Latest / The Demia Avery Show / Jazz Musician, William Green Interview - Sharing the Vibe! #jazzmusic #jazzartist

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Jazz Musician, William Green Interview - Sharing the Vibe! #jazzmusic #jazzartist · The Demia Avery Show

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this is the deia Avery show hosted by
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deia Avery with some of your favorite
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entertainers celebs and entrepreneurs
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come to highlight all of their many
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[Music]
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[Applause]
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talents hello hello hello everyone this
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is deia Avery of the deia Avery show and
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we have yet another fantastic guest with
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us tonight he is a musician a composer a
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songwriter and a producer that has
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performed with some of the most amazing
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artists of our time such as bony James
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Roy AES PE Bryson Cameo one of my
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favorites Valerie Simpson Kenny Latimore
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melore Jennifer Holiday Jean K and so
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many more here he is to talk about his
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latest release good to go please welcome
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the remarkably Talented Mr William green
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welcome what's up deia how you doing I'm
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amazing how are you today I'm good I'm a
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little speechless because that intro
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right there I was trying to figure out
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who in the hell is she talking
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about huh thank you sister oh you are so
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welcome and look listen when I was
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looking at your bio I was like wow you
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know how do you even condense all of
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that that's an amazing um bio you got
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there how does it feel to work with all
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these different people you must feel
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amazing it it is uh gratifying and
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humbling at the same time deia um my
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journey as a professional musical artist
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started when I was seven years of age
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and uh my mom even told me at an early
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age around eight or nine you know she
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reminded me she says you you're gonna
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you're G to play around a lot of popular
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important people and of course at that
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time I didn't understand what that meant
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in terms of the gravity of people
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artists that you just mentioned who
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have just amazing uh musical track
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record in the industry so you know my
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feelings behind it uh gratifying that
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God has uh just preserved me my mind my
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my body my soul my spirit to in enjoy
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seeing these um uh names associated with
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uh you know my service of my music and
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I'm just really grateful now you learned
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by ear is that correct and then later on
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went to school H how did that how did
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that come about yeah um by ear in that
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my dad was a Baptist minister in Chicago
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Illinois okay and my mom she was uh the
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choir director and my mom and her uh
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sisters biological sisters when they
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were teenagers they all sang background
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vocals with Mahia Jackson for a while oh
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nice okay so coming home from church
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service on a Sunday afternoon and
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fortunately my parents they had a piano
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and an organ in the
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home the me to this day I still there's
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six of us three boys and three girls I'm
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the second from the oldest and I still
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question as to well I don't question it
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no I don't I was chosen out of the six
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to be the musically aligned and gifted
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one by which when I would come home
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after church I was able to hear and
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react or reenact rather everything that
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I heard at church service yeah yeah wow
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so that but you guys didn't play I think
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I read where they didn't play music in
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in the home right did you we you know we
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weren't yeah the word is we weren't
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allowed as a have you ever been around a
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PK preacher kid I get it I get it yeah
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so the the the the whole thing about you
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know what I heard musically was um uh
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magnified was uh surveyed by my parents
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more so my mom and I'll say that to say
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mom when I think about my mom and my
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relationship with God it's like my mom
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must have been God's direct Angel
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cuz she's just the epitome of one who
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served believed trusted and lived a
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life that would be considered Godly yeah
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so much so to the point that my
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mom she wasn't she she didn't like
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hearing uh secular music
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in the house I remember I didn't get a
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whooping
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but she really beat me
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down for some reason there was two
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people that I musically attached myself
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to and that was James Brown say Loud I'm
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Black and I'm Proud and SL Stone uh oh
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well you went there
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you couldn't help it right right I
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couldn't help it and so but it was my
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dad even though he was a Baptist min
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I heard and learned songs from the radio
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because my dad liked the jazz station uh
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W what uh 1450 there was
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a out of Chicago I think W oh I can't
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remember the name now but this is the
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this was the jazz station so not only
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did I Hear jazz on the radio but my dad
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was he was a hair barber okay yeah so in
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the barber shop and his uh shop in the
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home he had his little transistor radio
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where he played pop radio station
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music so that's where I got the music at
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an early age from the radio okay uh once
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I got to high school about 16 or 17 is
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when I became introduced to the high
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school orchestra that I played in man
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one of the greatest musical experiences
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in my life and today there
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are three significant people who I went
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to high school with in this Orchestra
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who are by far on the top end of the
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music industry chain I'll give you these
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three names Kevin Bond keyboardist did
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all a lot of all of the recordings for
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oh my God the Hawkins Yolanda Adams uh I
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could go on and on and that's somebody I
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would love for you to meet at some point
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Kevin B also the basis for the Rolling
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Stones darl Jones yeah I went to school
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with these guys and this is where I
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learn music theory uh playing various
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instruments uh my main instrument is the
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keyboards piano Oregon synthesizers but
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I do play Electric bass uh I've studied
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on tennis saxophone I play the upright
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Bas I've studied violin Viola and that's
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where I learn the art of composition as
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well okay okay and so once once I
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graduated from Chicago which uh was in
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1978 I came to Atlanta Georgia with the
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interest of going to school at morouse
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college and unbeknownst to me I wasn't
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really aware that morous wasn't the
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educational environment that would uh
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expand my musical gifts because morouse
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is considered to be a liberal arts
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school involved with other studies
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probably more so medicine you know for
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right but um the experience of leaving
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Chicago for the first time in my life at
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18 and moving somewhere
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else uh this was the launch pad yeah for
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my art for my music and from
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19 that year and a half to twoyear
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period from 78 to 80 just gravitating
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towards getting used to the city AC
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acquainting myself with a new uh circle
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of people um getting acquainted with
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some of the musical landscape and other
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musicians
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1980 I took off and I I develop my own
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music at that point now why that's
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because you could have you could have
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easily just stayed in in the gospel
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realm because that's what what you're
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used to doing so is did I mean I'm sure
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you play all different types of music
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but I think you graduated more so to
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Jazz am am I correct by saying that you
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you're correct I will say though too
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Dean that uh
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when you hear my music my my current
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releases my songs uh if if you are
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acquainted with different styles and
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types of music you will hear gospel in
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my music and yes I figured that yeah
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it's it's it it is a part of my musical
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thumb print specifically as to say in
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terms of Music performance why jazz
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music became the primary genre as
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opposed to gospel um I think a lot of
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that is when you're younger you're
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hearing
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about these uh great and significant uh
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opportunities
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that these other styles and genres of
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music other than gospel seem to have or
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will provide
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you and and
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again even though gospel was the primary
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music that I
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played the circle of people that I
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involved myself with once I got to
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Atlanta was not just
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gospel it it became a little bit more of
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you know your your contemporary music
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R&B uh Jazz Soul music and um I I think
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too now that you brought that up and I
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say this with with respectful
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humor uh I was very rebellious to my dad
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okay as a PK yeah uh my dad and and I
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born on the same day February the
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5th and even though my dad accepted his
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calling into the
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ministry
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I I wanted to do as much of everything
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possible to not do that understood okay
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you know as a as a kid and and and
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wanting to have my own identity and see
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you know what I could see for myself and
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then having this ability to play I'm
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like man I I don't want to just be
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playing no gospel music no
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right I want to see what else is you
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know happening over here so that's why
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you know that particular um genre music
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didn't take uh priority over jazz music
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now if you had to pick an artist and I
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know you have several um as far as jazz
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is concerned who would you say would be
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most influential to your sound like did
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you have a certain artist that you
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listen to all of the time I I would say
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so and to the day it still stands to be
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the same that's Mr Herby Hancock ah nice
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um
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something two things I think that stood
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out with regards to him being such a uh
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influence musically was the this was the
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first uh keyboardist or pianist at that
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time would be more so pianist that uh I
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wanted to um not only I I not only
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wanted
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uh to learn or hear more from what he
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was playing but I actually saw
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myself playing what I heard him do yeah
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so it's like you know like a role a role
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model you know to the some extent
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um and this was the artist that was
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combining musical sounds also not just
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the piano in terms of his you know
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straight ahead ofar guard styling but
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his electrical funky
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stuff yeah that
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was that was now this was pre computer
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yeah you know yeah but it was so
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Advanced and I've always considered
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myself to be a forward
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or outside of the box thinker yeah as
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long as I can remember and he just
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happened to be that person now he opened
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the door though for other artists that
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also had that uh futuristic sound and
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styling such as Stevie Wonder such as
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George Duke uh and then eventually you
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know more contemporaries uh Joe
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Sample
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um Ramsey Lewis all of those individuals
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played a significant part in me uh
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appreciating the
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keyboard what it musically represent
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present the the command musically that
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the keyboard allows a Pianist to have
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yeah um and um just over the course of
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um oh well I guess I've been hearing
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Herby Hancock's music for at least 50
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years he's always just been that person
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at the top of the musical food chain
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that I gravitate towards and you know
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what I was looking at a video I was
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going through some of your videos and
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now that you mention it
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I can tell that that's that's one of
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your influences yeah I can tell that
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that by your style you know okay okay
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that's awesome that is awesome and so
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when you consider say
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him merged with Andre Crouch oh nice
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okay yeah that that right
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there that's that's that gospel mixed
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with with jazz right that's it that's it
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okay that's it yeah okay now you have
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have several different talents so
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besides just the musicianship you also
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have you know producing and and writing
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and thing like things like that
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so would you say one was more of your
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strength than others
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like would you say your writing would be
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more your strength or would you say your
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your definite musicianship or all of it
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just just in there together I think as
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it began my ability to play you know was
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the priority yeah and then over a period
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of time I saw myself gravitating towards
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the um the uh interest and the
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excitement about writing song writing I
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I I've been writing songs uh deir
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probably since I
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was
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11 really what do you write about what
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do you write about is it like life
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experiences or or what um then I only
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well no then I
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wrote uh uh gospel songs the the lyrics
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the the music and then ultimately it
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branched from that to writing um
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instrumental songs you know the melody
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which I didn't know would be considered
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Jazz I just heard these different chord
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changes that were not your Norm of of
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that era of that time period whereas
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now um I I seem to
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have um a way by which I'm blending all
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of those facets that you just
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mentioned uh to to now have a even
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balance uh I do perform probably more
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than I produce but my passion for it my
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desire of producing is on the same level
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as the excitement that I get when I go
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play a gig somewh where yeah you know um
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uh if I had to say which one you know I
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enjoy more I would have to lean towards
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performing because
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that's where I came from you know um but
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yeah recording and
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producing man it's it's it's addictive I
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say that it's you know what what's that
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cartoon I think it was a pixel cartoon
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and I can't foret the name of it I know
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Jamie Fox was the uh character of it but
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he he he depicted a a jazz
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singer
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and oh I have to think of the name of
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but the way that it was is that the jazz
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singer is playing the piano and then as
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he plays he goes into this
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Zone as he plays and it's just like he
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his mind just goes into to this this
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Zone he zones out and the whole world
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just shuts out and it's just him and the
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piano do you find yourself doing that on
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stage it sounds like you talking about
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me that's that's exactly what I've been
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told by people who visually watch me
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uhuh I just recently had this
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conversation with someone and um I've
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gotten so
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many I'm kind kind of
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embarrassed I've gotten some very
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strange comments from people as to what
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they
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perceived of me when I have gone there
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uhuh
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uhuh and since you know we got a very
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candid loose interview you you you know
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right but I laugh because it's
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funny I've had women suggest you know
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you look like you having an organ
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right right uh uh you
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know their men have you know indicated
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something man you know you look like you
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were out of space uh you weren't here on
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the planet when you when you when you
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did that you was you know you were
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somewhere else and yes it probably I
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probably was you know so whatever that
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cartoon is when you find it please let
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me know because I want to see
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this I'm I'm definitely going to the
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name of it because I I I I I would
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gather that's how it is now I have a
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question and I don't know if it's a I
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shouldn't call it an ignorant question
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but it's something that I always wanted
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to know cool now I love I love jazz um
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but I'm a contemporary jazz
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okay
19:21
now Fusion jazz fusion okay okay my
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question is about Fusion Jazz I can
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appreciate
19:30
I just don't understand it it sounds
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beautiful when I'm I'm listening to it
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but I'm like I don't if I were the
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musician I'm like okay is it my turn to
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jump in or
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what is there a pattern that goes like
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if I supposed to just put my feet in
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there just like my turn I don't I don't
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get it is there like a just is it just
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like a feeling or is you know you know
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what just you know what just came to
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mind
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is um when you were younger did you did
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you ever jump Double Dutch
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yes that's what it is okay I get that
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okay
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okay the Revolutions of a jumping rope
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double and you could a single rope too
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either one it doesn't matter but the
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revolutions you know the Rope is going
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around around and this rope is
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moving at a specific speed I mean
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obviously it can get faster or slower
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but but when it's operating at a at a
20:33
one steady speed the person who's about
20:36
to jump in is in some way another
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mentally
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assessing how much space is available
20:45
before he jumps into that Circle okay
20:49
okay I got it so now equate that with
20:51
music when you hear a a fusion song um
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I'm given artist I don't know if you're
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famili uh
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choria U okay I know choria cha we'll be
21:03
another
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Fusion
21:06
uh I I wanted to say Steely Dan but
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that's not quite Jazz F uh Stanley Clark
21:13
okay yeah that would be Fusion to some
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fusion Jazz
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so when when a recording and and let's
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just assume that you if you're referring
21:24
to either well let's just assume it's
21:27
the same for either live recording or a
21:30
recording or a live performance okay
21:33
let's use the live performance as our
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example so you're in the audience you
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see five musicians on stage and uh
21:39
they're playing some really you
21:41
know really jamming you know stretching
21:44
out and so your question is how does the
21:47
saxophone player know when to come in
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right right
21:52
and so within the context of whatever
21:55
this song is that's being performed
21:59
there is going to be an area where space
22:01
is going to be create going to be
22:03
created yes where it allows an
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individual who was was told previously
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maybe previously in the rehearsal maybe
22:15
uh previously as far as the music that's
22:17
written out a chart that when we get to
22:20
section so and so and so and so in this
22:22
song Bam you can get in oh okay got it
22:26
okay yeah okay because I I was confused
22:29
I be have messed y all of and tripped
22:31
all over
22:34
y hey I guess I can't invite you to sit
22:37
in with my band huh no you cannot no you
22:39
cannot because I'm gonna play over
22:41
everybody's part there will be no empty
22:46
spaces but now to your credit uh deir
22:50
you
22:51
know what you just said is honoring your
22:55
um truth about
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uh
23:02
being being held accountable for what
23:05
you don't know yeah being held you're
23:08
holding yourself accountable for what
23:09
you don't know right and you're saying
23:12
up front the truth of it is if I were in
23:14
an a situation like this this is
23:16
probably what would happen you would be
23:19
amazed to know how many musicians and
23:24
artists have the training and the skill
23:29
but do not hold themselves
23:32
accountable for not understanding how to
23:36
do that and are performing on a regular
23:39
basis I mean really yeah do it regularly
23:43
and if if if it's being
23:47
done unintentionally that's one thing
23:50
but there are some that intentionally
23:52
don't want to regard the importance of
23:55
when to jump in they just want to be
23:57
there to be seen to be heard to be
23:59
recognized and having
24:02
no reverence for like a better reverence
24:06
for not just that particular song but
24:11
for
24:13
um the sanctity of respecting the
24:18
musical performance so if you're if you
24:21
if you're told ahead of time at your
24:24
rehearsal maybe or like I said if you
24:26
get the music and it it say on the music
24:29
uh when we get to section letter B uh
24:32
make sure you drop out okay section B
24:35
make you drop out you got the music you
24:37
come to the gig you playing you see
24:39
where it says drop on Section B but what
24:41
do you do I want to get my shine in so
24:43
I'm gonna play right
24:45
here see so that's that's someone who
24:49
knows that it's not time to jump in
24:53
right should as opposed to what you're
24:55
saying you know you're describing
24:56
someone who's not really sure about it
24:59
you know you you you but you have these
25:02
skills you got this ability or you have
25:04
a desire let's say that you know you got
25:06
desire to
25:08
be run all these Rifts and so you think
25:11
that you just supposed to play when you
25:12
feel it which is not correct
25:16
no I thought everybody just you know did
25:18
the Dogo thing but you know speaking of
25:21
feeling I want to ask you this out of
25:23
all the the people that you played with
25:26
one person that I really love love well
25:28
PE Bryson is one of my all-time
25:30
favorites but jean K I'm interested to
25:35
know that there's a spark of magic okay
25:40
you can say you you had a nice voice me
25:42
yeah yeah yeah I used I used to do a
25:44
little bit of okay how is it working
25:47
with Jean K because she's amazing
25:49
she wow there's so much I can say the uh
25:54
the experience with
25:57
her Jean is a female vocalist who has
26:04
great um stage what's the word I'm
26:08
looking for
26:14
uh I can't think of the word now but you
26:16
know how you can you can raise or lower
26:21
the projection of your voice you can
26:23
make it soft like that yeah that's what
26:26
she taught me how to do in terms of
26:29
playing with someone who has that
26:31
ability with the voice yeah she can sing
26:33
loud at any given time she wants to yeah
26:36
she could also sing soft and it actually
26:40
makes the
26:41
audience tune in
26:45
yeah and see you know there's always a
26:49
balance to that you got a lot of
26:50
vocalists now who think that the only
26:52
way somebody can tune in is if you sing
26:54
real loud and hard in a bunch of notes
26:57
no yeah
26:59
she taught me the importance of that uh
27:03
that was the
27:05
first female you know that I mean
27:08
consistently every night no matter what
27:09
venue I played with her overseas in
27:12
Japan uh we we did a gig at um Ashford
27:17
and Simpsons uh Club in New York okay uh
27:22
I think it's called a Sugar Bar I I
27:23
think that's the name of it and um this
27:26
is you know my first time performing
27:28
with a female artist of this caliber but
27:32
to see how people you know
27:34
reacted when when she opened her mouth
27:37
and and obviously these are songs that
27:38
people were familiar with you know so
27:40
yeah they're waiting to hear what
27:42
they've heard on the radio and
27:45
flawlessly every night she duplicated
27:48
yeah she's she's awesome and that was
27:50
played my mother used to play her and um
27:54
Norman Connor yeah Norman Conor that
27:57
whole thing and and it was just played
27:59
throughout her house like all the time
28:01
so I I I was just curious how she was
28:04
but if if it was what is one of the most
28:07
memorable performances if you had to to
28:10
pick a most memorable performance for
28:13
yourself what would you say would be to
28:15
date in terms of working with another
28:16
artist in
28:19
particular um there's a Blues singer
28:23
female her name is Susan
28:26
teski okay you may may have heard or
28:28
you'll hear sometime in the future
28:30
there's a uh this is a I call it
28:35
Americana Soul music uh the name of
28:38
their group is called the teski Trucks
28:40
Band her husband is Derek Trucks
28:43
guitarist Derek truck
28:45
is one of the nephews of one of the
28:49
Almond Brothers okay popular rock band
28:54
back in the day and still popular anyway
28:56
so I did a a tour with her for about six
28:58
years traveling the world and states and
29:01
we uh I was it a two night gar it was
29:05
either one or two night gar we opened up
29:07
for the Rolling
29:08
Stones how was that at the Staple Center
29:11
in California
29:14
yeah uh Unforgettable Unforgettable that
29:18
was the largest crowd I've ever
29:21
performed in front of
29:23
um and and and the the the um what's the
29:27
word uh to see my college I mean my high
29:30
school friend darl Jones the bass
29:33
player playing with Rolling
29:36
Stones
29:38
um the um the level of uh I can use the
29:43
word respectfully preferential
29:45
treatment that you know we got in the
29:48
band The all the little perks that go
29:51
with you know that that was
29:54
probably I think that was probably one
29:56
of my me oh say another one was uh we
30:00
when I was working with peo Bryson here
30:02
in Atlanta Georgia we played uh for the
30:06
visit of Nelson
30:08
Mandela at Georgia te Georgia Tech
30:11
Coliseum yeah yeah wow that was as well
30:15
those two things probably so I bet that
30:18
crowd is it is it the feedback from the
30:21
crowd that that that makes it more
30:24
memorable or just the experience of of
30:27
being on the stage it's it's the
30:29
experience of being on stage and then
30:31
having a moment within
30:34
yourself
30:37
of
30:39
remembering having said to myself when I
30:42
was younger yeah I'm gonna do this I'm
30:45
gonna do that I'm gonna
30:46
do and maybe not specifically having
30:49
said when I was younger or I'm gonna
30:50
play with peo Bryon I'm gonna play with
30:52
Jean K but having said I'm gonna yeah
30:56
I'm GNA play with you know bunch of yeah
30:59
you know incredible people and I'm going
31:01
to go some places that you know a lot of
31:03
people will never get a chance to go but
31:06
I'm gonna get a chance to do it and yeah
31:08
it's like bam you you sit in front of 25
31:11
30,000 people yeah you know with this
31:14
significant artist in front of you
31:17
and you know going yeah now is there
31:21
somebody that you wish that you had
31:24
worked with that you haven't worked with
31:26
yet oh
31:29
yeah probably unfortunately won't get a
31:30
chance to work with them you know
31:32
because they've transitioned
31:34
um and that yeah man I could go on up uh
31:38
Prince uh Quincy
31:41
Jones
31:43
um
31:46
Luther I always knew I was gonna play
31:48
for Luther I you I always knew it that
31:51
yeah that that brother there man I um
31:54
but some that are living now um
32:00
uh you you know who I would really love
32:03
to play for and um I believe it's gonna
32:06
happen too Leela
32:10
Hathaway nice nice I would love to play
32:14
for her um
32:16
stokeley oh that would be awesome yeah
32:20
and um he's an instrument by himself oh
32:24
my
32:26
God the brother's energy yeah still at
32:30
his age you know he's relatively still
32:33
singing songs that he's saying 20 30
32:36
years ago in the same
32:39
key that's not something that a lot of
32:42
vocalists are able to do because your
32:43
voice is changing as you get older you
32:45
know right right but yeah those but I
32:48
could name so many
32:50
de yeah it's just uh I think I enjoy
32:54
though being able to sit on my sofa cut
32:57
on you
32:58
YouTube and watch these people and
33:01
imagine me you know playing and I'm I'm
33:03
very uh uh analytical when I watch
33:06
something
33:07
so I I I sometime try to refrain from
33:10
saying oh I I could play his gig I could
33:13
play her gig because that person the
33:14
keyboard player that's playing right now
33:16
oh they ain't doing nothing you
33:17
[Music]
33:19
know so you know I try to live by
33:21
cariously through you know the lives of
33:23
other people that I see playing for
33:25
people that I would like to play for as
33:27
well
33:28
yeah well you got your own fantastic
33:30
music anyway so we're going to talk
33:33
about your fantastic music as well so
33:35
tell us all about uh good to go tell us
33:38
about your new single that's out I
33:40
appreciate that uh the new single is
33:42
going to be released uh Friday this week
33:45
the 21st okay and um this is the single
33:49
from my upcoming sixth CD okay uh which
33:55
is going to be the title track and title
33:58
of the six CD good to go um it features
34:02
a really great friend of mine who's a
34:04
drummer his name is PJ spragin that's
34:07
another brother that man you would enjoy
34:10
having him on your show he's he's okay
34:12
he's someone really special um but he
34:14
plays drums he's also a songwriter and
34:16
producer and uh I think you know those
34:19
three things right there kind of makes
34:22
him as a drummer stand out because you
34:24
don't really hear a lot of times about
34:26
drummers that are songwriters ERS and
34:28
producers right right but but they
34:30
drummers have some incredible ears when
34:32
they take on those other additional
34:34
roles and so he's featured on this
34:36
particular song Good To Go the um the
34:41
title is is uh embodied
34:46
within the the feeling that a person
34:49
male and female has when they have
34:53
completed something a task or something
34:56
as simple as when you're standing in
34:59
front of a mirror and I think ladies you
35:01
being a woman you would appreciate this
35:02
when you're about to step out your
35:04
door you you're you're observing
35:08
yourself I mean whether it's casual
35:10
whether it's a dress up event whatever
35:11
it is you you're assessing yourself from
35:14
the top of your head down to your feet
35:16
and once everything seemingly is in
35:18
order you say to yourself good to go
35:22
yeah okay there you have it that's it
35:26
right there right and if it's not if
35:29
it's not because of you observing
35:31
yourself dressing like I said it's from
35:34
the also a standpoint of accomplishing
35:36
something yeah um whatever it might be
35:39
you know and especially if it's a task
35:41
that seemed to have felt unaccomplished
35:44
if that's the right
35:46
word but you you go you do everything
35:49
necessary you know within the law and
35:52
the things that you've been taught to do
35:54
you do everything necessary still had
35:56
some issues with it it some hurdles some
35:59
setbacks But ultimately you wind up
36:01
completing it and Bam you had to say
36:04
good to go now good to go I'm good to go
36:06
now now do you plan to do an album after
36:09
after this yes the album is going to be
36:12
released in April I think around the
36:15
15th sometime right before Easter and um
36:20
this particular album uh I'm only uh
36:23
releasing on the album eight songs okay
36:27
two of which are cover songs um you're
36:30
familiar with the song called Africa
36:33
which was recorded by the group uh Toto
36:36
I think yes that is that's right yeah so
36:39
I did a cover instrumental version of
36:42
that and uh I also did a uh cover of a
36:47
song that was recorded by the group
36:49
weather report H weather report um Joe
36:54
zanu he's Austrian born keyboard player
36:58
uh it was
37:00
him oh brain
37:03
again there were four
37:05
musicians really created the sound jao
37:10
Pastorius okay I know the name yes Wayne
37:14
shorter okay no way shorter and drummer
37:18
at that time he's had a couple drummers
37:20
Tony Williams I think he think might
37:22
have played at some point uh but
37:25
nonetheless
37:27
this particular song was recorded and
37:31
released on one of weather
37:33
reports records okay and the song is
37:37
called a remark you made which is a
37:39
ballad so I did a an arrangement and
37:42
version of that song and then the other
37:44
remaining six songs on the record are my
37:46
own original songs love it love it now
37:49
if someone wanted to
37:51
to purchase the song when it comes out
37:53
it's not out yet it's G it's coming out
37:55
this week this weekend right you can go
37:57
to my website which is William Green
38:00
music that's green without an e on it
38:02
William green
38:04
music.net and you can actually purchase
38:06
and download the single now it's
38:08
available oh awesome okay yeah it'll be
38:11
available for purchase on the streaming
38:13
platforms on Friday the 21st got it got
38:16
it got it awesome well I'm trying to
38:20
think I want to make sure that everybody
38:23
I'm going to make sure that I have your
38:24
link and everything just in case if
38:27
somebody for whatever reason didn't
38:29
didn't get what you said I'm going to
38:30
make sure that we have it I appreciate
38:33
that that we have the link down at the
38:34
bottom I apprciate that it is so awesome
38:38
to talk to you I I talked to your your
38:41
publicist a thousand times and and may I
38:44
stop you I'm glad you brought her name
38:47
up my publicist so important thank you
38:50
Angela Moore APM public
38:53
relations hey Jia now you think you
38:55
might be the hardest working girl in
38:57
Show
38:58
but Angela Mo I'm sure yeah yeah she got
39:01
you she got you beat sister she got me
39:03
beat she got you beat sister that's a
39:05
bad sister thank you Angela we I
39:07
appreciate you and deia before um you
39:10
continue I do want to make mention to
39:12
anyone that might be looking at uh our
39:15
our interview who are in the Atlanta
39:18
area I'll be uh performing uh on this uh
39:21
let's see February the 27th I'll be
39:24
performing here in Atlanta Georgia at
39:26
the St James live music venue uh it's
39:29
located 3220 Butner Road are you
39:33
familiar with Atlanta in any Wayan yeah
39:36
I lived in Atlanta for 15 years what
39:39
what side of town were you on I lived in
39:42
over there by Stone Crest Mall okay okay
39:45
well St James live is on the South Side
39:48
had you ever heard of or been into the
39:50
area called the Camp Creek Marketplace
39:53
yeah that's where this venue is kind of
39:55
located in that area okay but I'll be
39:57
doing uh my good to go single release
40:01
performance on Thursday February 27th at
40:04
St James live you can get tickets by
40:07
going to their website which is St James
40:09
live.com I do believe uh again Thursday
40:12
February 27th 7:30
40:15
Showtime okay and also um if you don't
40:18
mind just make sure you give me that
40:20
information as well again and I'll make
40:21
sure that I put that below so everybody
40:24
that wants to come out can come out and
40:25
check you out sure so so again the
40:27
website is William Green music William w
40:31
i l l i a m green like the color no e on
40:35
the end of Green William green
40:38
music.net I'm also on Facebook IG uh
40:42
Instagram as well uh William Green
40:45
music um where else can you find you can
40:49
find me pretty much everywhere you might
40:50
see me at the end of an expressway ramp
40:53
with a sign please find and follow me on
40:56
Spotify in case you all didn't know
40:58
Spotify is a music platform where
41:00
Independent Artists like myself are uh
41:03
able to uh attract fans and allow our
41:06
fans to keep up with us so I strongly
41:09
encourage all of you that are listening
41:11
to this interview follow me on Spotify
41:13
as well all right well you heard it so
41:16
we want to thank the multifaceted
41:19
William green for coming out and sharing
41:21
his story sharing his music with us make
41:24
sure you go out and follow not just
41:25
follow we want you to actually by so buy
41:28
his music and support him and William
41:31
we're going to say goodbye to you and
41:33
anytime you want to come back please
41:35
feel free to come back and talk to us
41:37
thank you de I appreciate you have a
41:39
great day everybody thank you bye bye
41:41
all right bye bye