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Omnidirectional From Lucas And Lukas Raising Of The Level Of Free Jazz Movement · Arroe Collins Like It's Live

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  Speaker 1: So have you checked out Arrow.net yet? A-R-R-O-E.net. It's for
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  Speaker 1: Lost History. You know the music and the artists, but
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  Speaker 1: Music's Lost History on Arrow.net. A-R-R-O-E.net. Enjoy your exploration. Hello
• 0:30
  Speaker 1: and good morning, you guys. How are you doing today?
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  Speaker 2: I'm good.
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  Speaker 1: Good is a great place to be. That, to me,
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  Speaker 1: is where music starts. What is your inspiration when it
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  Speaker 1: comes to what you have to be feeling for that
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  Speaker 1: moment to occur?
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  Speaker 3: Oh, I like a nice, you know, uncloudy day in
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  Speaker 3: every sense of the word. I mean, it doesn't literally
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  Speaker 3: have to be uncloudy, but, I mean, I can take
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  Speaker 3: inspiration on gloomy days, too, but there's something about.
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  Speaker 2: Just feeling like, you know, fresh. You just got up
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  Speaker 2: and started the day. Absolutely. Absolutely. But I've been up
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  Speaker 2: since 6.30, so I can't tell you.
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  Speaker 1: See, that's my lifestyle. I want to be up before
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  Speaker 1: that sunrise because I believe that's where creativity is born.
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  Speaker 2: I'm with you.
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  Speaker 1: When it comes to writing your music and bringing your
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  Speaker 1: music to life, I've watched so many videos over the
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  Speaker 1: past week or so, and it's been so amazing to
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  Speaker 1: watch you grow and and to bring an expression forward.
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  Speaker 1: In reality, are you not really, in this moment of now,
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  Speaker 1: bringing the real roots of jazz to life where it
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  Speaker 1: is about the emotion, it is about the feeling and
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  Speaker 1: growing forward with it?
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  Speaker 2: I think so.
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  Speaker 3: I mean, I try to invest as much energy and
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  Speaker 3: emotion in bringing out my innermost feelings when I play.
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  Speaker 3: It's sort of expressionist playing. It's been termed, I guess.
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  Speaker 3: And I, you know, I think that if you listen
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  Speaker 3: to one of the first, you know, normally considered jazz
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  Speaker 3: sides by Jelly Roll Morton or Louis Armstrong, Hot Five,
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  Speaker 3: they have a real gut bucket quality, very bluesy. And
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  Speaker 3: so it satisfies me to be, to feel part of
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  Speaker 3: that tradition, I guess.
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  Speaker 2: Yeah.
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  Speaker 1: Well, your exploration is something that is so inviting. And
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  Speaker 1: what I love about it is that I can go
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  Speaker 1: from listening to it from, let's say, YouTube, and then
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  Speaker 1: I'll go to Alexa, and then I'll jump on to Spotify.
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  Speaker 1: And every one of them have a different vibration. And
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  Speaker 1: I've always wondered, what does the artist think about that?
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  Speaker 1: Because each one has different compression. They've got different ways
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  Speaker 1: of getting it out there on the platform. And it
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  Speaker 1: always sounds different to me. Or is it just me?
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  Speaker 2: No, I don't know.
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  Speaker 3: You know, I've never really AB'd it that way because
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  Speaker 3: if I do go back and listen to my own music,
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  Speaker 3: which is rare, and I really like to do that,
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  Speaker 3: I'm generally going to listen to it off iTunes or,
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  Speaker 3: you know, YouTube through my computer.
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  Speaker 2: Yes.
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  Speaker 3: And then it goes through the amplifier, so it has
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  Speaker 3: a whole different sound if you listen on, let's say, the.
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  Speaker 2: the speaker in the.
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  Speaker 3: MacBook, which I have, there's two speakers, little ones, or
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  Speaker 3: if I, you know, run it through the stereo system,
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  Speaker 3: then suddenly there's subwoofers in there, it's all bassy. So
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  Speaker 3: I don't know what's the correct answer here. And, you know,
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  Speaker 3: the atmosphere also has a lot to do with it.
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  Speaker 3: You know, if it's like a really humid atmosphere, if
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  Speaker 3: it's that kind of high-pressure day in the, you know,
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  Speaker 3: With a lot of moisture in the air, it's going
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  Speaker 3: to sound different.
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  Speaker 1: You are so right about that because I was listening
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  Speaker 1: to you while walking through this forest and I thought,
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  Speaker 1: oh my God, they must have lived here before because
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  Speaker 1: they have got the atmosphere perfectly set for me as
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  Speaker 1: I walk through here. I mean, just what you guys
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  Speaker 1: do with your music. And the thing about, I always
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  Speaker 1: call it Easter egg music because every time you go
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  Speaker 1: in there to listen to it, you pick up something new.
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  Speaker 1: I don't know how you guys are doing that.
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  Speaker 3: Yeah, I think it's when you're doing improvised music, sometimes
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  Speaker 3: you have to overcome certain constraints.
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  Speaker 2: This record, I didn't have a clear.
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  Speaker 3: I was basically listening to him through headphones, which normally
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  Speaker 3: I find very cumbersome. He was in an isolation booth
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  Speaker 3: in East Side Sound, so he wasn't directly visible to
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  Speaker 3: me as he was playing, which is what I prefer. Yeah.
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  Speaker 2: I think it's a different thing.
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  Speaker 3: You know, I mean, we're still reacting to each other
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  Speaker 3: in real time. And that's sort of the beauty of
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  Speaker 3: this kind of improv. You can look at a clip
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  Speaker 3: of us, I think, on the.
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  Speaker 2: Press release Ann Layton has sent out.
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  Speaker 3: There's a clip of us improvising together at The Stone,
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  Speaker 3: which is now in the New School, situated there. And
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  Speaker 3: so there we're right next to each other. And we can, like,
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  Speaker 3: see how we're you know, reacting if we're happy or
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  Speaker 3: sad or smiling while we're playing. And so that triggers
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  Speaker 3: different kinds of emotions as you play, you know. So
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  Speaker 3: every time it's going to be a little bit different,
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  Speaker 3: but I think the main thing is to try and
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  Speaker 3: just breathe together, you know, it's a synchronicity of sort of,
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  Speaker 3: I guess, where like suddenly you're locked in And so
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  Speaker 3: you can't make a wrong move there. Right.
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  Speaker 2: And whatever direction you move in, your partner is also there.
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  Speaker 3: I mean, he might play something counterintuitive to what you're
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  Speaker 3: playing too, but it's like he's processing in real time.
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  Speaker 2: The moment just as you are. You know, we're trying
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  Speaker 2: to live.
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  Speaker 3: In the moment here, which is a great prescription for life.
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  Speaker 3: You know, if you do live in the moment, you
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  Speaker 3: may never get... sad about anything really.
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  Speaker 1: Isn't the art of listening what really is one of
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  Speaker 1: your greatest tools in the chess because I mean to
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  Speaker 1: improvise like that I mean you've really got to be
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  Speaker 1: tapped into each other's vibration.
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  Speaker 2: Yeah oh definitely I mean.
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  Speaker 3: We do have philosophical differences sometimes there was a piece
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  Speaker 3: where we discussed doing it together what it was was
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  Speaker 3: I worked out a very complicated arrangement of the music
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  Speaker 3: from Richard Wagner's The Flying Dutchman, The Overture, which you
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  Speaker 3: may know the main theme.
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  Speaker 2: That's how it starts.
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  Speaker 3: And then there's a lot of development in there now.
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  Speaker 3: I spent some time on the first recording day laying
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  Speaker 3: down my arrangement. And then I wanted Lucas to embellish this,
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  Speaker 3: you know, with percussion.
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  Speaker 2: But he was like, he just, he didn't really want
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  Speaker 2: to work it out.
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  Speaker 3: And he was like, I think I'm just going to
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  Speaker 3: play it as if I was like a total primitive
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  Speaker 3: coming across this in a forest, you know, in the primeval.
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  Speaker 2: Era of the world. Actually, you know, like an aboriginal tribe.
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  Speaker 3: Where he might be just encountering a tape of this.
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  Speaker 2: I don't know how.
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  Speaker 3: So he was doing a lot of small percussion and triangles.
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  Speaker 3: And I thought it was a good idea, but I
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  Speaker 3: was like, listen, the problem is without footnotes explaining what
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  Speaker 3: it is you're trying to do, I'm not sure that
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  Speaker 3: the listener is going to really come away.
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  Speaker 2: With what we're trying to do.
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  Speaker 3: You, by playing in this sort of reactive mode with
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  Speaker 3: a few instruments, instead of doing full-on orchestral-type percussive embellishments,
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  Speaker 3: you know, this is a different thing altogether.
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  Speaker 2: They may not get it, and I'm not sure it
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  Speaker 2: comes off. I put it out.
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  Speaker 3: You can hear it on YouTube. It was one of
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  Speaker 3: my first digital-only releases.
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  Speaker 1: Well, you can definitely feel that when you're listening to
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  Speaker 1: it as well as watching it because the simplicity of
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  Speaker 1: your stage, I swear that when we're watching it, it
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  Speaker 1: puts us in a completely different mindset because of that simplicity.
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  Speaker 1: And that to me is exactly what free jazz is,
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  Speaker 1: is it not? It's the simplicity of it all.
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  Speaker 2: Well, maybe I was wrong to do that.
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  Speaker 3: No, I just thought from this thing because I'd invested
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  Speaker 3: a lot of time to make it sound orchestral. Yeah.
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  Speaker 2: The other thing, like going.
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  Speaker 3: Against it, just seemed to take it into a different sphere.
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  Speaker 3: And I wasn't sure that people would understand what it
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  Speaker 3: is we.
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  Speaker 2: Were trying to get across there.
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  Speaker 3: Lucas says I did, I think would work, again, if
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  Speaker 3: it was explained in advance. But obviously, people bring whatever...
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  Speaker 3: misconceptions or preconceptions that they have to our music and
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  Speaker 3: we sort of want to get have them get rid
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  Speaker 3: of that and and just take it all in with
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  Speaker 3: an open mind without footnotes you know so it's just
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  Speaker 3: washes over you as a musical experience.
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  Speaker 1: I was with some high school jazz performers this past
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  Speaker 1: weekend and dude i'm going to tell you we were
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  Speaker 1: talking about you i hope your ears were burning And
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  Speaker 1: one of the greatest things that these high school jazz
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  Speaker 1: musicians brought up was, is that you really do feel
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  Speaker 1: like we're in a moment of now while listening to
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  Speaker 1: your music. It's very spontaneous. And they were so charged
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  Speaker 1: up by your moment of now.
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  Speaker 2: Cool. Yeah, you know, I don't know. I think that's great.
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  Speaker 2: You know, that encourages me.
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  Speaker 3: Because sometimes, if I haven't played publicly for a while,
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  Speaker 3: I mean, I just had... Really a great gig at
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  Speaker 3: the bitter end. which is this legendary club in New York. Everybody,
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  Speaker 3: Dylan has played there.
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  Speaker 2: They go way back, Neil.
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  Speaker 3: Young, and the people passing through New York, it was
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  Speaker 3: a landmark folk club. That's sort of how it started,
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  Speaker 3: but it's still going, and they have an open... Music policy,
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  Speaker 3: somehow we got on there. Well, there's less places to
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  Speaker 3: play in here, but I'm so glad we did because, A,
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  Speaker 3: it's still a beautiful space, really great PA, and people
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  Speaker 3: can hear everything, and the sight lines are beautiful.
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  Speaker 2: So I was nervous a little bit.
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  Speaker 3: I don't usually get nervous having done this for so
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  Speaker 3: many years, but because I'd been off for a few
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  Speaker 3: months and hadn't really done much playing before, either at
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  Speaker 3: home or gigging.
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  Speaker 2: You know, I was just like, I wonder how this
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  Speaker 2: is going to go. And I did some kind of
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  Speaker 2: word chatting to get prepared for it, but not a lot.
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  Speaker 2: And yeah, you know, I was just a bit, once
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  Speaker 2: I got on stage though.
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  Speaker 3: Oh yeah.
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  Speaker 2: And started to play.
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  Speaker 3: I just like the unconscious mind took over and, And
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  Speaker 3: it was all there. And I really just relaxed right away.
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  Speaker 3: First of all, in that project, I have like another
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  Speaker 3: fabulous couple of guys playing with me. I have Calvin
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  Speaker 3: Weston on drums, who's one of the best drummers in
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  Speaker 3: the world. Played with Ornette Coleman and James Bloodalmer and
• 11:36
  Speaker 3: Lounge Lizards. And Ernie Brooks from the Modern Lovers and
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  Speaker 3: Arthur Russell. on bass, who I've worked with for many years.
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  Speaker 3: So I had a lot of support, and it gave me,
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  Speaker 3: it liberated me, so I was playing very fluidly. And so, yeah,
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  Speaker 3: I mean, I'm glad that your jazz friends, like, picked.
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  Speaker 2: Up on that, because, I.
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  Speaker 3: Don't know, sometimes the more, like, intellection I put on something,
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  Speaker 3: it inhibits the flow. Yep. If I can like really
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  Speaker 3: sort of like just relax enough, like the beetle said,
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  Speaker 3: you know, turn off your mind, relax and float downstream.
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  Speaker 3: I can channel all sorts of things. This energy comes
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  Speaker 3: through me, you know, from where I do not know,
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  Speaker 3: I guess maybe internally or, you know, I'm not, really
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  Speaker 3: orthodox or religious in any sense of the word, but
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  Speaker 3: maybe it could be from some higher power in the
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  Speaker 3: universe or a vibe in the universe. I'm a, you know,
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  Speaker 3: definitely a believer, but I wouldn't force my views on anybody.
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  Speaker 2: But anyway, I don't know.
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  Speaker 3: Yeah, wow. But I'm glad I can still do it,
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  Speaker 3: you know, because the trick when I was younger was like,
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  Speaker 3: I want to be able to do this when, you know,
• 13:01
  Speaker 3: I'm at a ripe old age where most Other people like,
• 13:04
  Speaker 3: you know, retire from their professions.
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  Speaker 2: I want to be able to keep doing this. Absolutely.
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  Speaker 3: Forever, you know, at least until I drop, hopefully playing
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  Speaker 3: on a stage somewhere.
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  Speaker 1: Please do not move. We're just getting started with Gary
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  Speaker 1: Lucas from Lucas and Lucas. The name of the album,
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  Speaker 1: Omni Directional. We are back with Gary Lucas from Lucas
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  Speaker 1: and Lucas. I got to tell you about that album
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  Speaker 1: cover because to me, it's got that classic kind of
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  Speaker 1: vibe about it that we've had as we've grown up
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  Speaker 1: through the years of the 60s all the way up
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  Speaker 1: to the present. And the thing that I picked up
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  Speaker 1: on that album cover, there's vibration to it. I mean,
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  Speaker 1: it's almost like it's like a little thing of water
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  Speaker 1: and I can feel the vibrations of your music and
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  Speaker 1: that's shaking that album. And that's what my imagination picked
• 13:51
  Speaker 1: up on.
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  Speaker 2: We're talking about omnidirectional. Yeah, that's it.
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  Speaker 1: Omnidirectional.
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  Speaker 2: Yes, sir.
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  Speaker 3: Yeah.
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  Speaker 2: Well, that is my friend Steve Byram, who I worked
• 14:00
  Speaker 2: with years ago. I had a day job.
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  Speaker 3: This is like an episode I don't talk about that much.
• 14:06
  Speaker 3: But to make a living in New York City, I
• 14:10
  Speaker 3: toiled in the vineyards of CBS Records for a few
• 14:15
  Speaker 3: years there. writing really dumb advertising slogans and creating stuff
• 14:22
  Speaker 3: with art directors and radio producers, TV producers. And I
• 14:26
  Speaker 3: had a partner, Steve Byron, who's one of the most
• 14:28
  Speaker 3: talented artists I know as a graphic designer and just
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  Speaker 3: a great conceptual artist. And he's got a deft touch
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  Speaker 3: with everything. You know, he touches super artistic. So we
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  Speaker 3: gave him the record and it just engaged him Like,
• 14:47
  Speaker 3: what do you, you know, go do your thing, man.
• 14:52
  Speaker 3: Just present us something that the music inspired. So he
• 14:56
  Speaker 3: came up with a couple of options, and we loved
• 14:58
  Speaker 3: this one the best. And I think you're right. It definitely,
• 15:02
  Speaker 3: it shows a pulsing energy is what I get, you know,
• 15:06
  Speaker 3: when I look at it. It's a weird matrix of
• 15:11
  Speaker 3: color and dots and colors.
• 15:13
  Speaker 2: Yeah, it was great.
• 15:15
  Speaker 1: Well, I love the idea that you guys don't do overdubbing.
• 15:18
  Speaker 1: It's not pre-written hooks because I've been in the studio.
• 15:21
  Speaker 1: I know what it's like to go in there to
• 15:22
  Speaker 1: punch at it and I just feel like that that
• 15:24
  Speaker 1: takes away from the emotion and that in a very
• 15:27
  Speaker 1: invisible way, I think that listeners can pick up on
• 15:29
  Speaker 1: that when you start doing the punch editing and things.
• 15:32
  Speaker 1: But I love the idea that you guys put concentration
• 15:35
  Speaker 1: on not doing overdubs. That it is your moment.
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  Speaker 2: Right.
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  Speaker 3: Well, and since the fact is The two of us
• 15:45
  Speaker 3: having played as long as we have, and I have
• 15:48
  Speaker 3: kind of an expanded tonal palette with several little boxes there, little.
• 15:55
  Speaker 2: Effects, so I can do soundscape stuff.
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  Speaker 3: It makes for a very dense sound field when we're
• 16:02
  Speaker 3: at full throttle.
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  Speaker 2: You know what I mean? I can get.
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  Speaker 3: Loops going and loops within loops and then jam on
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  Speaker 3: top of that ideas and other you know melodic lines
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  Speaker 3: and information that comes to me and Lucas can really
• 16:19
  Speaker 3: go from like a you know the very tintinabulation of
• 16:25
  Speaker 3: small percussion triangles and whatnot he has quite the arsenal
• 16:29
  Speaker 3: of small percussion instruments too like thunderous drums and you
• 16:34
  Speaker 3: know if the idea too is like really to do
• 16:38
  Speaker 3: very dynamic playing. I think this is something that us
• 16:42
  Speaker 3: rock and rollers, I, I don't count myself in that,
• 16:46
  Speaker 3: that number sometimes forget, which is like dynamics.
• 16:50
  Speaker 2: Are like really key to musical expression.
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  Speaker 3: And, uh, the tendency anyway in rock is to play
• 16:58
  Speaker 3: full out, you know, bank up to 11, but it
• 17:02
  Speaker 3: can be really, you know, it's like not only tedious,
• 17:05
  Speaker 3: I think to listeners ears after a while, it's injurious.
• 17:11
  Speaker 3: Going from a whisper to a scream kind of idea.
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  Speaker 2: Heck yeah.
• 17:15
  Speaker 1: I would love to hear if you guys are going
• 17:16
  Speaker 1: to work up with the people that do these VR goggles,
• 17:19
  Speaker 1: because I would love to slip on a pair of
• 17:20
  Speaker 1: those goggles and either walk through a museum with your
• 17:23
  Speaker 1: music playing or to just experience it somehow, some way,
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  Speaker 1: because if I can visually really bring it in through
• 17:31
  Speaker 1: those goggles, my God, I mean, you guys are there
• 17:34
  Speaker 1: with every bit of that.
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  Speaker 3: Hey, that's a great idea. I got to talk to
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  Speaker 3: Lucas about that. I wonder how you can bring that
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  Speaker 3: to the masses.
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  Speaker 2: Well, I got to get a pair of those, too.
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  Speaker 3: You know, I don't think I've ever really done much
• 17:50
  Speaker 3: in the way of checking them out.
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  Speaker 2: Well, I mean, we're talking about the goggles that have
• 17:54
  Speaker 2: like presets.
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  Speaker 3: So they take you into different universes.
• 17:59
  Speaker 2: And yeah.
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  Speaker 1: Yeah. Because, I mean, Charlotte has had so many of
• 18:03
  Speaker 1: those different museum pieces right now. And the latest one
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  Speaker 1: is the Titanic. And you're experiencing it. And so after
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  Speaker 1: going through that and then I'm listening to your music,
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  Speaker 1: I'm going, my God, I want to do a VR
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  Speaker 1: experience with this music because it's really getting into my
• 18:19
  Speaker 1: entire system here.
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  Speaker 2: Well, hey, you know, let's figure out a way to
• 18:25
  Speaker 2: get that to the masses. I don't know.
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  Speaker 3: We have to hook up with the manufacturer and have
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  Speaker 3: like a preset system. So it's like you have the
• 18:33
  Speaker 3: option to go to our track.
• 18:35
  Speaker 1: Oh, that's true.
• 18:35
  Speaker 2: Or make your own track. Yeah. Yeah. I don't know
• 18:38
  Speaker 2: what people do. I mean, like, I have no experience
• 18:40
  Speaker 2: using that stuff.
• 18:41
  Speaker 3: I'm still, you know, my main visual excitement comes from
• 18:46
  Speaker 3: going out to films. Oh. Actually going to theaters, which
• 18:51
  Speaker 3: I've been doing for years and years. Going back to
• 18:56
  Speaker 3: as a little boy, you know, I went to, Quite
• 18:59
  Speaker 3: a few horror films, I was a big buff before
• 19:03
  Speaker 3: I could even write my name in the early 60s
• 19:06
  Speaker 3: and whatnot. And now I have a steady diet of
• 19:10
  Speaker 3: film going. There's so many art cinemas in my neighborhood
• 19:16
  Speaker 3: or around here.
• 19:16
  Speaker 2: In the West Village.
• 19:19
  Speaker 3: So it's easy for me to walk and then hunker down.
• 19:24
  Speaker 3: Certainly during the week, it's great because nobody... Everybody else
• 19:28
  Speaker 3: pretty much is in the workaday world.
• 19:30
  Speaker 1: That's it.
• 19:31
  Speaker 3: As a freelance musician, I can take the downtime afforded
• 19:36
  Speaker 3: to me by having an irregular schedule of work to
• 19:42
  Speaker 3: take advantage of situations like an empty movie theater. is
• 19:47
  Speaker 3: delightful to me. There is something though, seeing a movie
• 19:51
  Speaker 3: in a crowd, you feel like a collective spirit. Everybody's
• 19:56
  Speaker 3: either awed by what they're seeing or mocking it. But
• 20:00
  Speaker 3: it can be fun when you're sitting in that crowd.
• 20:03
  Speaker 1: Where can people go to find out more about what
• 20:06
  Speaker 1: you guys are up to? Because I want them to
• 20:09
  Speaker 1: discover everything that you're bringing forward.
• 20:11
  Speaker 3: My website's pretty simple.
• 20:13
  Speaker 2: It's GaryLucas.com.
• 20:16
  Speaker 3: One word, Gary Lucas. Then a lot of stuff, me live, basically.
• 20:21
  Speaker 3: But some of my film scores, excerpts. And my website
• 20:26
  Speaker 3: is loaded with information and archival stuff of excerpts of
• 20:32
  Speaker 3: music I've done. SoundCloud, I've got a multitude of rare tracks.
• 20:39
  Speaker 3: Some have been on albums, but mainly they haven't been.
• 20:43
  Speaker 3: Some experimental work and some of my favorite work over
• 20:48
  Speaker 3: the years that I thought didn't get proper attention when
• 20:52
  Speaker 3: I put it out on CD. You know, I would
• 20:55
  Speaker 3: put it up again on SoundCloud. A lot of, there's
• 20:58
  Speaker 3: just a mixed, I mean, somebody wrote up that whole
• 21:02
  Speaker 3: Website experience a couple of years ago and said, like,
• 21:06
  Speaker 3: we can just live in Gary's club.
• 21:09
  Speaker 2: True.
• 21:09
  Speaker 1: I could I could see that. I could see that. Well, dude,
• 21:12
  Speaker 1: you're going to have to come back to this show
• 21:14
  Speaker 1: any time in the future.
• 21:15
  Speaker 2: Yeah.
• 21:15
  Speaker 1: If you guys are out on the road, man, you've
• 21:17
  Speaker 1: got to come in and we've got to do a face-to-face, dude.
• 21:19
  Speaker 2: We'd love that, man. Now, where are you broadcasting from?
• 21:23
  Speaker 1: I'm down here in Charlotte, North Carolina. Oh, yeah, man.
• 21:26
  Speaker 2: I'd love to come there.
• 21:28
  Speaker 3: If you could invite me and have it coincide with
• 21:31
  Speaker 3: a gig locally.
• 21:33
  Speaker 2: Absolutely. That would be awesome.
• 21:35
  Speaker 3: I've not played there and I would really, I think,
• 21:37
  Speaker 3: you know, in general, I'd love to go down south.
• 21:42
  Speaker 2: For any excuse.
• 21:43
  Speaker 3: I mean, we did the Big Years.
• 21:45
  Speaker 2: Festival in Knoxville. Yes.
• 21:47
  Speaker 3: That was amazing with Gods and Monsters and people were
• 21:50
  Speaker 3: coming up saying.
• 21:51
  Speaker 2: That was the best we saw at the whole festival.
• 21:54
  Speaker 3: So that felt good and we were, you know, I
• 21:58
  Speaker 3: love to play in the southern region and I don't
• 22:01
  Speaker 3: have like a reliable booking agent. If you know anybody
• 22:05
  Speaker 3: who would like to book any of these things, I
• 22:09
  Speaker 3: think with Lucas would be great.
• 22:11
  Speaker 2: But he's situated in Belgium for a lot of time.
• 22:14
  Speaker 3: He's a world traveler, but he's teaching at Russell's Music Conservatorium. Now,
• 22:22
  Speaker 3: he teaches composition. He's quite a good composer, as well
• 22:26
  Speaker 3: as being an excellent percussionist. So it's hard to schedule
• 22:33
  Speaker 3: concerts with him. I'm not sure when we're going to
• 22:36
  Speaker 3: play next, when he's going to be in town. Gods
• 22:39
  Speaker 3: and Monsters, though, is based in New York and Philadelphia.
• 22:44
  Speaker 2: Calvin is from Philly. So it's a lot easier. And
• 22:47
  Speaker 2: then me solo is the easiest of all. It's like
• 22:50
  Speaker 2: have guitar, will travel.
• 22:51
  Speaker 1: That's right.
• 22:53
  Speaker 3: I mean, it's like I can do solo acoustic is
• 22:56
  Speaker 3: the easiest, easiest.
• 22:58
  Speaker 2: But a lot of people like the effects. That's it. Yeah.
• 23:02
  Speaker 3: So if you can come up with some names of
• 23:07
  Speaker 3: possible clubs or booking agencies or venues.
• 23:11
  Speaker 2: to let me.
• 23:11
  Speaker 1: Know absolutely well please come back to this show anytime
• 23:14
  Speaker 1: in the future the door is always going to be
• 23:16
  Speaker 1: open for you I'd.
• 23:17
  Speaker 3: Love to that's great man I appreciate.
• 23:20
  Speaker 1: That you be brilliant today okay sir
• 23:23
  Speaker 2: Oh thank you you too