Jazz Musician Robert Glasper Breaks Down Jazz Scenes from Movies | GQ

jazz was born in a little flop house in new orleans and it's just because people were crammed in there they spoke five different languages they couldn't talk to each other the only way they could communicate was with jazz that's just not true the people who started jazz i mean we don't know who that person is but they're definitely all african-american they all could speak english it didn't start off like like that what's up gq this is robert glasper musician producer and this is the breakdown [Music] first up bird bird was charlie parker's nickname saxophone player charlie parker they called him bird everybody back then had nicknames back in the 40s and 40s all the jazz positions i'm not sure how a lot of them got their nicknames but you just called a net and you're like why did i just call you burger everybody calls you that so i'm gonna tell you that the portrayal of how everything looks is spot on where the musicians are standing all that kind of stuff spot on a lot of times in movies they don't have a person that really knows jazz or what a jam session looks like they have people staying in the wrong place and the sound is good you can tell that those are actual jazz musicians playing just by the way they're holding their horn and when they play there's certain movements that jazz musicians do even when the saxophone player is blowing and how he's moving with different lines certain lines are going up last saxophone player when they play notes that go up they go up and when they play notes they go down they kind of do that it's a movement body movement thing like and the same thing for the bass and the drums if you're hearing a symbol you should be seeing him play assembled so they have all that pretty good for the for the most part it's good [Music] this particular scene takes place in 1939 so the actual style of music they're playing fits the time period they're playing bebop it's just the language like we all have a language there's spanish there's japanese there's english bebop is an actual language it's basically how to get from one note to another note through other notes so it's based like a maze of notes to get to another note it's like uh so charlie parker he's known as the the father of bebop bebop was there before he got there but not at the level once he influenced it it just went to a whole different level in this movie people are already playing charlie parker language while charlie parker's a kid that's a little bit off but in real life there are things that charlie parker influenced as an adult the stuff that those guys are playing up there the saxophone players when they're going back and forth that's stuff that charlie parker actually influenced a lot so you know he influenced the music so much that it it broadened it so much to where all these other genres would pop off in there charlie parker spawned people like john coltrane and john coltrane really influenced the free jazz movement you know and it just goes on and on like a tree it grows on stage you can see two saxophone players playing at each other like one place another place they kind of go back and forth we call that battling they have that in hip-hop they call it rap battling they have it in different genres where you kind of just go back and forth and try to cut the other person cutting me like you're trying to be better than that person trade force forces a certain amount of measures it's like a conversation it's kind of like sharpening up the swords one sword sharpens the other swords the saxophone pretty much has become kind of like the face of jazz anything you see that's like we need something jazzy most of the time they're going to get a saxophone player because that represents emotion and represents like romance i think really because of charlie parker specifically the genre is kind of represented by the saxophone because charlie parker is such a huge influence on the genre itself what's your name who to play with little forest whitaker his look and everything his mannerism how he walked up and everything is spot on he kind of walked on stage without having the conversation of what he's going to play normally in real life you're a new guy you're young they'll ask you what do you want to play but some people are just hard on you and you walk up they're like okay young buck what you got boom and you better know the tune if you don't know the tune you have to act like you know the tune or kind of figure it out from the very beginning you see he's already sweating he's nervous and that's a real thing when you first go up and you try to play with older guys people that's been around obviously it looks like it's hot in that club anyway but he is really sweating because that's nerves like when i would go jam sessions you have to write your name on the little tablet and then they call you up to play so i'd be so nervous before i went on stage now he's just trying to find it he doesn't know what what to do he's kind of just trying to find his way and you can slowly see all the jazz musicians on the stage looking like what is this fool doing what's happening knowing what you're going to play when you go to the jam session is is the scary part of going to a jam session because most of those people in there have been playing for a very long time so they know a lot of tunes and in the jazz book there's so many tunes to learn playing was bad because there was no rhythmic component to it it was just kind of like the notes look like my eyes like that's what it sounded like if notes had eyes that's what it would look like but you can tell he can actually play but the nerves have gotten the best of him because he's not locked in rhythmically at all with the drummer at all he's going on his own pulse at that point just his confidence and his movements and everything it's kind of just like he's playing by himself alone and the other cats can tell that they can tell the note choices weren't making any sense just playing wrong notes here and there technically there are no wrong notes in jazz but there's wrong in jazz they say there's no wrong notes because it's expression it's like there's no wrong colors in painting because it's art you can't go wrong in art but there's a difference between playing a wrong note on purpose and playing a wrong note because you didn't know the right those are two different things they sound different they feel different it's a real story the drummer uh i believe it might have been joe jones that did that to a young charlie parker when parker went up to play and that's kind of a thing you do when the person that's playing is in dealing they say you ain't dealing and that means like you're not really playing well you're not hanging with the level that's there that's happened people stop playing behind you you're playing and you're not dealing right you'll turn around you'll hear literally the instruments dropping out one by one and you'll realize yo i'm playing by myself he wasn't trying to like sever his head off or anything like that he'd do it kind of by his feet to let him know hey i'm throwing this towards you because you're doing something wrong when you get embarrassed on stage those those situations never leave you you remember those for the rest of your life and a lot of times it can make you better you never want that to happen again so you go home and you practice and you hope to go back and be better than you were something that people can be like okay he can play you can play next up la la land the jazz band playing on here it's south i'm not sure what the song is but it sounds like they're playing something from the 50s or the 60s particularly that piano line the piano plays playing [Music] that's a very typical kind of sound jazz in the 50s and 60s maybe in that era they sound good there's nothing like crazy about it it sounds like something you would hear at a jazz club while you're talking having a drink having a small something like that very cool casual straightforward kind of just tuned the setting's good for that the musical setting is good for that jazz was born in a little flop house in new orleans and it's just because people were crammed in there they spoke five different languages they couldn't talk to each other the only way they could communicate was with jazz that's just not true that part is not true the people who started jazz i mean we don't know who that person is but they're definitely all african-american they all could speak english for sure it didn't start off like like that i can definitely tell you that people dispute exactly how jazz came about the very beginnings of jazz a lot of people say it did start in new orleans and then there are some people say it started in kansas we don't really know exactly but definitely wasn't like that for sure what about kenny g i mean what about elevator music you know jazz music that i know what about it people who don't listen to jazz tend to think that jazz sounds like elevator music and there's some validity to that the elevator music that you're hearing they picked that particular music because it's good for the elevator it's just something that's kind of cool kind of boring because it's elevated you want to startle people when you want to elevate like jazz is like you know known more for being instrumental music than it is even having singers just the fact that it's just instruments kind of makes people feel like oh well we can put that on and people can talk and do whatever they're doing and it's not going to be too much going on i mean if you took a poll and you asked the average person what's jazz or whatever it is i think most people would think like kenny g is is jazz you don't really get to hear much bebop in the world there's there's so many styles of jazz honestly a smooth jazz electronic jazz straight ahead jab this is a part of the genre it doesn't represent the whole genre and i love kimchi i had i had a silhouette album when i was in seventh grade it's all relevant you know you just gotta kind of know what you're listening sometimes where i grew up there was this station called kjaz 103 and people would just put on that station when they had a cocktail party and everyone will kind of just talk over it so this is a real conversation people have she's younger and she's saying what about the jazz that i know and he's more of a history buff and he's an actual jazz position so he knows the history of it the younger you are that's that's what you know about a specific genre same thing with hip-hop same thing with r b and then you have people who are older who say oh well no this is not the real thing real things back here so that's always been a clash with people and and music for sure just understanding that you know music changes you have to just step back and let it do that and acknowledge it so for certain jazz performances you kind of go in knowing what you're getting into sometimes you are the focal point and then there are those times where you play and you know your background music but in this particular instance it looks like they're just like you know at a jazz club at a bar and that's just the band that's playing he's able to talk and hang out and do that kind of thing it's okay cause most jazz musicians know what the vibe is when they get to the venue every one of these guys is composing the rearranging they're writing and they're playing the melody they're just and now look the trumpet he's got his own idea and so it's conflict and it's compromise so what he's saying right here is very very very true about when you watch a jazz band you're seeing what's happening in real time there's composition happenings people are writing stuff on the spot so you play a melody you play the song and then everybody takes a solo and the solo is just your expression of that song what you're feeling in that moment and you're watching everybody play in that moment it's like literally art in real life it's happening right in front of you when you go see a jazz band and you see how it works so you can see sometimes the clone of the conflict between the musicians and working their way out of a problem or something like that so it's very very much uh something to see versus just something to hear [Applause] and it's dying it's time it's dying that's a real thing people say like jazz is dying or jazz is dead and i don't agree the tradition of jazz is that it changes that it always changes every 10 years it goes through a change that's actually the real tradition so when people purists say what you're doing is in jazz or jazz is dead because it doesn't sound like it used to they're not really purists if you're really purist and you really love jazz you know that it changes ask any jazz periods who their favorite jazz musician is probably the one that gets the most votes is probably miles davis and miles davis kept changing the music he changed the music like seven times when he died he was on the brink of doing hip-hop music i always wanted to be relevant i always wanted to do music of now and i always wanted to bring jazz into the next thing always so that's literally what the history of the music is and i think that we're honoring our forefathers of the music by taking what they did and changing it and making something new that's what it's supposed to be what are you gonna do i'm gonna have my own club really yes we're gonna play whatever we want whenever we want however we want as long as it's pure jazz jazz purists i mean the term really is they just choose an era of jazz that they really connect with and they want it to stay like that and that makes it pure pretty much anything before the 70s once the 70s came into play then you got people including electronic instruments you know electric keyboards electric bass and things of that nature which change the style of music change the sound in a lot of people's mind that's not jazz anymore jazz is this everything's acoustic upright bass piano acoustic drums some horns so that's kind of what their their thing is it has to stay like that if it doesn't stay like that it's not clear anymore i actually thought it was a good movie you know the problem with it is la la land was like a musical and it had some cool jazz moments because you know jasmine they don't like musicals because people think oh the musical music that's jazz and it's like yeah it's kind of like broadway poppy kind of stuff it's not it's not jets so i think there was mixed messages and that people were just kind of putting it all together in one so i think la la land got some hate because of that but in reality if you just look at him in a real way the jazz stuff was good i like the intent of the movie i like what ryan's saying here he has his own opinion about the music and he's just trying to fight for it and keep it here and it brought a lot of attention to the jazz world honestly next up whiplash that's not a normal thing just walk on stage you're not supposed to be the drummer for that particular song i think he got kicked off of the concert or something like that and he didn't even wait for the director to count it off normally in the big bang situation the director has to go one two one two ready and blah so everybody knows where they are miles totally skipped that part you would definitely make any band director angry at that point when you're in a school you're going off of what the band director tells you to do he's counting everybody in he's bringing the drums he's bringing in the bass he's bringing in orchestra so you're trained to just do that most of these kids haven't been in a jazz club they don't have a bunch of years under their belt to kind of know how things flow so you could tell everybody's kind of startled like what's happening that kind of thing happens when you have a smaller group and you're in a club at jazz club and you're playing then you can be like yo all right come in here and everybody's kind of vibing but when you have a big band and it's an educational kind of surrounding even that doesn't happen at all because everybody's waiting on the director to come in on their part so it can definitely be a trainwreck for jazz big band is like um you have a rhythm section which is like piano guitar bass and drums maybe some some percussion and that means you have like five or six saxophones in a row four or five trumpet players behind them you got like 15 20 horns bigger the band is then the word orchestra starts coming into play a lot of times orchestra means they're strings but some people kind of use the words together it could be they say they may say so-and-so's jazz orchestra but it's really a big band the good thing about this is miles teller is actually playing the drums you can see he's playing the drums the drums is the one instrument that everybody knows what it looks like to play drums so for the most part you can tell if somebody's faking the drums or not for the most part most people don't know what it a saxophone fingering is or the trumpet player's fingering and that beat is not an easy beat to play he's playing a few different rhythms all over the set some cross rhythms happening one rhythm going into another rhythm hi-hat's doing one thing he's playing around it go ahead miles this particular song is called caravan it's a duke ellington uh composition very very very famous duke ellison composition he was a very famous band director very famous composer and this is one of the songs that musicians love to play it's one of the songs that doesn't do the natural what everybody does when jazz they swing ding ding ding ticketing ticketing this has more of a or four bass drum like kind of having like a more middle eastern kind of vibe you know and more rhythmic than normal so the beginning of the song is more that vibrant in the middle of the song it goes right to swing people love to play this song because it's very easy to kind of do arrangements of this song because it's not necessarily locked so hardcore into the traditional jazz pattern of swing this is really a drummer which is why it makes sense they put it in whiplash because drummers love switching from this to that and then setting up going back and setting up going there a lot of the song really depends on the drummer's direction i know some of these musicians in there so that's one reason why i definitely know these are the cats playing the actual song you know so the actual thing is great the trump player that comes in they're kind of having a conversation if you will and the drums is really holding the conversation together very very very interesting how that's happening and that's that's really what happens in real life and myles is holding his own playing it i like the fact that they're giving so much shine to the drums it's not so common that drummers take the leads there's been drummers that have had their own bands that take leads on a lot of things and it's an interesting way to look at it where they hear it it takes on a different a different direction but it's it's dope because the drums the drum set in any band really is probably the most important piece it's the heartbeat so in a real way this movie definitely allows you to see how important you know the drums are in the band i went to a high school for performing arts in houston texas for jazz you know the drummers didn't have to play to their finger split that's not the actual thing but our jazz director he was hard on us he was heartless in a good way that's why so many great musicians come out of my school because of how hard our director was on us there's a big band you know every everything has to be tight so even in my high school when we used to do big bands we had sectionals which means after school your section would have a rehearsal with the jazz director just your section to make sure all of our things were on point everything we hit all the notes were on point and tight and then we come together because everything has to be perfect precise because if you miss a note if you go early or you go late you miss a note it's going to be heard because everything's so tight and everybody has their own place to play directors can definitely hear all the mistakes because they know the music they probably perform the same chart for years with other bands that particular director might have did this for 10 years already so by the time you get here the director knows it by heart so any little bitty thing that's off he knows he's ready for it he's ready you know so yeah he's got to be on point next up miles ahead no bias or anything but i did score this movie so did i win a grammy for the soundtrack of the movie yes but none of that has any bearing on what i'm saying about the movie you pick up that note in the solo passage we could add that to it because and then have them double it when the section plays you want me to make a note here yeah we just try it this is the movie by don chito i gotta say he did a great job with mazda's voice and his vibe even the lingo he was saying glycendos and the way he was describing what he wanted with the big band was very realistic at on point a lot of people don't know he actually is a musician as well so he knows musical terms he understands it and all that stuff that really made it easy to work with him that's in the forte see yeah we're coming in right that's right and i wanted to sting it you know hit it yeah and really take it off then they gotta do this miles davis in this scene he's talking to gil evans who is an amazing arranger it was a big deal that they were doing an album together but yeah some of the lingo he's talking about here you know he says i wanted to sting i want to sting right here it's kind of like an exclamation point for horns you know accentuate it and you play it loud you played a certain way so that they call that stinging or a glissando he says somebody called sando that's when you kind of do a little glitch going into a note a lot of people's like [Music] you know that that's kind of what you do in that situation yeah and when they take it off then they gotta jiggle this sandal in jazz it is common to work with the producer it depends the producer can mean certain things to certain people some producers don't have anything to do with the music at all most jazz musicians produce their own record as far as the music goes they're kind of taking care of the music part most of them you have some producers who come in as a producer who are doing other things but they're not necessarily touching the music but they're making sure that everything is running smoothly studio time the musicians are there people are getting paid all the eyes are dotted and the t's are crossed and hold that over the next next measurement hold that over the measurement and then better result then i grew yeah we should get them back in let's do it thanks man that little cord that don cheeto hit right there that was me they filmed it beforehand but i just made the cord cool made it something that would probably be you know something that you probably hear in this particular setting i had to do a lot of that in this movie where the scene was shot already and the musicians were playing already and i had to come in with myself and another bass player and another drummer and look at what they're doing and make it sound good but make it look like they're actually playing so that was a difficult thing to do versus somebody hearing what i've already done and they have to mimic me but make it sound good be musical about this be wrong strong okay otherwise miles davis is known for his attitude with the trumpet and without the trumpet but he always said it's not the note that counts it's the person that's playing the note that counts one person can play a c and then the other person can play a c and it sounds like two totally different notes it's about the confidence behind the note and all these things behind the note basically play it with confidence or don't play what's also good about this is all of don's fingerings are correct on the trumpet he actually learned how to play trumpeting this part it's really cool that he did that the trumpet is very important in jazz the role of it is very important i think it comes it probably stems from louis armstrong i would imagine why it's such a thing because louis armstrong was the father of jazz and you know he was so famous and he sang and he was like he was like a pop star but a jazz musician the two instruments that really symbolize jazz a lot of times is the trumpet and the saxophone because charlie parker's the saxophone because of the trumpet it's louis armstrong and then after that you have miles davis who made the trumpet super cool he made being a jazz position cool he was like miles davis was like a rock and roll star but in jazz gil evans had a specific way of arranging things he just had a sound that no one else really had how he stacked certain horns against each other when you arrange it's up to you how you want to stack things against each other where you want to put the sacks where do you want to put the trumpet how do they blend all that kind of stuff matters the levine's had just a smooth cool laid-back sound we got miles davis who's already cool in his way and who he is and then you have gil evans that has this cool sound it was a whole package deal and they called it birth of the cool this was in like the 50s like late 50s i believe somewhere in there and this particular way of recording was the way they recorded everybody in the same room you didn't have a lot of separation booths to separate the sounds so that's another reason why you got to be tight and rehearsal was a thing because if one person messed up you had to do the whole thing over again unlike now you can have different people in different rooms and kind of you know overdub people and do all these things to make recording what it is but here everybody's in the rooms everything kind of has to be hit and quit perfect miles was more than just a jazz musician miles was an attitude miles was uh so influential and he represented change he represented no ceilings you just always want to move and and try to go on to the next thing for me and for a lot of my musician friends for the music the genre all genres really you know he was the first person to really just say forget what the norm is forget what the rules are and just totally break the rules and repeatedly keep breaking the rules rest in peace miles davis next up anchorman the legend of wrong burgundy we will be honored if you will play jazz flute for us i can't please you play jazz flute i dabble going to see a show and getting called up to play is actually normal in jazz for sure i go there see people play all the time you know and somebody might see me and be like oh rob you want to play so if there's musicians on stage and they know one of the musician friends in the audience a lot of times they'll call them up so when you have a flute and you know that that instrument is kind of small so you can tuck it away versus if you have a saxophone or you play guitar or something like that then it's like okay it's harder to just jump on and play with someone for me if i get caught up it depends it depends on the band the band's not good i mean but if the band's good yeah i'll jump on it all depends on the vibe and you know what's happening guys east harlem shakedown e flat that's not an actual tune but i love the name of it east harlem shakedown that's amazing he called the key so it's not only calling a song that doesn't exist at all but i'm gonna tell you what keep e-flat it's not an e-flat that's the greatest thing normally musicians know the keys because most songs are in the keys musicians played in most songs are in one key like you know this song musicians played in this key the key thing really comes into play when there's a singer there's a vocalist then the vocalist comes up and says let's play this song but i sing it in this key because every vocalist sings in different keys nobody comes up and says i only play this song in this key when it's the instrument but for vocals you have to change keys a lot of times keep the simple splashy and uh jerry let's take the baseline for a walk keep the symbol splashy it's not an actual lingo that real jab musicians say they do say you know walk base so take the baits for a walk they don't necessarily say it like that but they'd be like yo walk the base here taking the base for a walk means walking the base which means making the base uh play quarter notes or eighth notes but basically continuous boom boom boom boom boom boom boom not like boom boom boom no real space in between it's just continuously kind of like when you're walking down the street [Applause] [Music] there's also the issue of the microphone he's walking along over there he's now he's in the bathroom he was walking through the club the mic is on the stage but you can still hear them perfectly clear [Music] song they're playing it's not a first of all it's not a real song and it's not even how a real jazz song would actually go the sections they're going in is is something that was purely made for this score you know me to accentuate the things that to bring to light the things that he's doing it's following that kind of thing but a real jazz song wouldn't take on that kind of characteristic and do what it's doing these guys weren't playing these instruments this was like a total you know mess they didn't even look like they were playing what you heard really obviously that wasn't even the point there's a part in there where you can hear the bongos and the drums play at the same time [Music] the the bongos are by the drums it's overdone you can hear this actual drummer an actual bongo player playing separately the drinking um liquids with the flute i'm gonna go ahead and say that's not a thing i'm gonna go ahead and say that for obvious reasons it's not a straw the lighting your instrument on fire i mean that's not a thing in jazz anyway people in the rock world have done it but not so much for a jazz flute settings i think they did a good job with this movie and over doing some of the things making fun of the genre in a way even when it's a jab performance that's interesting it's not like this i wish they weren't next up mobetta blues that's terence blanchard on trumpet uh kenny kirkland and jeff tayne watts some of my favorite musicians in general on this soundtrack you have denzel here who's you know cleaning his horn putting it together which is the thing that trembler players have to do a lot anybody he's taking care of his instrument in the real way so that's what he has to do and denzel really learned how to do that on his own and he did a lot on his own i actually talked to terence blanchard about this movie he was telling me how he really learned the fingerings to everything so it looks real and learned how to put the trumpet take it apart and put it back together you know on his own after a while and learn how to clean it for real the beginning of that song when it first came on and they were showing the john coltrane poster and everything you heard the rhythm section but you also heard the orchestra behind it so that was strings also added to that which is really cool spike lee also has a lot of strings in the music and his films in general his dad billy is a string arranger and so he orchestrated a lot of the strings in this movie before this movie he did all of the string arrangements for the spike movies that's kind of a thing for spikey movies when you hear the music you hear a certain sound strings and that sound [Music] that's a total real thing absolutely people do that all the time i do that even if it's not thinking i'm in a band i do it just i kind of just noodle and i do my hands like this and i kind of just noodle and kind of practice in my head but i definitely know we can look weird for sure doing that stuff that's real sometimes it's not even about the hitting the notes when you're seeing them it's just about you're just playing the notes and so you really hear it in your head with denzel he's just kind of hearing the notes in his head and kind of like mimicking the notes out loud but it's not accurate notes per se it just helps get the thought out it could be a rhythmic thought so it's not even really about the notes it's about the rhythm clark what time is it 1 o'clock p.m what does that mean that means you're practicing that's right means i'm practicing and if you know i'm practicing and you know i don't finish practicing until two o'clock which is for at least another 60 minutes while you're buzzing my bus that's also a very real thing a lot of people have a a practice schedule every day practice from i knew a dude that practiced every day from one to ten that was a normal thing for him like you know a lot of musicians are like that i'm going to practice i'm practicing and that's all i'm doing don't bother me when i'm practicing i need to practice once you start touring you start working you got kids you have real life things all the time you have less and less time to practice sometimes i'll fit in i'll fit in a 10 minute practice if i can it's not really about how long you practice it's about what you practice really if you can concentrate on something for 20 minutes 15 minutes 10 minutes just concentrate on it sometimes that's better than practicing 10 hours because sometimes people say they're practicing 10 hours and they play for 10 hours but they didn't learn anything it's really about the concentration how much you put into the small amount of time you allot yourself to practice a certain time to do this a certain time to do that everything's on a schedule a timetable listen up tight ass let me explain something to you life is short okay i need it like this to do all the things i got to do i like order order's fine but you're ridiculous there is no clock out time you don't clock out when you do music it's 24 hours it's a part of your life it's the love of your life it's hard to fit another person in there and a lot of times it doesn't work sometimes people can find love and it works out the balance is perfect that person understands what your passion is and they can know how to navigate with you through that but a lot of times it doesn't work out because sometimes you know music is the other partner you know music's music's your life partner so it's like you gotta compete with that it can be definitely hard being in a relationship next up round midnight well it's always about music and playing the saxophone first off this is dexter gordon we're watching here he's one of the masters of the music tenor saxophone player very influential in jazz and this is him really just talking about real life about how music in general when you're a musician and that's really what you do it's not just a hobby but it's really what you do there's no breaks from it even when you sleep you think about music you're dreaming about some music there's a constant thing in your life all the time i bet this particular part of the movie probably wasn't even scripted it's so you know authentic and also let's not forget uh the other master teacher mr herbie hancock he scored this film this this was a definitely an important movie my love is music and it's 24 hours a day music consumes you because if you're a composer then a lot of times you're composing based off of what you do in your life you get influenced by all these different things and you start writing music based on these things i'm always constantly singing melodies in my mind coming up with melodies or humming them that come out of the blue becomes one with your life because that's what feeds one feeds the other there's so much you have to know even to be a bad jazz musician you got to be kind of good just to play the music it just requires so much because it's a music that you improv and you come up with things on the spot every time you play that's really what the thing about jazz is more than any other music i look at my mouthpiece and it's all bloody but i haven't felt a thing for saxophone players of dexter gordon they're playing with a reed a wooden reed and so therefore you can cut your lip you know i've seen it happen i've had an injury um because i'm always having to have my hands in this position so i've developed something called golfer's elbow whatever instrument you have you can have a certain over time you know have an injury because of it like how he just kind of put it all in one thing like basically he's saying his his life is music and his love is music he loves music so much that it's a constant part of his life 24 7. and any real musician will feel the same i think anybody feels the same with whatever your passion is if you're a person that's fortunate enough to find your passion and have a passion you probably think about that passion all day all the time thanks for watching the breakdown with me watching these cool clips these jazz movies appreciate the hang but i gotta go so i'm out

Channel: GQ

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Id: S525zDvRulo

Length: 38min 41sec (2321 seconds)

Published: Thu Jan 28 2021

Reddit Comments

[u/LeoMiles10]

The Breakdown is a good series. Never expected to get an episode with a Jazz Musician. He nailed it.

[u/TheSidewinder1964]

This is dope.

[u/silverlifter]

if notes had eyes

Gold!

[u/theDrunkDullard]

Nice. I’ll check this out. I like some of Rob’s stuff

[u/TrueAcuity]

Was not expecting him to be on the Breakdown, this is great

[u/Tschicc]

Just one thing to add here: that scene from "Round Midnight" is taken from a moment where Dexter Gordon is staging an appearance in front a doctor in order to get out of the institution where is kept. Later in the car he asked by Francis (the french illustrator who is catering him in Paris) who had secretly witnessed the scene from the door about it and Dexters comment is "and (...), was I any good?" ...