Maurice DuBois: Wynton Marsalis interview

[Music] please join me in welcoming to the stage Wynton Marsalis and Maurice debois thank you thank you so much thank you for letting us in your house by the way this is the house of Winton built I like what you've done with the place how many years now a lot a lot of years out 13th 13th year spectacular tea if we're celebrating our 30th season everybody's looking so good I know so many people here hi know a couple folks too little known fact I'm one of the few people to beat and went in one-on-one on his own basketball court the only truth is that there is a basketball court actually it was back here in this in the back stage right that's right it used to be we don't have enough we don't have it anymore actually we're very proud of the fact that the musicians never lost to the porters we did not they were recruiting recruiting porters from all over the city to beat us and we did not lose one game in the six or seven years this is true nothing like what you see it this was true trusted source of news what do you mean you know don't we quote somebody it was a nice stress reliever right yeah unfortunately it's not either great but but when I saw went in backstage just before you were you were working on something yeah and that's what you do when they said James Brown was the hardest-working man in show business they had a wrong that's all you do but you do it with joy I do I love to do it it's a blessing it's an honor to be able to love Jeff get up at 4:00 or 5:00 in the morning work on music don't sleep work on music get in a car drive 20 I always work on music that's right music is I I always wanted to do it I love doing it I'd like to practice I like to play with musicians I love to teach my father did it my mother was a social worker and she I always wanted when I was in high school I said if I could just get out of New Orleans working was not a issue for me not at all when's the last time you took a day off I don't my job is a day off like I don't need to be off I don't really look to be off once time to chill I'm always children I'm chilling right now how much sleep do you get i slept about three hours last night but is that a normal night no I'm really late with a piece so then I don't sleep I wait really late then I start to work to get enough pressure and once the pressure builds up and the pressure builds up and I just have to do it then I just work work work work work seriously so yeah I'm serious I mean now I'm in the beginning of his just its premiere in June the 7th so I worked on the outline for about two months and now when I start to write I sketched it out now I have to start orchestrating any writing so I'm work all around the clock for the next three weeks what what is it though that's driving you um I just I think that uh I kind of a creative thing we all have it you know we all have a you know you have a dream or you have something that you feel really creative something about and it could be anything some people are that way about decorating a home or some people that way about cooking some by playing ball some about playing video games I mean it could be any type of pursuit it could be very serious I can be trivial some people if you if you get that kind of fever are that bug about it and you love to do it it drives you and for me it's just a general embrace of a humanity and I I just always joke when I was in my twenties that I want to see our country change by the before I retire and quality in hair bands that could play jazz and younger people could be able to play because at that time I will go around the country and hear schools and almost no one could could actually play in the reality of jazz and this is a great time for me essentially Ellington because uh we started this a while ago with with the great Jack Rudin and now with the with Gail and with Diane and with Susan I love them a great deal and it's so personal the work that we do and it's all been so many years of us working everything for me is about the human impact of it and the truth of it and then the depth of what you can can transmit in the fact that you the honor it is to be in this type of work and to be able to interface with people of such quality the industry and each other no matter what I thought was making a point about when we started essentially Ellington with Jack Rudin it wasn't so much about him funding a program because I didn't really know about all that kind of stuff he had fought in World War two he had many experiences he loved the music trumpet and we talked mainly about things about life and my mother passed away last summer from she suffered from dementia for a long time one one day Gail and I was sitting in a in a restaurant and we were talking very intensely if I was almost sitting on her lap listening to what she was saying and at a certain point a guy and the restaurant was looking at what in the world could the two of y'all be talking about what this type of he couldn't control himself when I was leaving he said can I ask you a question what in the world were you and that lady talking about well I said her mother her mother passed away from dementia and she was telling me some things that I needed to do to prepare myself and to take care of my mother in this time and when I told him that because he was dealing with us from a demographic standpoint racial or whatever he said he said fundamentals basics so I love that comment that he said ah fundamentals because that's that's essentially you know I mean with you and I of all the years we've known each other we talked about fundamentals yep different things we go to the races there's a great story you tell about being 11 years old with your dad you're in a club in New Orleans and it's 145 in the morning nobody's in the club your dad's plan hmm and he's supposed to end the gig - mm-hmm but you know you're like let's go let's get out of here but he said no yeah there's a major lesson you learn there yeah well the gig was actually it was 2:00 till 2:30 so that was worse it's 45 minutes and you know I said it in these clubs and seen my father play for no people for years by that point it's like I had grown up being in clubs with no people I just come on man let's go no people the one guy's drunk that's we've been in these dives all these years no one is here he had a situation we could lock the club up his own bar guy named Charlie Bering and I said let's go can we go it was just me and him and he said sits down and listen to the music and I never really listen to the music I was always in the club just for the hang and to be the little kid in the room and adults tell me the nasty stories and all that eleven years old yeah yeah but I grew up in the in the environment we share some of those stories no no not here not not in this time no no no under those circumstances so did he but then when he told me that it was actually the first time I actually listened and I remember sitting there thinking what makes a person sit in a room with nobody for this long playing something the way he's playing it and that was a transformative moment for me in my life and I actually reflect on that we recently we just came back from playing with the st. Louis Symphony Symphony last week and our band we had to get together a Bernstein piece praying fugues and riffs which is not the style that we play so when I realized we were playing it we started calling people man the oldest partners we're gonna sit up there and play this and this is not our style and the saxophone section played so well and had such pride and played their parts on such a high level i sat on the stage and when they finished playing we were all in the press we're proud of them because they had a really difficult part to play and when i sat there you know the hall was packed with people in those dave robinson that conductors final year I reflected on once again on my father and just I have the opportunity to play in front of all these people and he just you know so I reflected on the type of integrity that he demonstrated and that value is its internal and if you value something you value that you don't have to have so now we have all of these and I have the opportunity to work once again with unbelievable people it's it has been I'm not saying it like a I actually sometimes the other day I got phone just thinking about the quality of people that I've had the good fortune to work with and I reflect reflected in that moment on my father powerful moment yeah awful yeah was your dad ever sentimental no no I know he's not that type of good person not at all one time me and my mom were we were really really fighting a lot I was 16 it was really time for me to get out of my house and my so I told my daddy he was not big on talking man listen let's have a talk you know that's was one time you say I need to rap with you so I knew it was a problem we sat in the car he said man I said man mama's a drag I went through all my things my problem with my mom my dad listened to very patiently he said look man he said you know I knew mama before I knew you he said now mama is my old lady he said if mama leaves we don't eat our bills don't get paid stuff does not get taken care of if you leave we have more money you know he but he was very serious with him he wasn't joking like you know cuz I mean I was passionate about my position he was very serious he said now i'ma leave it to you to work this out because you making good money yourself you can go on your own he was a big believer that you should leave my father is not a sentimentalist about you 16 to 15 you're working you have money leave and he wasn't playing like it wasn't it wasn't like you know you so he and I had a couple of rejoinders and he said do you understand what I'm telling you and I he's not an emotional guy either no he's not he's not like that you almost never saw him get mad never saw him complain never saw him overwhelmed emotionally by circumstance he's not a you always buy the ugliest car and driving until it broke down and he go get another ugly one and then you know we would be like man I waited you when you find these vehicles here like a green car van with the battery inside the vehicle exposed and we would be like but you're an emotional guy yeah more like my mama that's what we fought so much yeah very very like passionate fire we like to get fired up sometimes I just hollering screaming cussing go off when I was younger now I'm mellowing out just for the fun of it I wouldn't even be serious it'd just be just go off yeah I just like it you know just so feeling yeah let's get a feeling opinion let's get something going yes sir yes sir you see you talked about being fullest not gonna go recently what's the last time you cried man I mean I haven't happy tears or sadly no I just you know Ted gnashing hi will laughing cuz we're on the same age and we say man are we we played a piece by Chris Crenshaw there's nothing last time I cried but this we fade a piece by by Christopher Crenshaw is a young young musician I've been fantastic transcribes Ellington's music has perfect pitch perfect time he's like human metronome and we encounter him when he was a student at Julliard and he wrote a piece for them for the band he's a trombonist and conductor and everything in the group and the piece was so good then when we finished playing it I stood up that we stood up to clap for Chris at the end and I looked down I had my contact lenses on that allowed me to read music so I couldn't actually see Ted but I could couldn't distinguish just beat him but I looked at me it looked like he was crying so I was getting full - we just thought man all the work the Chris pudding how great this piece was so as we were walking off the stage Ted said man I couldn't really distinguish I couldn't really pick your face out because we're in the same kind of over 50 eye condition he said he said well you were you getting full were you crying I said man I can't lie I was getting full he said is it just that we getting old or what is it but I think yeah I get I get full a lot of times because I'm always working with younger people you know I work with people that I've worked with and when I was in st. Louis I got full because a lot of my friends I've had from from when they were little come come to me like because they know the country is in trouble one conversation I had with a would it would a what a young kid I met with its st. Louis at Power Hall when I played with the st. Louis Symphony in the early eighties I was playing I hide in trumpet concerto and I met two two young white kids one of those guys named Jeremy Davenport and he told me he's 48 now and he said back then you seemed like you were a lot older than us he said but I'm gonna ask you something he said I live in New Orleans he said man it's so much hate out here he said that the impression you gave me an impression my parents gave me because they're hippies I don't find that to be true hmm I find that it's so much hatred that I encounter that it overwhelms me and that uh he even thanked me for kind of influence I had on him down through the years and he said he said what can we do about this and I didn't have a good adequate answer for him I always say you know you you you generate feeling too and you can't be overwhelmed but when I cried was a school made of minds that guy named Steve Warren we went to school in New Orleans when the kind of integration was very new and of course it failed eventually and the schools became segregated as they were but for a brief period in the 70s they were integrated so we've been friends our entire lives basically he brought his son from Oklahoma just to hear the piece in here our band he came to me and he said man just you know we weren't we weren't talking about this he said man I'm in color so much hatred he said it's so much racial hatred yeah you know but underneath it you got you have to feel the love that comes with being a human being and he said I look at them a certain way he said he says and he says I know that love is there and he says that when he does that because he's naturally a funny a person with a funny personality an affable person you wanna like he said when he tells them I know that love is there he was looking at me a certain way it made me get full just because we were in school together high school all through these years all different changes when our families stuff we've known each other he drove however many hours so yeah I got fall in that moment because I know he believes that so that that's kind of the last time that was about two days ago three days was three to two or three days ago I'm not gonna ask you the time before that you know let that be let's talk about Edward Kennedy Ellington a man who put out 2,000 pieces of work 50 years of work worked tirelessly got accolades in the city in the country around the world sounds familiar right slightly familiar we want every imaginable award do you remember the first time you became acquainted and moved by his work well you know I know about it my father would listen to his records like such as we Thunder but but I didn't like it I had the chance to go see Duke in 1971 he played it known as jazz it here this resident father say hey man you won't we'll see Duke I said no man I know that's some old people Jerry tollen oh you know I'm gonna play some street football so I didn't see Duke yeah and I didn't realize about his music all through high school and we listened him then when I came to New York I got a Smithsonian collection of jazz that was annotated by Gunther Schuller so I looked at Gunther's name it come for Shula hit it'll audition me and let me into Tanglewood at a bit of the fellowship program a year early so because I saw his name I started to read his notes because I read his notes I put Dukes music on and this was music from like the 30s in the 40s decades I would never listen to music from that time then at that time and then I was unbelievable I've just listened to one piece after us I'm high in the world could a musician be this great and I have absolutely no knowledge of their music and have been around the music my whole life then I just started to to you well you know study his music and read about him how does it speak to you it's just the depth of the craftsmanship as a musician you know the craftsmanship of the compositions the sophistication of it the depth of its like people talking the originality of it and a range of it the more you discover your damn he did this he did this to get that he did this you start to realize about the band and the philosophically the things that he he was saying you know it continues even now I got a just just saw just his belief in the depth of his understanding and his creativity and his dedication sure there's a great story about how he became named Duke nicknamed Duke his boys came up with this story mm-hmm tell that was because Duke was always so gracious and elegant and he was always so so regal in his bear and they started to call him Duke & Duke also his nickname stuck because of how he was and he also was one of them from what all the musicians tell me they said boy Duke Ellington could pay better compliments to people than any person you ever met because he was insightful so when he gave you a compliment it was actually something that was really true and that he enjoyed demonstrating a generosity of spirit so I think that that generosity is also in his music he loves all the instruments he lets people play he loves he loves other people's creativity so why'd you name this essentially Ellington and say not you know dizzy or you know Myles or train or somebody well Duke is let's now go to what Miles said Miles said that every musician should get on their knees once a year and thank Duke Ellington I mean Duke he's the part of of twentieth-century America he's the bar like he he traveled the country he played proms he played dances he his music has everything in it folk music film tools westerns cowboy songs Broadway show tunes symphonic aspirations regional blues city music film music dance music if you can't imagine a person could have this much of what our life is in their music and to continue to work for 50 years only Bach is the only Western musician I can think of who had that type of sustained the output and is that prolific 2,000 pieces yeah I figure Bach had to write a service every Sunday so he was he had to do it Duke was on the road trying to keep his band going and trying to pay for everything that he was doing and he wrote popular hits long form pieces he innovated so many things and he was great piano player and a great lover and investigator of people so I think for Jasmine gusano we would not have gotten our program off the ground if it were not for Dukes music because we just wouldn't have had this substance what miles is music you need him for it to be great if he's not there is just some people trying to play like him failing with Louis Armstrong's music you need him to be there you play the music from the hot seven it sounds okay it sounds like some people were trying to play and maybe they'll say I'm okay but where's pops with John Coltrane you know you can you can try to play a love supreme but you so much sadder than him at playing it did is it's disappointing it's like how will Duke Ellington's music because it's written down it's interesting comment a person from the st. Louis Symphony told me of course not comparing myself to Duke Ellington and ease musicians because that's truly heresy is it but he made a point about how you prepare music he said he's a French on play he said thank you for writing the music so it can be played without you because for you to write afraid for you not to beat it you have to write everything out it takes an unbelievable amount of time just dots and dashes alone it's not the type of thing if you're not kind of anal you're not gonna want to do that like just the dots alone I'm telling you it takes like a month just to you get dots and dashes over every no game and you're putting a dot in a dash over 480,000 notes no you don't want to do it no and you have to play it and make sure it's died down up violins boys a certain way so when he said that I had to laugh and I think we're Duke Duke made it so that we could play music that did not require him and many of his pieces he's not even playing on and we we took that opportunity to form our institution around the strength of his music the first jazz Nixon Orchestra was all surviving elint onehans the members of my septet and up there Jones's band so you had 60 to 70 olds with 40 to 50 olds with 20 to 30 year olds and that was a rough band because the whole mill was they were rough they taught us how to play it you know it would tell you boy you can't play let me take my dog they were always on time they would have suits on and already if drink two or three beverages at 8:00 in the morning adult beverage a dog yeah back there were adults you know and I went one day we were on the bus going on that road with that first band in nineteen I'm gonna say 1992 or something man we were on the road with them and we were young always late one day the old men wander bus and it was real quiet when we walked on 15 or 20 minutes late it was an uncomfortable silence and Nora's turn II was the one who was elected to address us he always spoke like a young man he stood up and he said let me tell you young something if I can be here with my suit on on time have your young on time we want time after that so those kind of things you know they taught us the great great great Luce Olaf was in that band Clark Terry played with us Willie cook Jimmy woody it's a rolling hammer of course the great Joe temple II nor attorney Brit Woodman Ellen tone Ian we had a lot a lot of the original British people who played with Duke and it was it was is how we learned how to play the music sure this program is it gonna find the next big thing the next young prodigy 23 years of it take us through the highs and the lows you know I don't for me I tried not to I tried not to have my kids I put the pressure on him to be like my father used always called it being in the circus I think I like I like the overall like I love the kids who don't even become musicians they go through this program I love the general rise isthmus it's unbelievable the level kids are playing on now because not something you could imagine how so man when we get to the third year of this I remember thinking man you know I gotta go there's no point you say advance we didn't have bass players who could play acoustic bass we didn't have any clarinet players kids did not have played plungers and we almost never heard soloist who could play on harmony now you talk about do I get full they've been years here where I get full one year a band played from memory the tattoo bribe we just wanted to get those most difficult pieces Mac couldn't help crying Jeff Hamilton is the judge I sit next to I love him fantastic drama and unbelievable musicians you're also very funny so I was sitting up there crying Dave Berg and I we both were getting full thinking of to do the distance bands had come over I guess this was in our 17th or 18th year man we sitting there getting forward Jeff Hamilton looks over at us he could tell we get him for we're not supposed to be partial to bands and he goes they were playing without music - okay Fred read this 17 minute piece with no music and this was kids that the teacher had taught since they were in elementary school so just that they would do that for him I mean the whole thing was over well so while we're getting fully crying trying to wipe our eyes and you know Jeff Hamilton goes damn didn't didn't anybody teach these damn kids how to read music for me I love sitting next to Jeff that's a high it so every year I get to see him only see him at this time he and he sees one of our great musicians and drummers and just you know I love sit sit next to him but there's been so many highs the quality the way people are playing the fact that we challenged them with the best music the music of Duke Ellington and the fact that over these years they play on so much higher of a level like the first 10 years was rough then but it's like how we played as a big band I'm going through our entire archives because we're trying to put out a lot of our recordings and when I listen to those first five or six years I say to myself boy people really wanted us to survive because what we sound terrible trying to figure out how to play Dukes music trying to feel how to play these styles that we didn't we were actually terrible in these concerts and our audiences stayed with us and they bet they bear with us and then when I got after a certain period it started to sound good and then once it sounded good it always sounded good and I think what our kids has been so many great ones down trees we have one kid that came through the program in 99 I remember Tatum Greenblatt he's playing today in my place I'm he's playing my chair and I'm doing the different things that I do but I remember I first heard Tatum and another trumpet named Brandon Lee they came up the same year as Dukes since you know and I thought man we got to people play this good in one year and I maybe in the 80s I could go around the country for a whole year and hear maybe one or two people who could actually play the vocabulary of jazz in five years that's a very difficult vocabulary to learn if your parents didn't play it it's hard to actually play in the reality of the music you know so many kids here now who can do that and I'm so unbelievably proud and blessed to hear them in the effort that they put in and they really are playing like they're not playing around what do you want to take this what what's the next decade look like I think we we should go around the world and we would get more student compositions as a fantastic position this year by a young lady from Florida summer Camargo is her name she and she's a great trumpet player from a band that has had a history of great from the players but what I love about what she represents and what my trumpet players beginner is actual quality like you actually can play because in music is not like athletics you don't have to beat anybody so you get so I can say you can play you can play if you get a hundred people say you can play a thousand you can play so what it takes in that type of environment for you to actually want to learn how to play it takes a lot more integrity yeah I'll tell you the story of my daddy after I won two Grammys I was sitting in a room with my father my father's not really into Hollywood and kind of you know didn't know about all that kind of stuff I'd asked him and my mama to come out to the Grammys and my daddy was shocked by I said most of it was he's sitting there looking at me and you know I won these awards you don't want to douse me but he's thinking Tim this is what music these people can't play nothing so he was looking at me and I'm just trying to go out and my daddy goes man you know I'm glad you won and stuff but uh you don't think this means you can play do you like he wanted to make sure I was like 22 and I really couldn't I couldn't actually play come on man I couldn't really what do you mean what does that mean I mean play means you really actually can't play like Clark Terry or somebody who really can play you're faking it I mean I wouldn't say I'm not trying to get better I was young and I couldn't really play I'm trying to learn how to play but I'm getting Awards like I can play okay see that's what it's different yeah you told me you can play you wanna watch my I gotta win it you want you know I mean I see but he wasn't being jive about it he was being actually for real cuz my father is the least kind of dousing or least he just not appraising that prick that don't have that kind of thing competition wannabe he's like really for real he was concerned about it he was like man you out is seeing all of this bs I hope you're not gonna get caught up in this because you getting some war you really can't play so you know but it was really for real Duke was eminently quotable there are a lot of quotes attributed to him stop me when you like one I got a bunch here write a problem is a chance for you to do your best yeah I merely took the energy it takes to power and wrote some blues right I love that one we like about that one what I like about that one it has that indomitable rising spirit okay we feel we fall instead of you know we have problems yeah we aren't we in a tough period let's let's see the solution let's not avenge the wrong let's create the solution music is my mistress and she plays second fiddle to no one by and large jazz has always been like the kind of a man you wouldn't want your daughter to associate with next my attitude is never to be satisfied never enough never that sounds about right yeah I love dad why be satisfied but my had a great teacher bill feels like this you got to be always gratified and never satisfied I call the great trumpet player Sean Jones I don't know if y'all know his plan unbelievable unbelievable play he's gonna run the jazz program at Peabody next year he played majestic Sun Orchestra for a while he's conducting the Carnegie Hall band is going to Europe of high school kids this year he's made many great records he also studied with uh with this teacher bill field many years after me but I would call Sean sometimes they just say hey man imitate prof love me because he isn't prof passed away so sometimes I just have to hear his voice Andy so Sean will go into his profil don't well now you you can almost play but it's just something in there it's just not quite honest so have you ever been musically gratified or musically satisfied yeah you know I'm never satisfied with what I'm doing ever never not once that was pretty good that show we killed it we crushed it well I think that about us yeah many times I told you when we just just Ryan Kaiser the guy sitting next to he's such a great trumpet player and lead player but we played last week maybe he missed one note in four days like the level he plays on is and I have the blessing of sitting next to him and you know I'm older than him so he'll tell me something like he grew up and he had a postive meal he knew about me and I all my kidney Rampton the way he played that won't play black brown and beige looking at Chris Crenshaw conduct black brown and beige or just saw another self we're satisfied what our playing we always have a saying in rehearsal when we're playing I won't say Oh somebody else will say is that great we're supposed to be great we're supposed to be dancing that is that we don't know is that sound great to you like we just play out a tune like that are we gonna but what can I say about the love I have for my band and orchestra people all over the world always comment on it to say Lewis Symphony was commenting on the level that they play on and we played in the halls of Europe this last spring every presenter all orchestral musicians who come the Berlin Philharmonic when we play with them even in 2010 they were saying damn where do you find him and that was seven years ago but they play on such a high level so consistently that uh I just wish more people knew what they what they do and what they're capable of if Duke were here today what would he say about the state of music well he would probably hate the state of music but he wouldn't say it but you'll say he was - yeah I see it because it's a social battle I don't mind saying it you know I've been saying it since I was 16 basically it does not do any good but I believe he when you in in arts you have to shout into the wind and I think Bach was shouting into the wind you know I feel like at a certain point buck got demoted in his job for writing the st. Matthews passion that's probably the greatest musician not probably the greatest musician in western music in terms of his musical skills is in sight the depth of his music the seriousness and as an older person he was demoted in his job for right and wanted to greet masterpieces so I go to that moment all the time because I think of man this is Johann Bach I mean master of counterpoint master of consolidate of all 12 keys inventor of the ten finger with planted keyboard we could go on and on and he's now teaching math and a boys school in Leipzig is somewhere in the middle of nowhere and because he wrote this masterpiece and I think we live in an era of absolute absurdum in music the the vulgarity the profanity the ignorance of it the cynicism the exploitation of stereotypes I've been saying it since I was in high school and I believe it I see it I encounter it I listen to it I teach kids we have made a mistake I said it I'm gonna keep saying it I don't care if nobody listens you cannot turn this level of Filth over to 11 or 12 years on videos and with music as the nuclear warhead diss carrying it you cannot do it it is a mistake it is yielding terrible fruit I'm telling you like the person who would have said these rats are what the bubonic plague is coming from you don't know what you letting people's blood look at these rats look at these rats they just gave the Pulitzer from music to a hip-hop star that doesn't it's not you know okay you got to give it to somebody I go to what my daddy says about that okay I don't you know it's like you want to couch that you gotta give it just I think I think the you know the awards are like you can put a suit on and you can go and you can smile and you can put it's not serious enough you know what I'm talking about this this is a serious problem and I saw it in the 1980s I'd be in the elementary school and some little guy will come up and start grabbing himself in a presentation third grader out ask the principal is what it well that's what the young people do now you know and know everybody else what they do now that's what they do nowadays not be like what kind of oh we lost our mind out here and I mean that was in the 80s oh you gotta feel a whipping developing this everything cannot be for sale it cannot be a product I mean I'm all for you know your rights and a memory non-sensitive but it is almost a you cannot turn middle school kids and they're developing sexuality into a market we do what we keep doing it it is not going to yield good fruit so I'm proud of ascension Ellington that's we say we end on an OP note that's a good note no no no stop doing that we know that note but but in times where people feel you know they feel despair there's division there's tension throughout the country in many ways can music heal us can music save us and if so how why go back to you know sometimes when I when I was six years old I didn't live with my with him with my family for a year I live with my great aunt and my great uncle well he was a stonecutter for the cemetery now I didn't know why he hasn't been back in those days eating kids you didn't know what was going on but my great aunt she would always be pick pick me she she had had like a old school double mastectomy so she was she grew up on a plantation and she would she would what kind of picked me up and I can always remember cuz there's not something people my momma's generation do and she'll rock back and forth and she would go [Music] and because I would be leading on her chess I wasn't I could hear like the music inside of her you know so I mean it's not something I even thought about till ladies [Music] and it was something in which he was singing they're just you know the rocking of it and it was something so deep in it she's very quiet woman never talked and was hunched over and had been like a maid and a domestic worker of the of the old-school blacks on her entire life and my great-uncle was was not the nicest man he wasn't mean but he was old-school kind of stern not you know just I just [Music] [Applause] thank you yes sir thank you so much thank you man thank you thank you [Applause]

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Id: iVDoIghqovg

Length: 39min 2sec (2342 seconds)

Published: Mon Jul 16 2018