Phil Woods Interview and Blindfold Test–Performances By Jackie and Roy & Stéphane Grappelli [transcript]

00:00:00:00 - 00:00:08:29 Phil Woods: That’s really a big business, and I’m thinking of.

00:00:09:04 - 00:00:12:26 Phil Woods: Making our logo into an upright base.

00:00:12:29 - 00:00:13:14 Leonard Feather: Yeah.

00:00:13:17 - 00:00:17:28 Phil Woods: And the thing that makes it hard is that.

00:00:18:01 - 00:00:24:25 Phil Woods: I think it’s that that it’s been. We’ve travel, we spend about 20% of our income on transportation, you know.

00:00:24:28 - 00:00:25:09 Leonard Feather: Yeah.

00:00:25:16 - 00:00:51:11 Phil Woods: And, you know, for airlines, that’s one of my pet peeves. I mean, the problem of carrying a full sized page because everybody else, you don’t see that many full sized pieces, you know, which represents a whole area of music that I think is key, neglected and forgotten. a few cats are out there trying to do it. I think we should try to do something like some of this stuff, which I think is, why would you go try to do something?

00:00:51:13 - 00:00:58:00 Phil Woods: But a lot of the major artists are no longer major artists in my life, because I don’t even know what jazz is anymore.

00:00:58:02 - 00:00:59:19 Leonard Feather: Well, that’s a good point.

00:00:59:22 - 00:01:20:12 Phil Woods: What is jazz now? I mean, am I playing jazz? I mean, if those guys are playing jazz. I mean, the fusion in one core stuff is playing jazz. The what am I doing? My. Is it all the same category? And that, that confuses the public. When they hear a group like us, they love it. But sometimes they want to deal with it is maybe they can be because of Billy Joel record or something.

00:01:20:12 - 00:01:40:20 Phil Woods: You know, that’s not the point. Get them in and they listen to it and it sounds they like it. They like the music for it, but evidently it doesn’t sell a lot of records or they get a lot more groups like it. I would think the economic reality being what it is, it’s not easy to keep a group, in living together, going in our fifth year.

00:01:40:23 - 00:01:41:10 Phil Woods: And that’s.

00:01:41:15 - 00:01:42:11 Leonard Feather: Exactly.

00:01:42:14 - 00:02:02:14 Phil Woods: And we’ve got no change of personnel, and that’s a feat in itself, I think, you know, without too much help for record companies or airline companies. another one of my pet peeves is, well, jazz clubs, per say, had a great experience up at, You know, it doesn’t matter the name of the club, it’s no longer in existence anyway.

00:02:02:16 - 00:02:27:01 Phil Woods: But it was a rainy time, and water was just pouring down, and there was about three inches of water from the bandstand, which was coming out of the toilet, which is overflowing, you know. And it was really Scott, you know, was famous for all the jazz joy. And as we were leaving, Mike Molalla, the piano player, as the kid outside was trying to mop up and all that jazz you want to put in the roof of your symphony.

00:02:27:04 - 00:02:46:15 Phil Woods: And the guy says, have you ever worked in a jazz club before that kind of syndrome? Because there are some positive signs, you know, rather than sounding off the positive sign there. And the more traveling I did, as you perhaps know, the European rhythm was you didn’t travel too much here, and I didn’t travel too much in the old I didn’t get too far out of the East Coast.

00:02:46:15 - 00:03:12:10 Phil Woods: So we’re getting a chance. I’m getting a chance to really see. Sometimes there’s a lot of routines, smaller town sounds. You wouldn’t expect everything happening. And then that jazz rooms and music rooms. Yeah. And they might have, they might have come out of the pop rock thing. I don’t care where they came from, but some young, energetic, intelligent people that are bringing in all kinds of groups and have jazz, they might have a classical guitar recital there.

00:03:12:12 - 00:03:16:29 Phil Woods: but the accent, of course, is still about pop. Yeah, that’s pretty one, at least.

00:03:17:03 - 00:03:17:27 Leonard Feather: I mean fusion.

00:03:18:03 - 00:03:26:14 Phil Woods: Well, no, I’m talking about they’ll have whatever is around between, you know, whatever. The kids are right across the board, but dealing with everybody will get representation.

00:03:26:20 - 00:03:26:28 Leonard Feather: Yeah.

00:03:27:01 - 00:03:46:17 Phil Woods: So that you can conceivably make a tour of these music rooms. And the pianos are great. The sound systems are great. Drinks are free and great. The buffet backstage like actual place to sit out for the most part. I mean, they don’t have to be, leaky, really. Toilets in there. And a lot of people still seem to think that that’s the way it has to be.

00:03:46:24 - 00:04:16:27 Phil Woods: Yeah, and I think because, you know, there are some changes in that as far as working conditions. And, you know, that’s that’s important. But I like the love of funky old jazz. But don’t get me wrong, I think that’s very important to a jazz group. I mean, we’re trying some new material out here at The Lighthouse, and I love playing in a lighthouse is not just a free plug, but, I mean, there are rooms that have a certain, not only character, but they have a sound when you’re on the bandstand that you can hear everybody and you can communicate and, you know, it just feels good to play music.

00:04:17:03 - 00:04:39:14 Phil Woods: You know, music fits into that. Whatever. Whatever is a building shake, baby. Or just just by accident that happens to work out that way. There’s other rooms that are hard to work. Very difficult for me. You know, the South of was this far from the heart and then it dissipates. You. So things like that there. I know that’s a it’s a lot of material.

00:04:39:16 - 00:04:41:05 Phil Woods: Well regulatory material.

00:04:41:05 - 00:04:47:15 Leonard Feather: We started talking about, fusion goes but you flirted with the electronics, you know, when you were out here and made that.

00:04:47:15 - 00:04:53:14 Phil Woods: And I think, you know, fusion is was passed in 1970. In a way, I was I was late catching up in who.

00:04:53:16 - 00:04:58:09 Leonard Feather: Made that album. You obviously either believe in it or you just thought it might be somebody to try out.

00:04:58:10 - 00:05:03:26 Phil Woods: Well, I didn’t really call it fusion. I was more concerned with. We did a lot of Pete Robertson’s music and.

00:05:03:28 - 00:05:07:01 Leonard Feather: Using the wah wah pedal, you know, certain aspects.

00:05:07:01 - 00:05:27:18 Phil Woods: Of. Yeah, I’d say in the, in the ring modulator and the amplification and, toyed with a few other things. I’m glad I tried them out. I found out that I don’t think I want to bother with them. I mean, I can see where I might go in the studio someday and do something with it. I mean, I have a couple of ideas for certain special projects, so I’m glad I learned something about the tools.

00:05:27:24 - 00:05:44:19 Phil Woods: Yeah, but as far as being out here playing, or if anything, I’ve gone completely the other way. It’s either from where the European rhythm machine was in a sense, I don’t mean backwards or anything. I mean, going to my strong suit is stuff that gives me pleasure. Which is it that’s playing songs? Yeah, playing songs. I like to play songs.

00:05:44:21 - 00:06:00:19 Phil Woods: I don’t care whether they’re, new songs are old songs or me that we played. You started playing, I see, to go to see this played and Mike brought it all today. Right. So yeah, great to and as you, you you were so kind. He mentioned in your call about the Cole Porter.

00:06:00:24 - 00:06:01:24 Leonard Feather: Yeah.

00:06:01:26 - 00:06:21:04 Phil Woods: I was trying to find, that’s that’s a great journey. And everybody in the band enjoys that area. And we have fun. Yeah. And I think it’s important to keep that area of American musical lives that is being so neglected now by God. The songs and the lyrics. I mean, that is a song, right? That’s about it. I mean, I mean, there are some good people.

00:06:21:04 - 00:06:38:09 Phil Woods: We just wrote some good songs, there are some good songwriters, but in general the level of songs is absolutely dreadful. I say, I mean, I couldn’t play them in New York. You have to you have to really search. The few times I played pop tunes, you really have to scout down one that that doesn’t stick in your craw.

00:06:38:09 - 00:06:55:03 Phil Woods: I mean, in that. Great. But going back to those tunes and you realize that, I mean, I’ve noticed that our audiences are essentially young, they’re young, white, college educated for the most part. I wish we had a different cross-section, but that’s the way I see it. Anyway, now into them. What? Some of these things are all brand new.

00:06:55:03 - 00:07:03:05 Phil Woods: They never heard it before. Oh, sure. So I think our work is important in the sense that we’re keeping these tunes alive. You know, instead of jumping on the seventh bandwagon.

00:07:03:05 - 00:07:04:01 Leonard Feather: Yeah, yeah.

00:07:04:03 - 00:07:09:22 Phil Woods: Which is going to be a trap anyway. There’s no one here that I don’t like. I know there isn’t.

00:07:09:24 - 00:07:10:23 Leonard Feather: I is just.

00:07:10:25 - 00:07:11:25 Phil Woods: Temporary.

00:07:11:27 - 00:07:13:10 Leonard Feather: eventually. Not sure.

00:07:13:12 - 00:07:34:17 Phil Woods: Well, I mean, we were talking before about jazz records, and I checked my nearest guide, and, I all I buy lately is reissues, because I’m just not interested in this stuff. and, you know, some of the new stuff, I find out about it beforehand, but I just wouldn’t buy it on the strength of an artist anymore, because I wouldn’t know what the hell was on the record.

00:07:34:17 - 00:07:46:18 Phil Woods: Yeah. And everybody secretly jumped on the bandwagon and say, hey, who can we buy all of these things? That’s that’s, Yeah, I don’t understand that. But.

00:07:46:20 - 00:07:55:08 Leonard Feather: I think the reason why, well, like Freddie Hubbard, when he, he jumped on the commercial bandwagon, jumps back because of himself. They’re just.

00:07:55:08 - 00:08:14:22 Phil Woods: Lazy again. Well that’s good. You know, people like Dexter. Well, I mean, just play music and, you know, it’s the Alan Zoot out there doing anything with playing music and or, you know, there’s a lot of it’s a young track in a way to, to take certain musicians with the bucks. They’re really heavy now. I mean, would you want to jump on?

00:08:14:23 - 00:08:38:00 Phil Woods: It’s very. Yeah. So today’s attractions are decided. They have to sign. Here is a big budget, a lot of bread. Well, and I’ve never been intrigued by it, though, because I think I know deep in my heart that you’re not going to make any real money. I mean, you’re going to make a lot of bread first. You spend it first, and then you’re going to, disappoint the people that have been listening to you.

00:08:38:00 - 00:08:47:28 Phil Woods: And I think that’s very important. I mean, I can point to most of my record, I say almost all of my records, and I’m not I don’t think I’ve ever sold short to people that do like to.

00:08:47:28 - 00:08:48:12 Leonard Feather: Listen to, you.

00:08:48:14 - 00:08:55:05 Phil Woods: Know. Yeah, it might have been some things could swing one way or that like for us to keto or Greek cooking. I mean, there’s two different.

00:08:55:05 - 00:08:55:13 Leonard Feather: As.

00:08:55:13 - 00:08:58:14 Phil Woods: Well. But in general I guess. Yeah, that’s, that’s.

00:08:58:16 - 00:09:00:04 Leonard Feather: That’s the way that that again,

00:09:00:07 - 00:09:10:03 Phil Woods: If that was strictly. Yes. Well it was, it was, it was done with the understanding of the follow up record which never occurs, never happens. Yeah. That’s an old story. I’m not going to go over that one.

00:09:10:03 - 00:09:14:18 Leonard Feather: They Germany that you.

00:09:14:20 - 00:09:31:20 Phil Woods: She knows about it because you’d be surprised. The people that go up to me saying, oh, I’ve got your Greek cooking. Oh that’s a lot of Greeks like it, but it’s still around. And so it gets more distribution. That’s everybody’s stuff, you know, where you won’t see any other record. You see Greek cooking. I mean, that’s about that, that,

00:09:31:23 - 00:09:37:19 Phil Woods: I have to get it. Yeah. Blake, anymore? Could you just say that on that?

00:09:37:21 - 00:09:39:02 Leonard Feather: Sorry. I mean, you’re always.

00:09:39:07 - 00:09:55:10 Phil Woods: You know, I didn’t even have sense enough to put an original out of it. Yeah, that would have helped. You know, I just I was my mind was on the follow up record. I wasn’t even attending to the business. I mean, I was doing the date and I was a I was a sideman essentially, you know. Oh, yeah.

00:09:55:10 - 00:10:26:23 Phil Woods: Right. Yeah. Who lent his name to this? But, you know, in general, I have no interest in making a disco album. it’s it seems to me that would be negate everything that I stand for as any of the group stands for. And then you just be intriguing as possible that there have been some nibbles of the different people wanting to produce me and all that, you know, and if I do this and if I do that, I think I can just lay back for a while and enjoy playing with the quartet.

00:10:26:25 - 00:10:28:16 Phil Woods: And more than enough work.

00:10:28:18 - 00:10:33:06 Leonard Feather: Yeah, actually, you’re in a good position. Except that, for the record, a little bit of a lot of those.

00:10:33:08 - 00:10:57:16 Phil Woods: I think that will resolve itself with the seven deadly sins will be out in the fall, requires them to put that out because they need a product. Yes, yes, that’s a double album and that’s good stuff on that. That’s a very strong album. Right. So, we’ll see. Yeah. You know, I always like to the based on the airplane get from point A to point B.

00:10:57:16 - 00:10:58:20 Leonard Feather: Yeah.

00:10:58:23 - 00:11:01:11 Phil Woods: They keep the band going. And as I say that.

00:11:01:14 - 00:11:20:27 Leonard Feather: I didn’t realize is that like I said.

00:11:20:29 - 00:11:26:16 Leonard Feather: yes. I just put them on Wednesday the, 11th of August.

00:11:27:14 - 00:11:39:23 Leonard Feather: 12th of August. Well, what’s playing test?

00:11:39:26 - 00:12:12:19 Phil Woods: Is. Could you sit over there? Agree. Just checking to this. That’s a nice way to spend this early after, one of the most lyric, talented, romantic out the words. Let’s talk a little closer. All right. Pepper? Yes, I know that’s not a guessing game, but that’s the. That’s who it is. Yeah, and I love everything. I peppers every detonator.

00:12:12:21 - 00:12:35:11 Phil Woods: I’m a big Art Pepper fan. I always have been to figure out everything from the art. And it’s, recently acquired quite a few of the records to the great benefits of the reissues. We’ll be getting some of this stuff that I never had before, like the stuff with this, with the big band, small big band. It’s me that I’m like.

00:12:35:14 - 00:12:36:13 Leonard Feather: Yeah.

00:12:36:15 - 00:12:59:16 Phil Woods: Yeah, great. And, it’s the rhythm section. Really good. yeah. That’s that’s not a great shake special record, but it’s some lovely archival thing. I don’t know what the rhythm section could be. It could be, it just players that I respect familiar with their, sound like. Could be a lot of rhythm sections. Very. The opening sections sound a little bit like stuff we did with the European rhythm machine.

00:12:59:18 - 00:13:12:06 Phil Woods: Just a little bit. Just that, that opening stretch out position. Yeah. It had to have a shape to it and to have it the basic form to it, and it can be more with a guitar coda than any. Great. Yeah, yeah.

00:13:12:11 - 00:13:12:22 Leonard Feather: Yeah.

00:13:12:29 - 00:13:16:01 Phil Woods: Yeah, it was nice.

00:13:16:03 - 00:13:17:09 Leonard Feather: It was really.

00:13:17:12 - 00:13:25:04 Phil Woods: Good. Let’s see, out of five I give our country five stars and just just being accepted.

00:13:25:06 - 00:13:28:24 Leonard Feather: you just tell us what,

00:13:28:27 - 00:13:49:16 Phil Woods: I like where I don’t know what the saxophone player was doing it all. I couldn’t figure out why they bother playing changes. I mean, there’s obviously some harmonic schemes going on there, and I managed that. The saxophone player managed to avoid any reference to the changes happening, which seems to me bizarre. If you’re going to play out, I have the restriction of a cat typing for you.

00:13:49:16 - 00:14:17:19 Phil Woods: Or maybe he thought he was making the changes, I don’t know, I have, you know, I as I say, the piano pressing like he could play the chords and I’m not against leaving, the chord structure, you know, going up to other parties and getting away from it and all that. If there’s some sort of, a design or something that lets me know that you’re really working off the every process up to, you know, such a thing is just putting phrases together, sounding like a spastic at times.

00:14:17:19 - 00:14:38:07 Phil Woods: I mean, I had trouble keeping up with it with the dialog. Got much too busy for my tastes, you know, and the dichotomy between the harmonic scheme and the non harmonic scheme, I think, is a fruitless path to to try to make music. I mean, it doesn’t please me. maybe it was a test of some other there to prove that he could play.

00:14:38:07 - 00:14:40:04 Phil Woods: What is his name called? Eight.

00:14:40:06 - 00:14:40:29 Unknown Speaker: Yeah.

00:14:41:01 - 00:14:54:25 Phil Woods: I don’t know. t, one star. Yeah. That is a Toni Braxton. Yes. I knew it. What?

00:14:54:27 - 00:15:02:15 Unknown Speaker: I didn’t know before.

00:15:02:17 - 00:15:26:15 Phil Woods: And it has a mean drummer on it. just making an I guess. I say it was pretty common with Stanley Clarke. And so I took your career playing piano. Joe Farrell. I like your Carolyn Soprano. Good record. Nice. Or is it remarkable? I’ll tell you. It’s okay. Well, whoever the drummer was is really fantastic.

00:15:26:17 - 00:15:40:11 Phil Woods: I worried about the record. It’s out of the soprano. I thought it was very well done. Just technically sound like they had him off somewhere, but. Very nice line and very well. But I enjoyed the record before starts.

00:15:40:13 - 00:15:44:16 Leonard Feather: Right. Oh, yeah. Since I’m about the bass player. Well. So.

00:15:44:18 - 00:15:50:28 Phil Woods: No, I asked you, who is Eddie Gomez? I didn’t have my ears out straight. that’s I think I think it’s Stanley Clark.

00:15:51:00 - 00:15:51:22 Leonard Feather: Did you like it?

00:15:51:24 - 00:16:11:02 Phil Woods: Yes, I did. Okay. With those. The other part played a funny quote in there, but there’s a boat that’s leaving soon for New York. Which leads me to believe it was a West Coast recording. That doesn’t matter, but I’m wondering if the other player was sending a message that he wanted to get the hell out of that studio quick.

00:16:11:09 - 00:16:31:02 Phil Woods: That was dreadful. The producer. I can’t blame the artist. Really? I mean, I would have a few words for the artist, but I would just absolutely frame advised him. And whoever put that musical cacophony together and it’s dreadful. It’s really dreadful. The producer should be forced to spend a week and lock him in a small room, and it’s just listen to that over and over again.

00:16:31:05 - 00:16:54:26 Phil Woods: After the musical. that was happening with the music, but just a sound sounded so bloody awful with the strings and, whatever it is, it’s, we’re out. So play. I didn’t have a chance. I don’t think I could play, but it also sounded like it was very out of tune. And I’ll tell you one thing about those those kind of dates when you have all that business.

00:16:54:26 - 00:17:14:28 Phil Woods: I mean, I’m not talking about whether it’s good music or bad music, but nevertheless, when you have strings and all that, there’s a certain demand upon intonation and pitch that, in a small group, you can get away with playing out of tune in a way, because you get nothing to match it against it. It sounds bluesy, it, but I, you know, I suggest that you have to take do another take and get the pitch right.

00:17:15:04 - 00:17:26:08 Phil Woods: you know, if you’re going to make schlocky records, at least I could be in tune. I mean, that’s it. That’s minimal. Otherwise, it’s, you know, a very ill advised piece of piece of business. Who wants to,

00:17:26:10 - 00:17:29:28 Leonard Feather: What if I told you the artist was also the producer?

00:17:30:00 - 00:17:34:05 Phil Woods: Well, he did it, and he must have perfect ears. No holes.

00:17:38:03 - 00:17:40:29 Leonard Feather: Gary Bartz.

00:17:41:01 - 00:18:04:19 Phil Woods: those superb six super six. Whatever happened? I have mixed emotions about super saxes. You know, Leonard and I. I write, and I’ve, I lately I’ve been saying this. I’ve been saying that perhaps it’s been a lot of good that my super saxes might have turned on a lot of young people to Charlie Parker, who otherwise might never have heard of Charlie Parker.

00:18:04:21 - 00:18:26:21 Phil Woods: And then I happened to know that Chan is having trouble selling some tapes, you know, and that, to me, is like, imagine having some Beethoven tapes you want to sell, and the people don’t want to spend any money on them. You know, the record companies don’t want to. And yet they will spend money on recording second hand and probably spent more money on budget for this album than the tapes are asking.

00:18:26:23 - 00:18:47:20 Phil Woods: And the dichotomy of that kind of rush, you know, I don’t know whether it’s good. It’s it’s marvelous group, you know, it’s it’s a good excuse for a group. All I can is all I can say I could I hate to rate it because if the rate it, you’d have to have a what do I rating the birds chorus or the performance of the same or the the couple of courses they have to stick on to make a work longer.

00:18:47:23 - 00:19:06:00 Phil Woods: I think the record’s going to be a lot shorter. Let’s stick with Bert. I think I might be doing the solos kind of as nice as they are. I would imagine that would be Kathy and that that was kind of it. But I decided it wasn’t Al Fontana. but as I say, it’s the record companies I don’t understand.

00:19:06:01 - 00:19:26:18 Phil Woods: And it’s not it’s not the groups. We were just playing music, I figure is is is okay with me, man. But when you when you have trouble dealing with the fresh new bird, I mean, that’s, that’s that is really far out, isn’t it? I mean, I just I don’t know that for a fact. What you’re. And it’s very curious, you know, it’s like.

00:19:26:18 - 00:19:50:13 Phil Woods: It’s like having an original Beethoven. Well, man, if you’re asking too much credit, but I would love to rate the performance of the way they play three stars for the, for the overall record. Good. No, I don’t with kids. I was comparing any man that could play the C7. Right. That was Eric Dolphy, and he was something else on that bass clarinet.

00:19:50:14 - 00:20:20:02 Phil Woods: That was a hard beast to deal with a pitch. Boy, that was weird. So bad was a team. Anyway, I know that at the time it was like Ted Curson, but I’m not sure if it was take version of that. Anyway, it was all Eric’s record and I had the great pleasure working with Eric and, John Lewis Orchestra Orchestra, USA, and we had to record the Star-Spangled banner, and, we were given parts of straight arrangement and the reading, you know, Eric had the and the melody part, as we all did.

00:20:20:05 - 00:20:38:26 Phil Woods: And I never heard such an impassioned, Star-Spangled banner. You know what Gunther had to say, Eric, you have this cool, cool it a little bit. It’s drowning out the rest of the band. Anyway, that’s who I think it is. And, well, I loved Eric Dolphy. I thought he was. He knew what he was doing. He was.

00:20:38:26 - 00:21:01:08 Phil Woods: He would go, as I say, as opposed to that other gentleman. Eric would go outside and he knew where the roots, where he knew he was really dealing with in the within the forum, with all the responsibilities that entails. And he would go off the high board with some funny notes, but it so you I always had the feeling if he knew what he was doing, you know, I mean he communicated that to me as a musician.

00:21:01:08 - 00:21:10:08 Phil Woods: Anyway, so I, I’d give that to three stars for the.

00:21:10:10 - 00:21:28:25 Phil Woods: I don’t know quite what to make of that at first. Until then, he started and Benny Carter, that’s that’s all you have to say. It really? the first complete musician and always one of my favorite people in the whole world. He just sounds marvelous, because I noticed when you first started playing the rag, I see where that lead alto players.

00:21:28:25 - 00:21:55:25 Phil Woods: Really something, you know, a big sax section, sir. Sorry, I say, I don’t really know who the other players were. I just be staring at it. I don’t think it’s important. I think the important thing is that Mr. Benny Carter continues to play so beautifully, and I assume that with his chart and the immaculate voicings of. Yeah, that somebody would say the rhythm section was old fashioned or but they were just chopping stuff in with the music, you know, it’s the way it has to go.

00:21:55:27 - 00:21:58:12 Phil Woods: I loved it, I loved the Five Stars.

00:21:58:15 - 00:22:00:08 Leonard Feather: Right.

00:22:00:10 - 00:22:26:29 Unknown Speaker: So Montclair, new Jersey, do you allow so many weeks really? Oh, we live and I live next door. How about you? Like your silverback and, do you do you spend so much time on the road? Actually, about half of the time, you know, about 20 weeks a year and enjoy the changing of the seasons and all the beautiful things that happen, you know, how have you weathered the changing of musical styles?

00:22:27:02 - 00:22:48:18 Unknown Speaker: Well, actually, we’ve because you’ve really gone right through them all and and always when we came along and like bebop was the hot thing. Yeah. And then it got into bossa nova and we were playing bossa nova and the rock thing came through, the Beatles came through. And at first I said, gee, I don’t like that music. And then they changed gears a little bit and had some really fine music.

00:22:48:25 - 00:23:07:16 Unknown Speaker: So we recorded a whole album of builds things and loved, you know, get into all kind of music. Was there ever a time in that 27 years that you had to reevaluate your music, in the sense that maybe people didn’t like what you were doing? Not really. I don’t think so. The only thing is that we have done material that was written in, you know, by younger people.

00:23:07:19 - 00:23:22:11 Unknown Speaker: But actually, I think our approach to music has always been basically about the same. We try to find songs that suit us, that we like, and then we just go from there. Do you know what I always loved? And sometimes I don’t know why I break into it, but you smell so good. Oh, what’s that aftershave you’re wearing?

00:23:22:11 - 00:23:44:22 Unknown Speaker: That’s a great one. You know, that’s one of the old ones that we haven’t done for a while. But every so often we resurrect one of the old ones and do it again. As long as I know you like it, we’ll come back later and do it. Yeah. okay. I surprised Jackie Roy today by showing them this brand new book by Leonard Feather, one of the most respected music critics in America, who writes here in the Los Angeles Times and in the musician’s paper.

00:23:44:24 - 00:24:03:05 Unknown Speaker: And boy, does he write about the two of you, complimenting you on your style and your good taste in your excellent musicianship. And, I don’t think I can stand all these, but it is nice. Nicely written about in a book. The book is The Pleasures of Jazz by a man, etc. and, you’re going to do, a contemporary song.

00:24:03:05 - 00:24:09:19 Unknown Speaker: Yes. Yeah. This is a song from Godspell, and we’re going to give it our treatment. It’s called Day by Day. And here are Jackie and Roy.

00:24:09:20 - 00:24:21:04 Phil Woods: Okay.

00:24:21:06 - 00:24:28:07 Unknown Speaker: Day by day, day by day.

00:24:28:09 - 00:24:32:13 Phil Woods: Oh, dear Lord.

00:24:32:16 - 00:24:48:27 Unknown Speaker: Three things I pray to thee. Be more clearly. Love me more dearly. Follow me more.

00:24:49:00 - 00:25:01:08 Phil Woods: Nearly each day. My name one.

00:25:01:10 - 00:25:42:00 Unknown Speaker: Day by day, by day, by day by you. Oh dear Lord. Three things I pray to see thee more clearly. Divine love thee more clearly. Followed thee. Mark nearly day by day, by day, by day, by day, by day, by day.

00:25:42:02 - 00:25:57:20 Unknown Speaker: Day by day, day by day. Oh dear Lord, methinks I pray thee me more clearly not me more. Nearly followed me more. Nearly.

00:25:57:26 - 00:26:07:17 Phil Woods: Day by day, by name, name by me. Day by day by day.

00:26:07:17 - 00:26:44:07 Unknown Speaker: Oh dear Lord, these things I pray thee, declare them I love me for day by day by day, money, day by day, day by day, day by day. They might be.

00:26:44:10 - 00:27:10:01 Unknown Speaker: Day by day. Play by name of the Lord. These things have made. Give me more clearly my love. Be my day by day. My every day by day. By they might be. Why, they might be my name, my name, my name.

00:27:10:01 - 00:27:30:10 Phil Woods: May be day. My day.

00:27:30:13 - 00:27:32:01 Phil Woods: They’re wonderful.

00:27:32:04 - 00:27:38:07 Unknown Speaker: Jackie. Roy. Thank you. We’ll be right back after this message with more from Stephane Grappelli.

00:27:38:09 - 00:27:39:01 Unknown Speaker: And.

00:27:39:03 - 00:27:41:11 Unknown Speaker: Great Stephane Grappelli.

00:27:41:14 - 00:27:48:04 Phil Woods: The. Rebound. So November.

00:27:48:07 - 00:28:10:20 Unknown Speaker: You don’t fool around. Stephane. Look who this album happens to be made with Stephane Grappelli and Yehuda Menuhin. Who is he? A jazz favorite. Did you teach him to play jazz? No, no, no, he played his style. And you played against it exactly. Very well. Do you. Do you feel it? Do you notice that more young people are turning to jazz?

00:28:10:22 - 00:28:35:15 Unknown Speaker: Yes. There is a lot of young people now when I’m playing in the club or in the tent, I notice there is a lot of percentage of young people which make me very happy. All right. You’re going to play I’ve got rhythm voice. Yes. If you like. The great Stephane Grappelli.

00:28:35:17 - 00:28:49:07 Unknown Speaker: Come in.

00:28:49:09 - 00:29:25:08 Unknown Speaker: No no, no.

00:29:25:10 - 00:29:32:21 Unknown Speaker: No.

00:29:32:23 - 00:30:25:00 Unknown Speaker: No.

00:30:25:02 - 00:30:35:00 Unknown Speaker: No.

00:30:35:02 - 00:30:44:00 Unknown Speaker: Not.

00:30:44:02 - 00:31:16:15 Unknown Speaker: You.

00:31:16:17 - 00:31:43:27 Phil Woods: Little bit of. Me.