on publishing company he ran into some serious problems the record labels who didn't want to record his songs because he wouldn't give them the publishing rights I said why man he said well if you have a song that's worth $6 on a record it split up between the publisher and the writer and if you have half the grunted publishing you use 1/4 of your other royalties and why should I give them the money when they didn't own them arenít it sound pretty reasonable to me I'm okay sounds reasonable Anna Randy Weston was the second person I knew of who had his own public company and the horse hood was another but his own kind I don't know anyone who was ever the quarter who's ever recorded when a horse's songs the horse didn't have the publishing rights I mean horse silver controls his entire catalog horses made about 25 CD LPS and on those LPS there's at least 10 songs it's almost $350 $350 the horror silver owns every publishing and wrote it right - and that's really amazing well they say the money is in the boats absolutely absolutely I mean we didn't see this guy we see these rap records with twins ever read the tireless in his era nine coal writers you know some liquor sells a million copies these cold writers who get publishing rights they share their million dollar million selling record because they're one of the writers of just to get one seventh of this song but one fifth of this song is a cold publishing co-writer yeah my my sons who were entered into the sampling type music when it was really affects him when he's really hot dr. Dre and black sheep and all those bands I would get phone calls and say hey dad's and what rig me up what I just heard this Rick on radio and the South like you just check it out so there's a company in New York whose job was to check out this sampling and I said look like I joined them for a minute so I got this call and I think this song was the title doctor sampling a bass line from this record I made and I'm not getting paid can you check on it for me and within a month they would find the record and I would get a reasonable honest reasonable amount of summer money that had to share it my son who does coveted for being sample I'm probably most sample upright player on the scene today well whenever they do when they still think that it's okay not to do that but you kind of blows my mind so dig that death be vigilant my sons have to monitor this stuff on their own I don't have time to do that I'm sure that's out there being down now that I don't know about it and have been paid for but okay maybe it may that one wasn't supposed to be mine anyway so I'm okay not to worry about there oh I take it I took a guess about the 775 my name our name is a bandleader well the general arrangement is you get a artists fee and essentially a budget to give you $35,000 to record this record and whatever is left at your expenses too painful the arrangements paying for the studio peg mission spend musicians salaries it does anything with paying your salary which I always do I always pay me a salary out of the budget that's what budgets afford to pay salaries what is left that goes to you but you have to remember that you don't get any hardest royalties until the record pace is paid for itself you pay back this $35,000 loan that they gave you to make this record you don't get in the money if as an artist world until you pay for it the Rick will repay the loan actually so that means if you're selling if the records cost ten dollars a record and you got it for 5,000 all along you got to sell 100,000 records to be able to get your artists royalties or 300 record starts when that's paid and not one penny before Japanese people are very accurate and they send me my statements I see all that I see the advances that God I see I mean records I got sold I many deductions less taxes for each project they don't they don't add them all up so I've done 17 records for them and that still have that that eight eight now and the pipeline so to speak that I owe a balance on and it's in me every month every quarter a statement saying that this record number is this record number this made copies sold they were so for this purpose he's a download or a compilation your balance is whatever it is less the world let them kill Esther price money so for this record this less this means that you lost as much money and I will keep the practice money until you sell and money and get your all just once this is zeroed out well you know what I find in Europe is that I belong to collection agency got BMI tattoo in New York basically BMI and ASCAP broadcast music incorporated and decided for the some composers or something belong to him so I need to know what they stand for I've blown to a couple of a couple in Europe what they do is they come around and New York come around to the concerts in Europe and ask for the program to find out what songs were played so they can report this information to that collection agency in that time country and this collection agency foresters music and money to your agency in this case BMI in New York now that's supposed to happen in the States I have never seen one collection person come by after for the program of this night so you could send this information to BMI or ASCAP or SECAM or Harry Fox or royal publishing music under so that this person gets the money from a live performance and you have to have better monitoring the radio with the music on - better monitoring live performances of the catalog that they may or may not own I won't say that the country itself is more aware of jazz they are more aware of the business of jazz that being the royalty possibilities and collection of monies from these various formats that the United States agencies don't seem to be tuned into getting you're aware that in Europe yeah but the pops in to the tune publishing you get in both places yeah but they don't monitor like you say that was not anymore send around people to go to Klaus they used to yeah why no I never saw him do that I never knew him to do that well I've been playing in New York they may have done it but I've been away and then oh come okay but factors that nobody does it now and it's hurting the digest the jazz musicians getting it's getting listening hurts and money earns by not being able to paid for his complete act which is plant original tunes yeah now what happens is at the moment I head towards the door everybody comes hey Lisa scare me oh man what did I say well I've got a little older and but a lot less afraid Smith with the door I'm God yes yes si si an 135th and convent Avenue over the what oh yeah okay yeah man that was your dad yes I know we have a bunch of associate professors but they're always is still getting so much you can always go as much time as I'm sure how did you how did you control that yourself I made a commitment to this to the students in the school I didn't I would not travel other than a weekend if interfere with my class on Tuesday I wouldn't take the gig I have come from the airport right to nine o'clock class in 18 years I missed three days of work one was illness and two was a family death and I think that one of the one of the built-in failures if you will that schools allow themselves to have it's hard a jazz faculty and not insist that they teach a minimum amount of classes for this salary you know jazz players think that this is the school is a it's a waste if they just passing through so they're just as comfortable to go out of town on a four week - in the middle of semester is not well I'm not comfortable to do that I was not comfortable to do that and I would not do that and I did not do that because I was committed to these guys who came to study with me as well as the classes I was responsible for I didn't feel that I could turn these students over to someone else who didn't feel that way about composition as I felt didn't feel the same way about theory or didn't feel that same dedication about teaching the base a certain certain fashion I just thought that I owed these people and I want them to the extent that I would not go on a town with a big tour if it meant missing classes I just couldn't do that and that did not do that for 18 years and I feel good I just feel sorry for the students who sign up for such situation and due to the teachers unavailability for tour did not get what they asked for you and that bothers me terribly don't do it please well you know other things I don't like that's number one two and three yes yeah you got do this you know that do bother me no but this man the guys they take this lady's it's it their man they do this and then we were the computing boy I can't do that I've got enough of that on the iPad not on the 20th floor rather than go down to the first floor to hit his person crack your knuckles I'll wait to miss elevated for however long it takes to get out of its sound because they all be is small and people that close together this person is still like they're going to 10sec out out place out anywhere I don't care where it is where you can want you let's a Twitter I'll get out here I'm okay with that yeah thank you I'm not doing that you seem to have a strong sense of integrity about your teaching responsibilities I'm sure you bring that same sense to the live performance stage to talk about that a second but you look for it you demand in your band and what your response ready is well one of the things that the bass players are facing right now is affected Airlines arming the difficult to get the base inside the cargo hold by excessive charging of overweight oversized and excess baggage charges or the plane size has been changed from 10 reservations were made and the base with his trunk won't fit inside the plane inside they hold for the luggage so they make the difficult for us to travel with our own instruments and the dilemma I have is I've always felt that that I was hired because of what because what I do because of how I play and because of the sound that's associated with my name now boys felt uncomfortable when I was off the opportunity to not take my base for whatever reason the guy offering those too far away was in the travels inconvenient you know I've always said Noakes I just didn't feel comfortable to do that well man has changed my view a little bit because the airlines that make mistakes tensive to travel with the bass when they're lying at the base inside the plane that I'm having to really rethink my my position on that given that musical position one of the things I expect from the band are our honesty I expect integrity nice pecs in the blood overnight and do-si-do totally their brains out every night next victims is to feel free enough to ask to bring their libraries and bands for tribe you played if you can work it out now expecting to take my direction if I say this is too fast and too slow I don't want to explain to them why that is at the sense that they will trust my sense of judgment if I say this song is out of the library what's back in that's what it is but I'm real pleased to say that that for long as I've had a band about 20 years not once has a guy my van bands to have three actually called me and say mrs. gig fan and that's me a real important view of me because that reflects directly on my my honesty and the fact that I'm going to pay them as much as the bad but you will allow its integrity but they know that that you got one concert here and one there or if we go if we go into a bonus where we get paid extra because we fill the house pass certain amount of money what a budget we could to do record and we had extra thousand dollars left over the budget they know that I want to get it to them because it's tears it looked like I did so we don't ask me how much this gig been in Boston I feel great because I know that they trust that wherever it is it's going to be fair and square with them occasionally when I had certain band members you know they thought that you know I have the band dress up if you see the quartet or tree or nonet and we were in nice shirts and ties and great suits and I've had a case my band member tell me that he didn't care for the ties I happen to buy and I'm okay with that kind of disagreement because everybody's taste is different that's okay if you don't like this tie I bought that we have buy one that you like better however it must cost one hundred and five dollars however it must cost one in five dollars however it must cost $105 and each time I said that the tie look better better to him so you have to find a way to to allow them express their point of view and and trust that when you come back with a counteroffer or a statement to concentrate to their view that you not to worry about ducking you know that it's okay because you're presented in an adult and mature fashion that's all you can hope for is your responsibility that you feel to your music the same responsibility you built your volumes if you do that well you know I think my first responsibility and it is to try to play what I hear on the bass that's my first responsibility and I hope you don't think that's a selfish view but I can only respond I can only give you what I think I hear and my first job is to try to make what I hear in here audible for you right here just the first thing I think about that's like number one and two would be if I got the right personnel to make a music I think I hear a viable musical alternative to people come to get his band and without the right guys to put his music not have made some choices that I didn't have the right guys and had to let him go because they weren't no they weren't in the same area code so to speak you know I'm dialing like 200 to date on my 201 it's in wait a minute man it's wrong one yeah and that'd be number two 2a and 2b would be can I get this band to make the audience respond differently than they're doing now and what does that take they may take me in the middle of the band program to reorder the songs as we plan them or it may mean this song there's no piano so because the audience is not really digging him or they're not digging the tune you know what I may mean making the fourth song that I would have played at a modest speed played faster because the audience is kind of in the day not with us so far so my order of importance is me first one the band to an audience to a as far as getting the music across to a general public and how I view their importance as to what I try to do yes our approach to stage presence have you ever had to have a conversation with groups or individuals about being too casual unsafe absolutely no none too lowbrow is that like this no I yeah okay what you know when I leave my house to go to a concert I'm leaving to go to work that's how I view myself and and I don't think that most jobs that are hiring African Americans you can go to work looking anyway other than the presume in a suit and tie when you have three or four guys on the stage with the same gym with dark suit whites and a great eye Jones just put on notice but these guys are serious and and it stuns them to see these jazz musicians who are dressed in this fashion now when I was teaching school I would tell a van and in September of third first day of school we have a concert and November November so you got three months to get a dark suit in a certain time if you can't have one by then you come to the concert mystic are you serious yeah yeah first car do you mean that yes yes and I've had to do that I've at the hotel young man look we talked about this in September I offered I made myself available to you know where you needed to make this right with me I was comfortable to do that for you but no not you I think it's okay to come here with with shorts on and gym shoes but no it's now okay see you bye welcome back you know I think that that young people how to say this not get bombarded here they have learned how really defined casual now for some of them casual is wearing sneakers some of the cat was wearing sandals thumbs lens or for me casually is wearing a great suit with a white of the great time that's casual for me formless a tuxedo with a black tie and a white shirt I think that that once taken out of this thank God it's Friday mentality suits really okay and they're starting to found out as they look for a job that how they dress in class is not okay but to look for a job but I think the classical world they're so concerned about losing their elderly organs who bought the subscription series 1940 and if after the long to generation generations are getting old and older now so they're they're concerned about getting an audience and they see their way to get in audience is to begin to dress like that audience and I'm trying to say dress down I've done to avoid that but dress to their audience and they see the audience is being kids like you well sort of why but I'm not gonna dress down to your level just so you come see me play I'd rather have you come whereas to to see me play that's my zone we could do this all day you know just to say I'm not pleasant to you he just like you guys or comfortably dressed right now comfortably dress you know but I think for me to present me in the fashion that's comfortable for the music I represent there's a whole nother vibe for these young people to know the houses that treat this performance for them number two a on my list of things you know and I've had I think dishes telling me what I'm going to do anymore well okay I won't call you see you not fat people and you're going to think that because we were in these suits we look kind of like military I don't know what that's all about I never saw a guy wearing a $2,000 suit like he's in the army in it surely that guy I want to join this army you know I'm gonna pay you I'll be with them you know but but I think that that casual has its own limitations and and and they're depending on how comfortable with you you are with the various levels of of casualness that they are depends on how you going dressed for the gig and I'm not comfortable just like just to go to work don't tell not just like this going the work of my suitcase got lost in Europe had to go out and buy some clothes to wear for three days I'm pretty casual now but but I'm gonna dance somewhere and I'm when I'm kind of tied up you know time nice time to play sure okay yes the questions Johnathan's you sleep somebody wake up town push challenge on going wake up Donny think it's yes whilst playing solo recently at 10:00 and that's I got got to high school at 16 17 I realized that the school would be asked to provide music for certain musical function to PTA meetings the PTA is yeah yeah oh yeah he's still into that just begin the shade zone okay those kind of social you know educational functions and I noticed that they were hiring the orchestra but they were hiring me not that was a good South African American some updated good those other guys man this went off for a year man submitted two semesters and then that my lifted the must a senior semester my senior year January in 1955 the bass player graduated so I said aha lab Bob went on you know they after the bass player play dysfunctions it's an oil on bass I've done on bass player there then they were what don't have to call me another one effort American tennis music that's a star playing bass yes yeah did you ever feel like you kind of got a late start from like playing at 18 my starting base at 18 no no I think if there's an advantage for me I'd studied I'd learned how to practice early but at ten you know I learned I learned what lessons were yeah I learned what the sacrifice was of paying for the lessons I had learned these lessons of all these various types before got eighteen and I think if anything that was to my advantage as opposed to a guy who just starts studying at base 80s got to learn how to practice he's gotta learn the discipline himself to prepare the lessons every week did this whole bunch of things he's got to do it starting then will that start that stuff ten years eight years before so it was just not part of a problem for me no I'm sure I'm glad I started when I did yes thank you I step q-tip yeah sorry sorry good yes call me yes yeah yes you know I'm always slightly embarrassed because these people know who I am and I don't see me as being well-known and to make use other than the jazz community you know that this guy's mean that that Billy Idol will call me from London to do a record with him know Billy Idol they even call me from London you know Paul Simon would want to buy my tickets to Mohammed all these flights I could make a record with him or Bette Midler people who are clearly not in the jazz community that they know I exist that just kind of does embarrass me to no end manager Jesus got call me Wow check that out that's enough turn back it's no longer being pink and go to work yes it's a man I didn't play on a lot of I worked week with James Brown that sign up that based on the string orchestra yeah can't come to New York just call that casino so it just kind of counted wrong it's work trips me out that's that old to please can I have a nice phrase here to get me out of this where I'm stuck with this kid nah this paragraph it just takes me out that these people who are basically far from the Jazz community know of my work and feel like a up their project I just where Jefferson Airplane you know Grace Slick it was great that you know Bobby had to gobbled Sonny I'm ready record with him so I mean these people that they know me it just kind of scares me that the music is that's widespread that I'm have to be a part of me field I can help their project maybe be more successful than if I'm not on it it's great you know I just finished on a trio record and as I was finishing the record finishing the process of writing the music it occurred to me that made a lot of Records under my name and I've done some really wonderful records none to my name and I think right now there are no I don't have any musical projects to do that I haven't done before up David singers I play with great horn players I played with great drummers I mean I can't ask for anything else to do that I haven't had the opportunity to do without what I look forward to doing is finding young bass players were determined to be wonderful bass players and who are willing to trust my judgement doing what I ask them to do so they get to that plateau of a wonderful bass player that's not looking for to do after couple of guys who are who are close you know and make myself available to two guys won't take us we're on the study and see if they're what I'm looking for them I guess the word maybe protege but that's not all most ed I'm not asking them to play like me who's not too bad you know I asked them to play like me too and ask them to be able Ben obsession to make the bass go somewhere else another directs a different step another step and I'm looking for three or four guys or ladies - who who fit into this slot - requires a lot of dedication and devotion and chili hair and sweat who will put forth the effort to maybe be the person to make the basical like this I had my chance and I'm okay with that now me back and help somebody else do this okay that's my goal for next few years anybody else yes so again I'm looking for the FSM Grafton had some fabulous moments man don't let me al-amin a rough time off has been not important but uh man I can see myself done some other thing being to have another other other Peaks man you know I had a great one added air the concert at Carnegie Hall in New York by the Jazz Festival right and the Provost I love the master at 70 just um about me and I had a chance to hire guys I want to play with for two and a half hours at Carnegie Hall so I had me and Jim Hall for a duo and the tree of Russell Malone and logo million myself in a mission next band was Herbie Hancock Wayne Shorter and Billy Cobham and then that moved my working quartet of Stephen Scott paid across labor Orlando Morales now that would be enough to make me want to just put the bass away and go out to the sunset you know go out to New Mexico and County cactus but what was better than that when I walked on the stage without the bass or busted up the floor for ten minutes but something's better than that I don't know what it is but when I see it I call you it said this is it this is it this is it okay all right thank you you

Channel: ArtistsHouseMusic

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Keywords: Jazz (Musical Genre), Music (Industry), Classroom, Music, Industry, Today, Networking, Performing, Rights, Organizations, What, it, Takes, careers

Id: Lx3bRDZL1_M

Length: 49min 12sec (2952 seconds)

Published: Mon May 21 2012