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Jazz At A New Level Of Play Lets Get Away From Joyce Cooling · Arroe Collins Like It's Live

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  Speaker 1: It was like in twenty twelve, I had this crazy
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  Speaker 1: twenty different podcasts that really does step into your life.
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  Speaker 1: to get some CTCs only on ero dot net, Aroe
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  Speaker 1: dot net. Enjoy your exploration. Hello and good morning everybody.
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  Speaker 2: Good morning to you.
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  Speaker 1: Listen to your laugh Joyce. I was hoping that you
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  Speaker 1: were going to be this way, that you are an
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  Speaker 1: expression artist in the way of more than just musical instruments,
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  Speaker 1: but just as a person in general.
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  Speaker 2: Oh well, I could tell from your message that Kelly
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  Speaker 2: Send you're an enthusiastic, plugged in happy Uh. But again,
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  Speaker 2: I'm going to use the word plugged in. You're you're
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  Speaker 2: in there, you're living it.
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  Speaker 1: Well, isn't that because those of us that really do
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  Speaker 1: enjoy the sounds of jazz, you know, we basically embrace
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  Speaker 1: all living things. I mean, because I think that jazz
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  Speaker 1: is the beginning, starting ground for all things music, all
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  Speaker 1: things movies, all things just being happy.
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  Speaker 2: Wow, that's very you know. I'll be honest with you,
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  Speaker 2: and I think spiritually a lot, not religiousliness, you know,
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  Speaker 2: spiritually different, different thing. But I never quite put that
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  Speaker 2: all together. But i'd have to say I agree with you.
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  Speaker 1: I really you know, that's very cool for you to
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  Speaker 1: put this EP together. Let's get away. Explain to me
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  Speaker 1: how it is that it even became the possible seed
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  Speaker 1: because you know, listeners don't understand that we could be
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  Speaker 1: driving in a car, we could be sitting at home
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  Speaker 1: all of a sudden bubbah bah bah, something hits you
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  Speaker 1: like that and you're going, oh my.
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  Speaker 2: God, that's right. Oh, I know, that's the only it's
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  Speaker 2: that something in you get awakened. Yes, you know, when
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  Speaker 2: you hear, when you hear something you love and it's
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  Speaker 2: not necessarily just something of pure beauty, something that I'm
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  Speaker 2: going to use that word awakens again. Something that goes
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  Speaker 2: in there and awakens something, whether it's a feeling or
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  Speaker 2: a thought, or a or a or it could just
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  Speaker 2: be sheer beauty, all the above, but something gets in
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  Speaker 2: there and stirs you up. I know what you mean.
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  Speaker 1: So, now does this explain the song Love Gives Life
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  Speaker 1: to Life, because that's something that's going to give you
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  Speaker 1: an awakeningly you know, it picks you up.
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  Speaker 2: Well, that's the deal, you know. It's a funny thing.
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  Speaker 2: Love Gives Life to Life started as like a little
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  Speaker 2: bolero saying yeah, Jaye, and he was at the acoustic
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  Speaker 2: piano and I had my little acoustic guitar. We were
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  Speaker 2: just playing around with some chords and Jay started this
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  Speaker 2: melody and then words came out. And it was not
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  Speaker 2: in moaning, feel sorry for myself way, but it was
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  Speaker 2: about two people splitting up and how do you know,
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  Speaker 2: how do you separate these two lives when you know
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  Speaker 2: it wasn't a knockout, dragged down fight, It wasn't anything.
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  Speaker 2: It just how do you separate these two lives that
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  Speaker 2: still love each other, we still pull love each other.
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  Speaker 2: How do you separate them and move on and not
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  Speaker 2: live together anymore. So it kind of start out like that,
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  Speaker 2: which sounds sad, and yes, there is a sadness to it,
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  Speaker 2: but do you know what I'm I have a feeling
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  Speaker 2: you'll know exactly what I mean. In Brazil they call
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  Speaker 2: it subdodgy. It's it's a sadness or melancholia. It's not
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  Speaker 2: like a weepy sadness, but it's a melancholy. But it's
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  Speaker 2: a beautiful melancholia. And that's kind of what the lyrics
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  Speaker 2: of this song had. And then we got going with
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  Speaker 2: it and we were trying to find keys and all that,
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  Speaker 2: and then all of a sudden he said, no, let's
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  Speaker 2: just we start playing it as an instrumental. We said, no,
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  Speaker 2: let's do it like this first. If we feel like it,
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  Speaker 2: then we'll go do like a little pear down acoustic
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  Speaker 2: vocal version, which I have a feeling we will do. Yeah.
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  Speaker 2: So it started like that.
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  Speaker 1: Wow, you just gave me a flashback of George Benson
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  Speaker 1: explaining his life to me. I mean, because it does,
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  Speaker 1: you know, And even I mean go back and look
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  Speaker 1: at like even Cooling, the Gang and even the Commodores,
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  Speaker 1: they all started with jazz.
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  Speaker 2: Yeah, they did. They did they did earth, wind and Fire, Yes, right, right, No,
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  Speaker 2: a lot of them, did you know, I would say,
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  Speaker 2: depending on the type of music, jazz and church. You know,
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  Speaker 2: I start, you know, these deep, these deep roots for people.
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  Speaker 2: But yeah, you're right, jazz is kind of wait what
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  Speaker 2: did someone say someone? You know what? We just finished.
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  Speaker 2: I'm gonna blow this and I won't be as eloquent
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  Speaker 2: as this guy's poem. But it was just a couple
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  Speaker 2: of lines. It wasn't a whole poem. If country music
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  Speaker 2: is you know, the after regrets, you know, the tears
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  Speaker 2: in your beer or whatever, and he's generalizing, you know,
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  Speaker 2: because I love I love all kinds of good music.
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  Speaker 2: Oh I'm crazy about the country guitar players. They're fabulous.
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  Speaker 2: But anyway, so if country is the after, you know,
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  Speaker 2: the regrets, the wash, the tears in your beers, and
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  Speaker 2: rock is you know, and is the energy getting to
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  Speaker 2: you know, two people being together. And he used some
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  Speaker 2: more explicit words which I won't do here. You know
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  Speaker 2: that jazz is in between and it's the thing itself,
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  Speaker 2: it's the love itself. I didn't do a very good
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  Speaker 2: job of explaining that. I'm afraid, but I think you
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  Speaker 2: know what I mean.
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  Speaker 1: But I do know that because in my years of radio,
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  Speaker 1: there were many program directors being with an adult contemporary
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  Speaker 1: radio station when we slipped into that jazz era of
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  Speaker 1: the latter part of the eighties into the nineties, that
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  Speaker 1: man would come in there and teach me how to
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  Speaker 1: speak over a jazz piece of music. He said, this
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  Speaker 1: is not all about singing your favorite part of the song,
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  Speaker 1: the hook or whatever your favorite Larry Ki is. It
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  Speaker 1: is about capturing the moment. And if you're gonna mess
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  Speaker 1: it up by talking on somebody's song, dude, you totally
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  Speaker 1: missed the boat. And that's where I started taking jazz seriously.
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  Speaker 2: Uh huh uh huh, yeah, I get that. And has
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  Speaker 2: jazz been a lifelong thing for you? I'm seeing now
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  Speaker 2: i'm interviewing the interviewer, you know my language. Oh my god.
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  Speaker 2: Have you been listening to jazz your whole life like
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  Speaker 2: we weaned on it? Or well?
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  Speaker 1: I think where it was was because of Fred's story,
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  Speaker 1: who used to host a jazz show on one oh
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  Speaker 1: four point seven, and he tried to get me to
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  Speaker 1: become more open with it. But I think my connection
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  Speaker 1: more with jazz actually started when I because I'm a
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  Speaker 1: wedding dj as well, and I would go and I
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  Speaker 1: would get all of the latest jazz, all of the
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  Speaker 1: brand new stuff. And the reason why is because it
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  Speaker 1: created a moment where people would say, what was that?
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  Speaker 1: What was that? And if I can get that, what
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  Speaker 1: was that? That's the open door for me to say,
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  Speaker 1: you want some more? And you know what I mean,
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  Speaker 1: because that's what I That's what I love about jazz performers.
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  Speaker 1: They're all out there going, yeah, that was a good one,
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  Speaker 1: but I ain't done yet. You want some more?
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  Speaker 2: Right, I hear you. Oh that's great. Wow. And you
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  Speaker 2: did weddings. Well that's some interesting background. So you've been
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  Speaker 2: djaying a long time doing all sorts of things.
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  Speaker 1: Well, it's about connection, which to me is the jazz lifestyle,
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  Speaker 1: is it? Not what I mean when people come in.
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  Speaker 1: That's why when people talk to me about the blues
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  Speaker 1: of the South, the Delta blues, and I go, you know,
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  Speaker 1: we're going to break this down even more. I'm sorry,
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  Speaker 1: but it's coming from jazz and it just I can
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  Speaker 1: feel it in jazz and Delta blues just gives me
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  Speaker 1: a continuation.
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  Speaker 2: Well, the two of them. You know how I like
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  Speaker 2: to look at it. Maybe the two of them exchanged. Yes,
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  Speaker 2: it changed liberally, exchanged freely, and as people moved around
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  Speaker 2: the country, and as they moved around, it took this
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  Speaker 2: little life music force took different expressions, you know, And
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  Speaker 2: it's amazing the way that happens. Yeah, they exchanged. It
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  Speaker 2: was a handshake as a partnership, and it still is
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  Speaker 2: to me, still is. I was watching a show of
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  Speaker 2: TeV Mo's, oh and I love him. What a storyteller, right,
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  Speaker 2: mm hm. And he draws from all that. He puts
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  Speaker 2: all that stuff in the cauldron and the music cauldron
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  Speaker 2: and stirs it up, and so he draws from all
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  Speaker 2: this rich stuff, you know.
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  Speaker 1: See, and that goes hand in hand with your quote
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  Speaker 1: about being that. You know, the lush sounds are actually
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  Speaker 1: you planting seeds. And as a musician, that's what you're doing.
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  Speaker 1: You're planting things in order for us to hold on
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  Speaker 1: to it and grow it like fruit. Now what are
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  Speaker 1: we going to do with it as listeners and followers?
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  Speaker 2: Mm hmmm mm hmm. Well you've taken it quite a way, so,
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  Speaker 2: I mean you you really took it. You made a
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  Speaker 2: whole show in a movement and a whole podcast and
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  Speaker 2: expression and broadcast of it, and man, thank you.
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  Speaker 1: Well, it's because I'm fascinated with other creative people. I mean,
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  Speaker 1: I wish I was a fly in the wall when
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  Speaker 1: you and Jay Wagner were working together, because I mean,
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  Speaker 1: because I know what it's like to go through that process,
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  Speaker 1: because I was with with Jim and Allen in the
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  Speaker 1: studio and they would just sit there and play just
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  Speaker 1: a guitar riff, and they'd say, get me a lyric,
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  Speaker 1: and you know what I mean, and you know what
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  Speaker 1: that man, that man, it's showtime for me. Get him
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  Speaker 1: a lyric. And so a lot of listeners don't understand
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  Speaker 1: what goes into the process. I need a riff, I
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  Speaker 1: need a bridge, I need this, and that's what you
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  Speaker 1: do as collaborators.
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  Speaker 2: Well are you a lyricist? Did you give him a lyric?
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  Speaker 1: You know, I always I've always called myself a poet,
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  Speaker 1: but when I was in the studio. First of all,
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  Speaker 1: one of my favorite things to do when I'm in
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  Speaker 1: the studio is I will take notes as we're creating
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  Speaker 1: the songs, and so I never throw away my lyrics
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  Speaker 1: list at all, but I'll scratch things out because I
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  Speaker 1: want to be able to come back to it in
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  Speaker 1: twenty five or thirty years ago. You know, I should
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  Speaker 1: have kept it as the original lyric, But no, I
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  Speaker 1: listened to the engineer and oh I did this, But
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  Speaker 1: I want to have proof that at least I gave
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  Speaker 1: it a good shot.
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  Speaker 2: Yeah, well, you know, you know what though, I mean,
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  Speaker 2: what are what's a lyric? But poetry put to music?
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  Speaker 1: So true, so true?
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  Speaker 2: Right, So if you're writing poetry, you're writing lyrics, or
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  Speaker 2: I should say potential lyrics, because the minute that poem
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  Speaker 2: of yours or that poetry, that line or that thought
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  Speaker 2: is married to a musical idea, Boom there, that's a lyric.
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  Speaker 1: Please do not move. There's more with Joyce Cooling coming
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  Speaker 1: up next. How did you come up with a song
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  Speaker 1: like song for Laura in the way of bringing that forward?
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  Speaker 1: And number two? I'm grateful that you didn't just hide
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  Speaker 1: it somewhere on a hard drive and say, yeah, I'll
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  Speaker 1: get around to it one day. I mean, you have
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  Speaker 1: set this free. It kind of in a way belongs
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  Speaker 1: to the listener. Now you set it free.
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  Speaker 2: Well, that's an interesting way that you are a poet.
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  Speaker 2: That's an interesting way to look it. I never again,
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  Speaker 2: I never thought of it that way, but you're absolutely right.
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  Speaker 2: You set it free, you give it you, you put
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  Speaker 2: it out there, and you give it to whomever is
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  Speaker 2: uh is listening, who wants to listen or give it attention,
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  Speaker 2: and then the two of you, in a sense are bonded,
• 12:22
  Speaker 2: you know, in an impurial kind of sense. I know,
• 12:24
  Speaker 2: I'm getting a little California woo here on but northern
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  Speaker 2: California to boot. But I know that sounds a little,
• 12:34
  Speaker 2: you know, goofy, But in a way, it's kind of
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  Speaker 2: like that. I mean, music is energy, and somebody liking
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  Speaker 2: something or paying attention to something or getting moved by
• 12:45
  Speaker 2: something is energy as well gets the receiver of bad energy,
• 12:50
  Speaker 2: and so the two of you, even though you've never met,
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  Speaker 2: you never will meet, or whatever, the musician and the
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  Speaker 2: listener are bonded for that moment in time when when
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  Speaker 2: they're listening, or when when that music is rifling through
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  Speaker 2: their head. Any rate, I didn't answer your question. Song
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  Speaker 2: for Laura, Song for Laura. I had this amazing cousin,
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  Speaker 2: really amazing cousin. She was a little older than I was,
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  Speaker 2: and just one of these really just cool mellow people,
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  Speaker 2: brilliant musician, and she came from a really musical family,
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  Speaker 2: you know, my uncle and all her brothers and sisters,
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  Speaker 2: so they all played music. And she had she had it,
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  Speaker 2: she had that touch, and she was in there and
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  Speaker 2: I heard her just playing guitar, just like a little
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  Speaker 2: acoustic guitar, and she was getting these sounds like you
• 13:46
  Speaker 2: know when you first have you ever played guitar, Like
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  Speaker 2: just picked up a guitar and sort of even as
• 13:52
  Speaker 2: a kid and played the basic chord. Someone showed to.
• 13:54
  Speaker 1: The Basic sam Ash Guitar Center. Yeah, be there.
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  Speaker 2: Oh, I've been to sam Ash Okay on Long Island, right,
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  Speaker 2: and so you know you're playing your regular just straight
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  Speaker 2: major chords, straight minor chords. And I know those chords
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  Speaker 2: are valuable and I like them now, but at the
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  Speaker 2: time they didn't attract me. And then my cousin Laura
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  Speaker 2: is playing these things with ninth and sevenths and these
• 14:23
  Speaker 2: beautiful jazzy extensions, and I was like, whoa what is this.
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  Speaker 2: I wasn't a musician, I wasn't a player, and I
• 14:31
  Speaker 2: just had to have it. These lush, yep gorgeous, you know,
• 14:35
  Speaker 2: like thick, beautiful chords and not all of them because
• 14:40
  Speaker 2: she used a lot of open strings too, but some
• 14:43
  Speaker 2: of them took a real stretch. I kind of described
• 14:46
  Speaker 2: it one time as these little yoga twists for my hands.
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  Speaker 2: And I was a beginner, so I wasn't very good.
• 14:52
  Speaker 2: But that cousin of mine, that girl just sat there
• 14:57
  Speaker 2: and waited with me while I struggled through these ships. No,
• 15:00
  Speaker 2: it's like this, don't move this here, okay? Yeah? Yeah,
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  Speaker 2: just well, and she really really started me on this path.
• 15:09
  Speaker 2: She gave me well, I was gonna be on this
• 15:11
  Speaker 2: path no matter what. But she started me at a
• 15:14
  Speaker 2: young age hearing what I loved and then going for it,
• 15:18
  Speaker 2: and she showed me how to get there. So any rate,
• 15:21
  Speaker 2: she passed away earlier this year, sadly, but I just
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  Speaker 2: and she did get to hear her song before she left.
• 15:31
  Speaker 2: Oh yeah, I know a sniff, right, she did get
• 15:36
  Speaker 2: to hear her song, And there you go. That's what's
• 15:40
  Speaker 2: behind song for Laura. So it's kind of power pack
• 15:42
  Speaker 2: for me, you know.
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  Speaker 1: So then what was it like for you in the
• 15:47
  Speaker 1: decision making of making it the final track? Was it
• 15:49
  Speaker 1: in honor of it? It's because I mean I always
• 15:52
  Speaker 1: look at the final track as being let's play this again,
• 15:54
  Speaker 1: we're gonna start all over, but I need a song
• 15:56
  Speaker 1: that's gonna build that bridge and get me back to
• 15:59
  Speaker 1: track one.
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  Speaker 2: Hmmm. Interesting. You know, you have had the most interesting
• 16:04
  Speaker 2: way of putting things that I never thought of them
• 16:07
  Speaker 2: in that way, But once you say them, I'm going, yeah,
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  Speaker 2: that's kind of it. So you're bringing me to realization
• 16:15
  Speaker 2: you're hmm okay. Yeah. It was an honor for her,
• 16:23
  Speaker 2: in honor of her, and also it was new for me.
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  Speaker 2: I know it doesn't sound it. You know, you listen
• 16:30
  Speaker 2: to it and you even if you know you like it,
• 16:33
  Speaker 2: you might go, well, that's a pretty song or whatever. Yeah,
• 16:36
  Speaker 2: but some of the movement of those chords were very,
• 16:39
  Speaker 2: very difficult for me. I had to practice them over
• 16:43
  Speaker 2: and over and over to be able to because I
• 16:45
  Speaker 2: did that with a I didn't go direct with that.
• 16:48
  Speaker 2: That was a micd acoustic nylon string guitar, so we
• 16:53
  Speaker 2: had a couple of mics on it, and you know,
• 16:55
  Speaker 2: I had to I had to play it through be
• 16:58
  Speaker 2: able to really play it. So it was very effortful
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  Speaker 2: song for me more than the others, just to play it.
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  Speaker 2: And my hands are smallish, you know, so to make
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  Speaker 2: some of those shapes and to get from one shape
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  Speaker 2: chord shape to another on the front board. It was
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  Speaker 2: very challenging for me. I even kind of I joke,
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  Speaker 2: I have two marks on my left hand now they're
• 17:25
  Speaker 2: Laura's marks too, like little from the tension and the
• 17:30
  Speaker 2: strain of over and over and over, do it again,
• 17:33
  Speaker 2: do it again, do it again. So that song was
• 17:36
  Speaker 2: very effortful. So part of me was like, well, I'll
• 17:39
  Speaker 2: be damned if that's not going on the side. I
• 17:42
  Speaker 2: worked too hard. But it was partly that and partly
• 17:48
  Speaker 2: wanting to honor her, and partly I there was a
• 17:54
  Speaker 2: at least for me. I never know how the listener's
• 17:56
  Speaker 2: going to take it, yes, but there was a deep
• 17:58
  Speaker 2: soulfulness for me in this, you know, thinking about Laura.
• 18:03
  Speaker 1: Yeah, I'm so glad that you talk about acoustic guitars
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  Speaker 1: the way that you do, because we're living in a
• 18:08
  Speaker 1: generation where everybody wants to take the shortcut, and I'm
• 18:11
  Speaker 1: gonna be honest, even back in nineteen seventy eight, I
• 18:13
  Speaker 1: took the shortcut as well, because did I buy the
• 18:15
  Speaker 1: acoustic No. I went with the Ivan as flying V
• 18:18
  Speaker 1: as my first guitar.
• 18:19
  Speaker 2: And guitarh my god, but you can't see.
• 18:23
  Speaker 1: But you can't sit down and play the guitar and
• 18:25
  Speaker 1: iban as flying V unless you're gonna put it between
• 18:27
  Speaker 1: your legs somehow someway and then you're you're uncomfortable the
• 18:30
  Speaker 1: entire way, going oh my god, oh my god. So
• 18:34
  Speaker 1: that I think that could be my attraction to jazz
• 18:36
  Speaker 1: is I'm going I missed a lot. I missed a
• 18:39
  Speaker 1: lot by not taking that route of the acoustic guitar
• 18:42
  Speaker 1: and depreciating jazz at an early age. And that's what
• 18:45
  Speaker 1: I try to get to these new musicians. Please go
• 18:48
  Speaker 1: listen to some jazz. Don't don't just jump into what
• 18:51
  Speaker 1: you think is the hottest thing going. Go listen to
• 18:53
  Speaker 1: the roots of where we are today.
• 18:56
  Speaker 2: Interesting. Interesting, Yeah, you know it's fun. Me. For example,
• 19:02
  Speaker 2: one of the songs Outskirts of Town that's done on
• 19:04
  Speaker 2: a strap. You know, that's a strap. That's an electric,
• 19:07
  Speaker 2: not a flying V. But but it's an electric And
• 19:12
  Speaker 2: I know what you mean. You know, I stand up
• 19:18
  Speaker 2: more when I'm playing electric and tend to sit down
• 19:21
  Speaker 2: and sort of cradle the guitar when it's acoustic, you know,
• 19:26
  Speaker 2: And this guitar is special. It was built for it's
• 19:31
  Speaker 2: it's a custom guitar, you know. I went down to
• 19:34
  Speaker 2: San Luis Obispo to the guitar builder and he built
• 19:37
  Speaker 2: me that guitar, and I love it. And it's a
• 19:41
  Speaker 2: kind of guitar where like you almost hug it or
• 19:44
  Speaker 2: cradle it when you play it, and you feel that
• 19:48
  Speaker 2: wood vibrating, you know, on your belly while you're playing.
• 19:53
  Speaker 2: You know, it's it's like a it's a visceral experience
• 19:56
  Speaker 2: playing that guitar. I love it.
• 19:58
  Speaker 1: Well, that's the reason why I've always said that the
• 20:00
  Speaker 1: guitar and acoustic guitar is either your mother's heartbeat or
• 20:03
  Speaker 1: it's your mother humming. It's got to be one of them.
• 20:06
  Speaker 1: And it's like I haven't figured out which one it
• 20:08
  Speaker 1: is yet.
• 20:09
  Speaker 2: Both and Both and a dear friend of mine. Did
• 20:13
  Speaker 2: you ever hear of the Both and Club in San Francisco? No, yeah,
• 20:18
  Speaker 2: I wasn't. I wasn't out here yet. I was still
• 20:20
  Speaker 2: back East. But you know, all the grades came through,
• 20:24
  Speaker 2: you know, everyone from Miles to Bobby Hutcherson's everybody came through.
• 20:29
  Speaker 2: And and I did get the pleasure of meeting Delane
• 20:33
  Speaker 2: o' dean, who is the owner one of the owners
• 20:36
  Speaker 2: and managers of the both and and he said to me,
• 20:41
  Speaker 2: you know, someone said, well, you know, I don't know
• 20:43
  Speaker 2: which one to go with. I don't know what they
• 20:45
  Speaker 2: were talking about. Do I do this one or do
• 20:47
  Speaker 2: I do that one? And he was a very philosophical
• 20:50
  Speaker 2: wise guy, you know, not wise guy like a wise man,
• 20:54
  Speaker 2: I should say. And he said, no, no, no, it's
• 20:58
  Speaker 2: not black or white, this or that one or the other.
• 21:03
  Speaker 2: He says, it's both and God. And that was the
• 21:06
  Speaker 2: name of this club.
• 21:07
  Speaker 1: Oh my god, that's see, that's that's how it all begins.
• 21:11
  Speaker 1: See you planting it aside of me. I will now
• 21:13
  Speaker 1: put that in my conversations of education, and I'll go
• 21:16
  Speaker 1: both and both and believe you feel the force Luke,
• 21:22
  Speaker 1: feel the force.
• 21:25
  Speaker 2: Exactly and young and it's old, it's ancient. It's it's
• 21:31
  Speaker 2: an ancient feeling, an ancient thing and ancient. Yeah. So
• 21:37
  Speaker 2: I always listen to him and go both.
• 21:39
  Speaker 1: And where can people go to find out more about you?
• 21:44
  Speaker 1: Because I want them to uncover your presence?
• 21:48
  Speaker 2: Oh, let's say, you know a good place to a
• 21:53
  Speaker 2: good place to start is the website so simple, you know,
• 21:57
  Speaker 2: www dot joyscooling dot com. Just joycecooling dot com. And
• 22:03
  Speaker 2: that'll give folks a springboard of where to find things,
• 22:07
  Speaker 2: you know, And and even with the musical artist, you know,
• 22:10
  Speaker 2: say someone might like one of the songs, well they
• 22:13
  Speaker 2: might not like the other three. You know, at this way, right,
• 22:19
  Speaker 2: they can kind of follow the lead, they can cherry pick.
• 22:22
  Speaker 2: They can go and say, well I like this, this
• 22:24
  Speaker 2: doesn't do it for me so much. And I think
• 22:26
  Speaker 2: with the website they can kind of sift through, cherry
• 22:29
  Speaker 2: pick what moves them and then and move on.
• 22:32
  Speaker 1: And yet at the same time, I always want to
• 22:34
  Speaker 1: remind listeners that, hey, look, you didn't instantly like Rumors
• 22:37
  Speaker 1: from Fleetwood Mac. It took a lifetime to understand each
• 22:40
  Speaker 1: one of those tracks, So don't be judging your jazz.
• 22:44
  Speaker 2: Oh my god, I love that. It's like, yeah, it's
• 22:49
  Speaker 2: a classic one for it. But I know what you mean.
• 22:52
  Speaker 2: You know, Rumors was had a lot going on in it.
• 22:55
  Speaker 2: You know, you couldn't just give it one listen. At
• 22:57
  Speaker 2: least I couldn't give it one listen and go And
• 23:01
  Speaker 2: if something compelled me to keep listening deeper and deeper,
• 23:04
  Speaker 2: I know what you mean.
• 23:05
  Speaker 1: See, I do the same exact thing with Frampton comes Alive.
• 23:08
  Speaker 1: It's a live album, dude, I'm going to I know,
• 23:10
  Speaker 1: but I'm hearing something that I can't pinpoint even today.
• 23:13
  Speaker 1: But it's there because it's an attraction.
• 23:18
  Speaker 2: Exactly. Yeah. The things that rope us in either through
• 23:22
  Speaker 2: our eyes, through our ears, through our senses, you know,
• 23:27
  Speaker 2: they rope us in and they put a little hook
• 23:29
  Speaker 2: in there. Yes, And if the hook is you know,
• 23:31
  Speaker 2: then you follow it and it flowers, it blossoms and
• 23:35
  Speaker 2: gets deeper and deeper, and you can discover some really
• 23:38
  Speaker 2: cool things that way. Yeah, you got.
• 23:41
  Speaker 1: To come back to this show anytime in the future.
• 23:43
  Speaker 1: I love that you are so open with your music
• 23:45
  Speaker 1: because sometimes people are so stand off you say, go,
• 23:48
  Speaker 1: what is your interpretation? And I'm going, I didn't ask me,
• 23:51
  Speaker 1: I asked you. So I'm just so glad that you
• 23:54
  Speaker 1: are so into this.
• 23:56
  Speaker 2: I am. It's a pleasure. It's a pleasure I would.
• 24:00
  Speaker 2: I mean, thank you for having me. You didn't know me,
• 24:03
  Speaker 2: and you took a gander on me. You took guests
• 24:06
  Speaker 2: and had me on your show, and I do appreciate
• 24:08
  Speaker 2: that so much.
• 24:09
  Speaker 1: Oh, I expect you to come back. As if I'm
• 24:10
  Speaker 1: going to talk to def Leppard nine times. I mean,
• 24:13
  Speaker 1: this is one time down Joyce. You got eight more
• 24:15
  Speaker 1: to go to catch up.
• 24:17
  Speaker 2: I don't know if I can compete with def Leppard,
• 24:19
  Speaker 2: but thank you for the open invitation. I appreciate that.
• 24:25
  Speaker 1: Well, you be brilliant today and you're in San Francisco,
• 24:28
  Speaker 1: so I don't know how you ever keep warm up there.
• 24:29
  Speaker 1: Because we got a convertible to do the Pacific Coast
• 24:31
  Speaker 1: Highway and I froze my buns off the entire way,
• 24:33
  Speaker 1: which would make a great jazz piece.
• 24:36
  Speaker 2: What time a year did you do it? You probably
• 24:40
  Speaker 2: did it in the summer, didn't you.
• 24:41
  Speaker 1: It was August?
• 24:41
  Speaker 2: Yeah, summers have Okay, I'll leave you with this. There's
• 24:46
  Speaker 2: a thing called June gloom, right, and what happens is
• 24:52
  Speaker 2: the land mass heats up if you go ten fifteen
• 24:56
  Speaker 2: miles inland, not even sometimes it's hot as places, yeah,
• 25:00
  Speaker 2: a hundred degrees. But that Pacific Ocean is getting fed
• 25:03
  Speaker 2: from up north from Alaska, and you know the current company.
• 25:07
  Speaker 2: So you've got this cold ocean, the largest body of
• 25:10
  Speaker 2: water in the world, hitting this hot landmask and pow,
• 25:14
  Speaker 2: those two hit at the coast, and you've got fog
• 25:18
  Speaker 2: is as so this summer. This summer is is our winter.
• 25:25
  Speaker 2: The summer is our winter. It's cold right now, right now,
• 25:28
  Speaker 2: I'm looking out, and I love the fog. I love
• 25:31
  Speaker 2: the fog for many reasons. I'm cool with it. But
• 25:35
  Speaker 2: a lot of people don't. So our summer starts like
• 25:40
  Speaker 2: mid September and goes and go to like Thanksgiving. Our summer. Yeah,
• 25:47
  Speaker 2: so tourists come here in the summer thinking, oh, sunny
• 25:50
  Speaker 2: California and then like you, since you froze everything off.
• 25:55
  Speaker 1: I did.
• 25:56
  Speaker 2: I did.
• 25:57
  Speaker 1: If it wasn't for lou Bega, I would have froze
• 25:59
  Speaker 1: everything off. Therefore I was doing the mambo number five
• 26:01
  Speaker 1: for three hundred miles.
• 26:04
  Speaker 2: No, it's beautiful, though, you know, come back and do
• 26:07
  Speaker 2: it in what would be the East Coast fall. I'll
• 26:11
  Speaker 2: do it. Come back and do it then.
• 26:13
  Speaker 1: Well, you be brilliant today, Joyce, And thank you so
• 26:16
  Speaker 1: much for sharing your smile. And I hope it's contagious
• 26:19
  Speaker 1: for every one of our listeners, because I've got the
• 26:20
  Speaker 1: biggest smile on my face.
• 26:22
  Speaker 2: Me too, Me too, I hope it is for anybody,
• 26:26
  Speaker 2: for everybody out there too, you bet, Thank you so
• 26:29
  Speaker 2: very much. We'll stay in touch.
• 26:30
  Speaker 1: You bet thank you,