Adam Platt Interview–Lalo Schifrin Blindfold Test [transcript]

00:00:00:00 - 00:00:16:15 Leonard Feather: It’s 21. I’m just going to keep talking for a couple of seconds to make sure it’s all right. Second, Adam Platt, 24th, I think. What? The date doesn’t.

00:00:16:15 - 00:00:19:13 Adam Platt: Matter. You know.

00:00:19:15 - 00:00:23:23 Leonard Feather: Because the don’t ask you too many questions that you’re tired of answering.

00:00:23:25 - 00:00:29:03 Adam Platt: Well, I haven’t been asking. That question was out there. There’s gonna be a bunch of reporters, but what that meant was.

00:00:29:03 - 00:00:30:17 Leonard Feather: More than 1 or 2. Yeah.

00:00:30:19 - 00:00:31:12 Adam Platt: Nice.

00:00:31:14 - 00:00:35:28 Leonard Feather: Okay. What is your birthday? Actually? August 3rd. August 3rd, 19.

00:00:36:05 - 00:00:37:01 Adam Platt: 81.

00:00:37:03 - 00:00:43:19 Leonard Feather:

1. Oh, I’m. Well, yeah. in Bozeman in both.

00:00:43:19 - 00:00:45:22 Adam Platt: Oh, no. I was born in Great Falls.

00:00:45:24 - 00:00:46:24 Leonard Feather: Great falls? What is it?

00:00:46:29 - 00:00:52:21 Adam Platt: Great falls, Montana. Oh, yeah. And then when I was one, we moved to Bozeman, and it’s been there ever since.

00:00:52:24 - 00:00:54:11 Leonard Feather: What do your parents do?

00:00:54:20 - 00:01:07:17 Adam Platt: both my parents are psychologists. my dad is the president currently of, of, MPA Montana Psychological Association. and my mom and him have a private practice in Bozeman.

00:01:09:11 - 00:01:11:01 Leonard Feather: but do they have record collection or something?

00:01:11:02 - 00:01:24:14 Adam Platt: Oh, yeah. They, my dad’s a great, jazz CD collection. And he before that had been collecting big band records and, stuff like that, and just a bunch of stuff.

00:01:24:16 - 00:01:28:23 Leonard Feather: So do they encourage you any or did it just naturally happen that you heard?

00:01:30:09 - 00:01:55:08 Adam Platt: well, I mean, my dad’s always playing, was always playing them just around. So I was, exposed to it, you know, a lot. And, I, I do like other country music, too. I like classical, I like some rock and everything like that. But I started to, I guess I just, was on the piano, I guess at, at four or something.

00:01:55:08 - 00:01:57:20 Adam Platt: I don’t know how I got into it.

00:01:57:22 - 00:02:01:03 Leonard Feather: But, Well, did it did they suggest that you start taking lessons?

00:02:01:15 - 00:02:20:01 Adam Platt: I started taking lessons at five, but at four, I, I, I started to play and, just get interested in it. And we had a piano at home and just the school I was going to, it was a montessori school, so there were sort of automatic piano lessons there, and the piano was just always open to play on.

00:02:20:03 - 00:02:20:17 Leonard Feather: Yeah.

00:02:20:19 - 00:02:25:25 Adam Platt: So when I was five, I was in that school. I started taking lessons and I said.

00:02:25:28 - 00:02:33:26 Leonard Feather: Well, you said, did you graduate into a particular style of, particular influence? who was the pianist at first.

00:02:33:29 - 00:02:45:00 Adam Platt: Who had performed to me? my main influence has been Polonius. Monk. Yeah. And, I listen to, not just Roberts.

00:02:45:15 - 00:02:46:25 Leonard Feather: well, that’s more recently.

00:02:46:28 - 00:03:02:24 Adam Platt: Yes. More recently. But, just, bunch of about Powell. Bud Powell. Yeah, I listen to a lot. I really, just need to. Gonzalo. Repertoire, Gonzalo.

00:03:02:26 - 00:03:03:22 Leonard Feather: Oh, yeah. Yeah.

00:03:03:24 - 00:03:28:05 Adam Platt: Yeah. Oh, yeah. He’s just fabulous. Yeah. And, I, I guess at my, I, I really like, some, some noncash to, listen, Miles, all the time and, and dizzy, and I’m just much dizzy, but, what we do, I, we just listen to the couple of recordings that we have, all the time.

00:03:28:07 - 00:03:37:15 Leonard Feather: Yeah, that’s interesting, because of all the different eras of jazz, you seem to have sort of, gravitated towards. Or the bebop. Yeah.

00:03:37:18 - 00:03:39:16 Adam Platt: Yeah.

00:03:39:19 - 00:03:42:01 Leonard Feather: Any reason for that? It just it appealed to me.

00:03:42:04 - 00:03:57:06 Adam Platt: It just sort of appealed to me. It seemed to be, a little bit more freer and, jazz, you can just go anywhere out of it. But, yeah, you know, that you sort of have to. It’s not just like you can do anything. You sort of have to know what you’re doing and just. Yeah, I, I really liked it a lot.

00:03:57:08 - 00:03:59:24 Leonard Feather: Did somebody teach you the names of the chords and the changes?

00:04:00:16 - 00:04:21:19 Adam Platt: yeah. My first, piano teacher, Michael Blessing. I just started studying with him. He’s actually. He was actually my brother’s first drum teacher, but he played a bit of piano, too. And, he just taught me all the names of the chords and some of the modes I was. I didn’t like the modes too much because I was a bit young to understand.

00:04:21:25 - 00:04:26:18 Adam Platt: Yeah, I was just like, but that sort of thing.

00:04:26:21 - 00:04:34:15 Leonard Feather: Let me tell you. when did you when did you stop playing in public? What’s the first thing.

00:04:34:15 - 00:04:56:05 Adam Platt: I’m playing in public? Well, it’s not really public, but I had recitals. and that sort of thing, and I, I really enjoy playing for people and doing that sort of thing. So when I got good enough, we did. My first gig was at, lobby of a hotel. We did. I did a little.

00:04:56:07 - 00:04:57:14 Leonard Feather: Oh. What hotel?

00:04:57:26 - 00:05:17:00 Adam Platt: no, the Baxter. It’s in Bozeman. but we did a little, thing with, me. by that time, we had had my aunt, me and my brother play together drums and piano, and, we had Rob Koehler, who plays bass with us. And he was not only our bass player, but our teacher, you know, ensemble.

00:05:17:02 - 00:05:28:07 Adam Platt: And he was very good. And, we just got together a guitar player, and we just played for a while, just about the standard, and I really liked that. And then, I got into.

00:05:28:09 - 00:05:32:03 Leonard Feather: Bozeman is really not exactly the jazz capital of the world. It seems interesting.

00:05:32:08 - 00:05:46:11 Adam Platt: It’s just capital Montana, that’s for sure. Well, yeah. Yeah, I mean, there’s a I mean, just jazz every every week. yeah. I’m in coffeehouses. Oh, really? Yeah. And it’s, I mean, it’s a that’s interesting. It’s a big thing that.

00:05:46:13 - 00:05:49:15 Leonard Feather: I didn’t know it was. So you did actually hear some live jazz?

00:05:49:28 - 00:06:05:20 Adam Platt: Oh, yeah. there’s a lot of local people who play, well, and just, you know, all over. And sometimes when we, went on a trip to go anywhere, if there’s somebody playing, we’d go hear them, and it was real nice.

00:06:05:23 - 00:06:09:02 Leonard Feather: It was the first famous jazz musicians you actually met.

00:06:09:09 - 00:06:30:26 Adam Platt: They actually met. Let me think. Most famous jazz musicians where I met, it might have been, I might I might have been, what’s his name? Judy Heath.

00:06:30:29 - 00:06:32:04 Leonard Feather: Well, where was it.

00:06:32:06 - 00:07:00:14 Adam Platt: That he came? I I’m not I’m pretty sure that might not be the first one, but that’s the only one I can think of at the moment. He went to Bozeman and played there and I guess I, I, I got sick, I couldn’t come hear him, but, then, then a little later, when I went to Stanford Jazz camp, we just, he he was there and just kicked everything off and really got along well.

00:07:00:16 - 00:07:06:09 Adam Platt: I mean, you get along well with everybody cause he has all his percussion, no toys and everything.

00:07:06:09 - 00:07:07:16 Leonard Feather: But there was a Jessica.

00:07:07:18 - 00:07:08:12 Adam Platt: Stanford jazz.

00:07:08:12 - 00:07:09:05 Leonard Feather: Camp.

00:07:09:08 - 00:07:15:22 Adam Platt: Stanford jazz camp. It’s, It’s, student week in August and then adult week. So it’s.

00:07:15:22 - 00:07:17:14 Leonard Feather: Curious. Epica for you. Yeah.

00:07:17:20 - 00:07:33:16 Adam Platt: Yeah, yeah. And it it’s really nice. It’s it’s really fun. And there’s just a bunch of kids who play, and you have chances ever at the second to go and jam and coffeehouse nights. Word got on there. It’s real fun.

00:07:33:19 - 00:07:36:23 Leonard Feather: Oh, how did Lionel Hampton get to hear about you?

00:07:36:25 - 00:07:41:24 Adam Platt: Two years ago when I, when I came here and I. And I won the piano competition.

00:07:41:29 - 00:07:43:08 Leonard Feather: Oh, it was a competition.

00:07:43:10 - 00:07:44:28 Adam Platt: Yeah. The,

00:07:45:00 - 00:07:46:06 Leonard Feather: I mean, with this festival.

00:07:46:10 - 00:07:56:29 Adam Platt: It was this festival. Yeah. And and, I won that, and I got up there and, and played with him, my funny Valentine.

00:07:57:01 - 00:07:59:19 Leonard Feather: And, we came into a class and played with, you know.

00:07:59:19 - 00:08:01:17 Adam Platt: No, I got up on stage and. Jimmy.

00:08:01:20 - 00:08:05:06 Leonard Feather: Oh, yeah, I know that. Yeah. I mean, just before that, but that was the actual first.

00:08:05:09 - 00:08:19:15 Adam Platt: That was the first time. Yeah. And that you never, you sang and then, just, Yeah. Just to let you go. Yeah. Before I started, come down here. So, we’re here.

00:08:19:17 - 00:08:20:18 Leonard Feather: So. That’s wonderful.

00:08:20:18 - 00:08:27:06 Adam Platt: Yeah. And we came here last year, too, but, not nothing. We didn’t win or anything like that, but it was still. It was still fun.

00:08:27:21 - 00:08:36:26 Leonard Feather: amazing. As you. You going to get, a lot of calls. I think from now on, you call me. Have you been outside Montana? Very much.

00:08:36:28 - 00:08:55:13 Adam Platt: Oh, yeah. We’ve been out of. Well, I mean, like, just a player. No, not just a play. Usually just gig gigs. local, maybe sometimes in Livingston or something like that. The surrounding cities. But we don’t actually get called for a gig or anything like that. Somewhere out.

00:08:55:15 - 00:08:59:12 Leonard Feather: And I’ve never been to New York or Los Angeles.

00:08:59:15 - 00:09:05:25 Adam Platt: Oh, no. Well, now I’ve gone through Los Angeles, but I haven’t actually done anything in the.

00:09:05:28 - 00:09:11:18 Leonard Feather: Well, what what do you eventually want to do? I assume you expect to be to do it as a living legend?

00:09:12:17 - 00:09:17:27 Adam Platt: well, I haven’t really decided what I want to do. I mean, well, you know, I’m.

00:09:17:28 - 00:09:21:10 Leonard Feather: Well, that’s true, but what else you understand besides music?

00:09:22:00 - 00:09:44:22 Adam Platt: I like to, draw. I like to do magic, tricks. I like, to ski. I don’t yeah, I don’t. Did you pretty much work my other, kids in Bozeman? Would you do, and music? I mean, it’s not it’s not always just, the top number one thing that I like to do, you know, I’m.

00:09:44:25 - 00:09:46:16 Adam Platt: But, I mean, it’s not that I don’t like it at all, but.

00:09:46:17 - 00:09:50:20 Leonard Feather: I understand, but you’re not really sure that would be, your life. Career.

00:09:50:23 - 00:09:53:20 Adam Platt: Well, you know what? I have so many years to change my mind.

00:09:53:23 - 00:10:03:19 Leonard Feather: I mean, that’s true. Yeah. I hope you don’t have to keep going. Yeah. And. Yeah. Anybody approach you to make a record?

00:10:03:19 - 00:10:26:28 Adam Platt: You, there’s been a little. Maybe this, maybe that, but I don’t want to get into that too soon or anything like that. And because then it’s like when I’m older and or maybe decide I don’t want to do this, I might be on a contract or something like that. Yeah, I let me do that. I sort of want to be able to make my own decision.

00:10:27:01 - 00:10:38:05 Leonard Feather: Sure. Yeah. Well, so far it actually, these are probably the two most interesting gigs that you’ve been given because.

00:10:38:08 - 00:10:39:09 Adam Platt: Yeah.

00:10:39:12 - 00:10:42:13 Leonard Feather: In terms of the size of the audience. Yeah, yeah.

00:10:42:15 - 00:11:02:09 Adam Platt: Yeah. Just I mean, of two years ago when I one thing and I got up, I mean, it’s all now it’s like a, like blur of just whoa like that when I got up on stage that that’s probably the least memory I have was I got nothing there. So I got on stage. I got off stage.

00:11:02:12 - 00:11:04:07 Leonard Feather: Well, are you nervous?

00:11:05:12 - 00:11:21:01 Adam Platt: I think I didn’t realize how nervous I really was. I, I yeah, I said, oh, I’m not nervous. I’m not nervous. I was extremely nervous. but, well, I just didn’t screw up.

00:11:21:03 - 00:11:25:25 Leonard Feather: I did do a lot of, get along musically.

00:11:25:27 - 00:11:29:17 Adam Platt: I think it it got along just fine.

00:11:29:19 - 00:11:31:24 Leonard Feather: Let’s see who comes in such a whole different era.

00:11:31:27 - 00:11:55:05 Adam Platt: Oh, yeah. He he’s, he really likes to get into a lot groove sort of thing, and and stand there for a while, and, I like to do that sometimes if I’m in the right, you know, mood to do that. But I like some of the more bebop I realize. yeah. Yeah. So I try to go on to there and, you know, it’s it’s not, it’s not I think we get along.

00:11:55:11 - 00:12:03:12 Leonard Feather: I’ve ever listened to it was I shouldn’t say have you. Listen, I’m sure you have any any rock that interested you or any rap.

00:12:03:14 - 00:12:43:15 Adam Platt: Not rap. rap. I can live with, but yeah, yeah. Well, yeah. especially some rap, you know, but I like, some hard rock and, like, LED Zeppelin. You’ve probably heard of them and, some newer band, like, I don’t know, Pearl jam now and stuff like that. I mean, I, I like some of the other stuff that other kids like also, I really, I mean, we have a rock, group at home with my brother, me and a couple other kids.

00:12:45:08 - 00:12:57:08 Adam Platt: and we rehearse every, week, and we, you know, we’re gonna have a lot of fun. cause I have a great big synthesizer at home. Oh. You do? Yeah. So that’s real nice.

00:12:57:14 - 00:13:02:01 Leonard Feather: But, have you studied that with anybody? Oh, what? Rock the synthesizer.

00:13:02:01 - 00:13:23:26 Adam Platt: Synthesizer. Well, it doesn’t matter if you play piano. I mean, you can play it, but it’s just something so you don’t explore on your own. You know how to do things. And if you really have a question, if you. Because I can post things on there and do all that, kind of stuff, but if I have a question, I can call up Michael blessing because he has a recording studio.

00:13:24:16 - 00:13:30:01 Adam Platt: it’s just outside of Bozeman, and he just works with all sorts of.

00:13:30:04 - 00:13:35:03 Adam Platt: And so I’ll call him up. How do you do this? just tell me.

00:13:35:06 - 00:13:41:10 Leonard Feather: Yeah, I’d like to hear that. To hear you try that in public when you’re ready.

00:13:41:13 - 00:13:50:09 Adam Platt: Yeah. I, I’ll often see a jazz stuff with you since also, I don’t know if you’ve heard of him in the BBC. Bill Fleming, the BBC.

00:13:50:10 - 00:13:51:00 Leonard Feather: I’ve heard of them.

00:13:51:01 - 00:13:52:01 Adam Platt: Or the Yellow Jackets.

00:13:52:06 - 00:13:53:11 Leonard Feather: Yeah, I’m sure the O’Jays.

00:13:53:11 - 00:14:09:26 Adam Platt: Yeah. That, we. That’s what those, saxophonist. And when they when you have sort of a, funk it plus and the size of a saxophone, you get that sort of a general sound, and it’s pretty cool. But, you can get a little monotonous after a while, but.

00:14:09:28 - 00:14:15:07 Leonard Feather: Yeah. Have you tried playing any horns or anything else.

00:14:15:10 - 00:14:17:15 Adam Platt: You don’t want? Hear me on a saxophone.

00:14:17:17 - 00:14:18:21 Unknown Speaker: Friend?

00:14:20:05 - 00:14:20:17 Leonard Feather: I, I.

00:14:20:18 - 00:14:24:04 Adam Platt: Don’t play any other. I feel the kazoo real well.

00:14:24:07 - 00:14:28:05 Leonard Feather: Kazoo. Oh, yeah. That must be fun.

00:14:28:08 - 00:14:34:03 Adam Platt: When you say real, strings, anybody can play know. piano is my go to.

00:14:34:03 - 00:14:35:03 Leonard Feather: Go on to college.

00:14:35:06 - 00:14:36:26 Adam Platt: You think? Oh, yeah. Definitely.

00:14:36:26 - 00:14:40:02 Leonard Feather: Anyone in mind?

00:14:40:04 - 00:14:41:10 Adam Platt: Not really.

00:14:41:12 - 00:14:45:06 Leonard Feather: Do you want to find a coach as a good, Is it the permanent music?

00:14:45:06 - 00:14:58:08 Adam Platt: Permanent? I, I, like I said before, I want I make a decision. What do I be then I’ll probably look into colleges. Yeah, because I want to go into something that has what I. What I need it to offer.

00:14:58:10 - 00:15:03:08 Leonard Feather: Yeah, yeah. It’s it’s it’s a little early to tell you guys it’s 5 or 6 more years.

00:15:03:13 - 00:15:11:25 Adam Platt: And plan out my whole life. Yeah, maybe a little boring. Won’t be boring. Be.

00:15:11:27 - 00:15:19:24 Leonard Feather: Yeah. Have you got to make any any sacrifices to concentrate your time on music in terms of missing out on sports or anything?

00:15:19:27 - 00:15:42:18 Adam Platt: I, I’m not a real big sports person on the other than, skiing and maybe, racquetball sometimes, but, since, I, you know, I, I can’t I was not, like, my entire life. Is that not that so I, I don’t really need to, sacrifice anything. I mean, because I feel like if it’s gonna hold me back, then why I do it?

00:15:42:18 - 00:15:46:00 Adam Platt: Because I’d like to do everything that I want to do.

00:15:46:02 - 00:15:47:25 Leonard Feather: And you still have enough time for whatever you want.

00:15:47:28 - 00:15:49:05 Adam Platt: Yeah.

00:15:49:08 - 00:15:58:22 Leonard Feather: I do okay. You only the only. Or you mentioned Marcus Roberts to do it. Yeah. We heard him on records with with legend. Is it?

00:15:59:09 - 00:16:20:15 Adam Platt: yeah. I have do things with him with Wynton. And then I have a bunch of his solo albums. Yeah. He’s, yeah, just restaurant in the, deep in the shed. But then, one of his Christmas albums and, the smoking here. yeah. yeah, I think it’s just great because a lot of it stuff.

00:16:21:17 - 00:16:27:15 Adam Platt: and we also just for fun, we got, a VHS video. Oh, you play keep in the shed.

00:16:27:21 - 00:16:28:12 Leonard Feather: Oh.

00:16:28:14 - 00:16:31:05 Adam Platt: Thank you. So you can see his fingers just moving.

00:16:31:08 - 00:16:32:18 Leonard Feather: Have you heard any green? Oh, you.

00:16:32:21 - 00:16:50:12 Adam Platt: Oh, yeah. He’s. I think he’s just phenomenal. I can’t I couldn’t believe we went to his, I think this morning with a Ray Brown trio. Yeah. And I just finished watch his fingers forever trying to figure out, you know, what’s chord stuff with his solos.

00:16:50:16 - 00:16:55:20 Leonard Feather: You you got a pretty good stretch for a small. So I’m sure you worked on that.

00:16:56:06 - 00:16:57:09 Adam Platt: I just.

00:16:58:09 - 00:17:00:14 Leonard Feather: over an octave, and that was good.

00:17:00:16 - 00:17:06:06 Adam Platt: Yeah, I have sometimes after you sort of get off the. He’s a little bit, like that because.

00:17:06:08 - 00:17:08:23 Leonard Feather: That’s the way I play tense.

00:17:09:24 - 00:17:11:14 Adam Platt: it’s a triplet piano like that.

00:17:20:10 - 00:17:21:23 Leonard Feather: Hello? Mrs.. Blair?

00:17:21:25 - 00:17:22:04 Unknown Speaker: Yes.

00:17:22:11 - 00:17:24:21 Leonard Feather: Oh, hi, this is Leonard Feather. Oh, hello.

00:17:24:24 - 00:17:26:05 Unknown Speaker: How are you? Fine. How are you?

00:17:26:05 - 00:17:35:12 Leonard Feather: I’m good. Thanks. There’s a couple of things that I have to get around to. Asking Adam. I should maybe check with you. what grade is? You know what school?

00:17:35:15 - 00:17:41:10 Unknown Speaker: He’s in the sixth grade at Keith Joseph Middle School, okay, in Bozeman, Montana.

00:17:41:16 - 00:17:42:09 Leonard Feather: Keith Joseph.

00:17:42:16 - 00:17:45:09 Unknown Speaker: Keith Joseph.

00:17:45:12 - 00:17:47:21 Unknown Speaker: And, chief. yeah.

00:17:47:23 - 00:17:49:01 Leonard Feather: Oh, sorry.

00:17:49:04 - 00:17:52:25 Unknown Speaker: She just, you know, like the in. Right.

00:17:52:28 - 00:17:55:07 Leonard Feather: Chief Joseph middle school, right.

00:17:55:10 - 00:17:56:13 Unknown Speaker: Okay.

00:17:57:05 - 00:17:59:01 Leonard Feather: how’s how his grades.

00:17:59:03 - 00:18:00:15 Unknown Speaker: All A’s and B’s.

00:18:02:26 - 00:18:06:03 Unknown including his music. Part of it.

00:18:06:05 - 00:18:23:13 Unknown Speaker: Yeah. He is he plays the drums in the band because they don’t have a piano. Oh, that’s pretty okay. Oh, and the other thing you should know is that, he started out being in the little jazz band that the middle school has and, but he had to share the, the piano spot with two other kids and.

00:18:23:15 - 00:18:41:08 Unknown Speaker: No kidding. So he dropped it. And now he’s the jazz pianist for Montana State University’s jazz band. Oh that’s interesting. We called it the Montana State University number one jazz band and said, we hear you don’t have a pianist this year. And they said, that’s right. We don’t. We said, well, Adam’s interested in the job. And the guy said, sure looks good.

00:18:41:14 - 00:18:47:22 Unknown Speaker: That’s fine, thank you. So he plays with he plays with the big kids. Yeah.

00:18:48:10 - 00:18:56:18 Leonard Feather: did he, when he, went to, to Moscow the first time, was he just a regular competitor?

00:18:56:24 - 00:18:57:17 Unknown Speaker: right.

00:18:57:19 - 00:18:58:20 Leonard Feather: As an instrumentalist.

00:18:58:22 - 00:19:03:26 Unknown Speaker: As an as a, solo cello division instrumentalist. Right. Just a regular. But I don’t.

00:19:03:26 - 00:19:06:22 Leonard Feather: Hear him when he auditioned or. Well, did that come his attention later?

00:19:06:27 - 00:19:08:12 Unknown Speaker: I’m sorry. Could you repeat that question?

00:19:08:15 - 00:19:12:06 Leonard Feather: I hear him when he, did the audition or did he, later?

00:19:12:11 - 00:19:14:22 Unknown Speaker: No, he only heard him after he had one.

00:19:14:25 - 00:19:19:12 Leonard Feather: Oh, I see, yeah. In other words, after he had one, somebody took him to Llano.

00:19:19:14 - 00:19:25:25 Unknown Speaker: After he won. little did not hear him till he walked out on that stage Saturday night.

00:19:26:02 - 00:19:26:28 Leonard Feather: Oh, is that right?

00:19:27:01 - 00:19:48:07 Unknown Speaker: Right. I guess there was there was no rehearsal or anything. Yeah. interesting. He worked out, I think, after he found out he won, which is about 7 p.m. that night, he went backstage and he worked out some details of, playing the tune with, the pianist that I think is Japanese. I can’t remember saying.

00:19:48:08 - 00:19:49:19 Leonard Feather: Oh, yeah. Sure.

00:19:51:15 - 00:19:57:09 Unknown Speaker: I say, but no, I had never heard him play until he was on stage. Yeah, two years ago.

00:19:57:11 - 00:20:00:12 Leonard Feather: What number did he play with with that play together.

00:20:00:14 - 00:20:11:29 Unknown Speaker: Two years ago they played My Funny Valentine. Oh yeah. And then he, the audience was. So it could be that Lionel kept him up there for an encore. And they just did a blues and improvizational blues and.

00:20:12:00 - 00:20:14:03 Leonard Feather: And that’s what they did this time to.

00:20:14:06 - 00:20:25:01 Unknown Speaker: Him. No, Adam had, had an encore ready to go. It was a blues and it but it was it was 288. It was a specific tense. Oh I see, and he was ready to.

00:20:25:04 - 00:20:28:08 Leonard Feather: Play a lot of didn’t play some. It was in this year.

00:20:28:10 - 00:20:39:15 Unknown Speaker: Yeah. Know this year Lionel played was a groovin Yeah. Groovin high. And then he sat down while out and played around midnight. Oh, yeah. Oh, no. They started with confirmation.

00:20:39:22 - 00:20:40:12 Speaker 5 You’re right.

00:20:40:16 - 00:20:46:06 Unknown Speaker: And I think played on that day. No, no he didn’t. Oh delay okay. Well then he did.

00:20:46:09 - 00:20:51:09 Leonard Feather: He did it. The, the dress rehearsal I think soundcheck, but not later.

00:20:51:14 - 00:20:54:00 Unknown Speaker: But you know, they’re going to send us a videotape, so I don’t.

00:20:54:06 - 00:20:55:18 Leonard Feather: Yeah, that would be interesting.

00:20:55:20 - 00:21:04:18 Unknown Speaker: But, the third tune he definitely played that was Groovin High. And then he stood up and played helped on tune 88 and he for the encore. the.

00:21:04:18 - 00:21:07:00 Leonard Feather: Blues. Yeah. That’s right. Was it called 88?

00:21:07:00 - 00:21:13:29 Unknown 288 and eight. Okay. And I think that’s all I need.

00:21:13:29 - 00:21:17:11 Leonard Feather: Right now, but if I think anything else, I might talk to Adam Lambert.

00:21:17:13 - 00:21:23:06 Unknown Speaker: Anyway, it was very nice seeing you on my senior two. Are you gonna, have something in the paper we can get Ahold of?

00:21:23:08 - 00:21:41:02 Leonard Feather: Well, yeah, it’s going to be an.

00:21:41:04 - 00:21:43:08 Unknown There it is. See?

00:21:43:11 - 00:21:44:05 Leonard Feather: Okay.

00:21:44:08 - 00:22:10:01 Speaker 5 Well, this is, Michel again. Thank you. The crisis that we’re here. Company. He didn’t have any solid evidence. And he’s his tomb. Yeah. Somebody knows. I don’t know who. I don’t know who he was. I think maybe one of them could be Phil Woods, though. Sometimes, especially toward the end. And he said to the occurrence that it.

00:22:10:04 - 00:22:44:19 Speaker 5 But maybe it’s because he’s so unpredictable. He could be he was. I couldn’t recognize the tenor actually, it’s a good idea to have you to grace the jazz heritage and that executive brain. I think he’s one of the great songwriters of today. He has a great sense of melody and harmony and the. And as usual, as it happened to it happened throughout the whole history of jazz.

00:22:44:21 - 00:23:11:24 Speaker 5 Great songwriters are a great vehicle for jazz musicians. Yeah, because they write good melodies and good chord changes that are make possible for the improvization, you know? So in that sense, we follow the tradition of Richard Rodgers and Cole Porter and all these great gifts. You know, let’s not forget about buddy. And so, you know, Coleman Hawkins and made it whole classical or known do writing.

00:23:11:24 - 00:23:27:14 Speaker 5 I can get started twice. Two trumpet players made a big thing. You know, one was Benny Berrigan and then so in this sense, I think the contribution that Mitchell is making to jazz is it’s about the same.

00:23:27:19 - 00:23:33:29 Leonard Feather: That’s true. How would you rate dissatisfied?

00:23:34:02 - 00:23:47:07 Speaker 5 Where did you go to. Right. Yeah, I know I remember that, I don’t know how to judge. It is hard to judge it because of the writing of the song as a vehicle. I would give it a try.

00:23:47:14 - 00:23:48:00 Leonard Feather: Yeah.

00:23:48:25 - 00:24:09:05 Speaker 5 the solos were very good. Oh, so I read a five. However, the the totality didn’t come out as I probably knew it. Something was, but it was, you know, it was not flowing the way it should have. So I would give it a maybe three and a half.

00:24:09:12 - 00:24:18:20 Leonard Feather: Yeah. Okay. All right, well, look at number two. Yeah, yeah.

00:24:18:22 - 00:24:51:08 Speaker 5 I think there were two pennies there. Or if is one, please tell me my amazing. there was a moment in which I felt that the. The difference, the reason I said to piano is because the, this should be a compliment in case he said he’s the only one in the thing. He who independence of the what was going on in the bass and was, you know, in the and it.

00:24:51:11 - 00:25:21:29 Speaker 5 All right. Yeah. You said so in case there were two pianists in his was one pianist is really fantastic. He there were two pianists. He’s great. Fantastic. Well you see because you know, they divide the labor and you know it happens you know and but nevertheless he’s a very good, very good solo. you very I cannot recognize his style is very much influenced by the one who has influenced everybody in the 50s.

00:25:22:02 - 00:25:47:17 Speaker 5 Hey, Bud Powell is because before then was I to him and Teddy with this. If I had to say names, I don’t know. Maybe some days I hear some of Billy Taylor there. I heard maybe better. Jenny, get them until you that kind of the better. I don’t know who is who you who.

00:25:47:19 - 00:25:49:19 Leonard Feather: How would you rate it?

00:25:49:21 - 00:25:56:01 Speaker 5 Or I would read it. Oh, good for you.

00:25:56:03 - 00:26:00:16 Leonard Feather: Okay, well, it was one pianist. The album is called alone, and it’s Bill Evans.

00:26:00:19 - 00:26:04:21 Speaker 5 Or Billy Ray. Oh. When he recorded with himself.

00:26:04:24 - 00:26:11:15 Leonard Feather: I don’t think so. I think that’s all. Well, it could be. It doesn’t say so.

00:26:11:17 - 00:26:16:10 Unknown You. I want to hear one good.

00:26:16:12 - 00:26:18:10 Speaker 5 He’s good. Conversations with nature.

00:26:18:13 - 00:26:33:20 Leonard Feather: No, that’s not the one. He did play overdubs on that. But as far as I know, he does sound at times like it could be did, but it doesn’t say so.

00:26:33:22 - 00:26:37:01 Leonard Feather: I we know it’s just one piano.

00:26:37:03 - 00:26:44:23 Speaker 5 At the same time. You know, I think that you, I mean, I didn’t recognize.

00:26:44:25 - 00:26:48:03 Leonard Feather: You know, doesn’t say anything.

00:26:48:06 - 00:26:50:05 Speaker 5 Well, I missed everything, but I liked it.

00:26:50:08 - 00:26:54:11 Leonard Feather: Well, that’s the main thing I did. You. You must have heard the lines of person.

00:26:54:14 - 00:27:22:23 Speaker 5 Oh, yeah. I used to play opposite to him, and I knew him personally. If we we we these ones that considered in the legal center. Oh, you, he was, you were. I think it was two, three years. Oh, no, he was also John John Lewis oh three, three years. And then after that, we went the three of us, we kind of had something to do with organizing the concert.

00:27:22:25 - 00:27:30:20 Speaker 5 And the four of us, we went to to the great city in New York, you know, which is something I said I would do it, but I said.

00:27:30:23 - 00:27:31:13 Leonard Feather: Right. Yeah.

00:27:31:15 - 00:27:57:06 Speaker 5 And, we were listening to one of the jazz stations in either more vigor or symphony it and, and, and this is very much a propos we have to now because really he says, look, the pianists of today have no personality, believe in they old to intimidate me. I hear you say that without any. He was not bragging about it.

00:27:57:06 - 00:28:20:10 Speaker 5 It was not an ego trip. He was mad that they they had no mirrors of he he. I understand that there was. But why did they go try to find their own stuff? And when they didn’t finish it, you just heard believe us, you see. And this has, I imagine, a apropos with this, blindfolded. He always does renewing that I couldn’t recognize his third.

00:28:20:13 - 00:28:21:04 Leonard Feather: Yeah.

00:28:21:06 - 00:28:24:10 Speaker 5 Because it doesn’t sound. I believe him.

00:28:24:12 - 00:28:25:21 Leonard Feather: I know what you mean.

00:28:25:23 - 00:28:37:14 Speaker 5 I took this other. I was afraid that he’s come over here. He was going to do everything one way. He’s on one of the Argentina.

00:28:37:17 - 00:28:38:11 Leonard Feather: Yeah.

00:28:38:13 - 00:28:43:11 Speaker 5 And, He was.

00:28:43:11 - 00:28:44:04 Leonard Feather: He was.

00:28:44:05 - 00:29:12:29 Speaker 5 I guess what he was doing was a. You know, we became very good friends. And there is a coincidence in our lives. Well, I in his life got connected with me. He did in Paris one of his first records ever. And that was when I was studying in Paris. I was playing at night in the clubs and German, earning my living on during the day.

00:29:12:29 - 00:29:41:11 Speaker 5 I was studying everybody conservatory, and this was in the early 50s. As a matter of fact, I saw you play here when you came with Billie Holiday. You introduced I went to the concert. I mean, you know, as a as a, I need I, I don’t that time. Yeah. It’s not. I came to Paris and, he said, I need a pianist who can play jazz because all the other people are classical people.

00:29:41:11 - 00:30:05:21 Speaker 5 I very, I find very good why I would be playing if I’m done here. And he said, well, I need you because, I can’t get any pianist we can read with you. I need the fusion of jazz, English tango. So right there, he brought me music. He was black, you know, full of notes. Yeah. but but,

00:30:05:23 - 00:30:31:07 Speaker 5 And, I did the first recording with him, and I did one of the last recordings I gave it then, because he’s a concerto for bandoneon and orchestra, which he asked me to conduct, and it came out on Nonesuch Records. Oh, yeah, and we did it with the orchestra. Okay. So sound to do in New York. We did a concert, a carnival, and after that we recorded in Princeton University United in the auditorium.

00:30:31:09 - 00:31:04:10 Speaker 5 So with the same orchestra. And we were very good friends. I don’t know if he came to to this town with me. He played with his queen. Did not too long before he had the. Stroke. He came here and we had dinner together and he was very he added. At the end of his life he started to really enjoy success, which was so in the losing of the because nobody understood what he was doing.

00:31:04:13 - 00:31:23:20 Speaker 5 He was attacked because it was him. That’s not tango, you know. It’s like, yeah, it happens. All the pioneers I know. And, he did like jazz, but he was not a jazz musician. He, he admitted that. Yeah, but he had always, he did some recordings with Gary Burton. Yeah, with Gerry Mulligan.

00:31:23:23 - 00:31:27:07 Leonard Feather: And did you know this tune?

00:31:27:10 - 00:31:53:00 Speaker 5 No, I don’t know, but, I don’t know. I don’t, but I know many of his compositions. They, they said I, I conducted some and they played some, and I, and I, when I say we used to hang out together, they had a jazz band that he had a tango band, and we were both in the same country but the same promoters because we had something in common.

00:31:53:02 - 00:32:21:26 Speaker 5 It more than music, you know? Yeah. more than jazz and more than, you know. So after the concert, we used to go and have dinner. Someplace they, they, they used to be open up to hours. And we he was a he had an incredible sense of humor. He told me some of the funniest stories. You know, he knew a lot of anecdotes and he was a good raconteur and funny guy.

00:32:21:28 - 00:32:24:27 Speaker 5 And he’s another guy I miss.

00:32:24:29 - 00:32:30:06 Leonard Feather: Well, I mean, I wish I’d met him.

00:32:30:08 - 00:32:33:14 Leonard Feather: I guess you give that a 4 or 5.

00:32:33:16 - 00:32:37:23 Speaker 5 Yes. Oh, yes. This is this for.

00:32:37:23 - 00:32:40:14 Leonard Feather: Yeah, yeah. Okay. So say that again.

00:32:40:16 - 00:33:11:05 Speaker 5 This brings a lot of emotion because I don’t listen to this on on only, even if I’m doing a blindfold test, I going over here to to visit in the context of being trying to be objective because, The the bond. That’s true with him. I started, actually, before I met him because I was one of his biggest fans and one of the biggest students of his music.

00:33:11:07 - 00:33:40:24 Speaker 5 And he he he even admitted he in interviews he gave about me. It was, they come in, you’re not just an entertainment, a documentary about me. And they ask him without me knowing. And he said he studied my music before we met him. So, the bond that existed and then continue after we met, he became to the point that he was he became my spiritual father.

00:33:40:27 - 00:34:13:12 Speaker 5 My father, in a way. I mean, my brother, my friend, my my guide, my my, you know, he was, I, you know, I still miss him. And I cannot believe, you know, he’s not dead for me because he’s like a reverse hitting when when we met at his funeral, I forget to say, you know this. Even after day he’s doing the things because he’s putting us together, you know, and and I cannot hear you.

00:34:13:18 - 00:34:23:16 Speaker 5 I cannot hear any thing. Like I just have a record of he with my talent where he’s explaining her. I don’t know if you know that.

00:34:23:22 - 00:34:24:01 Leonard Feather: Yeah.

00:34:24:05 - 00:34:47:02 Speaker 5 Know. Records are the corner of my how he deals causing a chord progressions. I know that, and I hear him talking and he’s the same thing that he told me when I fell in the band. And to me, it’s very difficult to hear that without being, you know, I, you know, where is the joy of of, having the privilege of having, well, like you, you met him and being around him.

00:34:47:05 - 00:34:47:20 Leonard Feather: Yeah.

00:34:47:22 - 00:35:23:13 Speaker 5 We’ve been we’ve been lucky and but he left us a challenge. A challenge to continue with what he did. You know, in, in in his funeral, I was asked to talk and I said perhaps he’s angular, lines. And he’s. As he made the sense of melodic contours and he’s a very sharp wave of harmony, where I say perhaps where because he was he was touched by God.

00:35:23:14 - 00:35:32:16 Speaker 5 I said, and perhaps these were messages that God were giving us and those who were lucky to decipher them.

00:35:32:19 - 00:35:33:11 Leonard Feather: Yeah.

00:35:33:13 - 00:35:54:21 Speaker 5 We were. We have to continue now. You know, I saw I saw him in Chicago in one of the worst neighborhoods with a lot of adolescents. And then, you know, they get into the towers and he was a pan piper. He had a personality. We were in the South Side of Chicago and we were working in this. He had no trumpet.

00:35:54:23 - 00:36:19:01 Speaker 5 You know, there was this extremely, I don’t know, there’s only some followers. And there were there were ten. There were 50. Then one was a whole a these, these he if they recognized him and you know, he was a friendly king, he, he alone, he was solving problems. That’s why probably the State Department sent him as an ambassador because he was doing more than professional diplomat and he had a personality.

00:36:19:02 - 00:36:44:29 Speaker 5 That’s it. Because I’m talking about, you know, besides, besides what he did musically, which is amazing. He changed and she changed his side of American music completely. The the ending that he does here, he’s the one that was adopted as I the ending of, by I mean, I know that this is the one who goes and the introduction notes.

00:36:45:01 - 00:36:52:28 Leonard Feather: Yeah. Right. Yeah. Let me ask you one more thing. this was recorded because you didn’t mention this record in 1948 because I.

00:36:53:00 - 00:37:00:06 Speaker 5 I couldn’t record. No, that’s the first band in one of the the first one that’s really the band that John Lewis was.

00:37:00:14 - 00:37:01:25 Leonard Feather: later in the same bed.

00:37:01:25 - 00:37:07:20 Speaker 5 Yeah, yeah. Yes, I, I could recognize the period, but,

00:37:07:22 - 00:37:12:04 Leonard Feather: Recorded at a concert out here, I think. Yeah.

00:37:12:06 - 00:37:42:19 Speaker 5 I, I gave him, I gave him a five for all the things I said. He solos, maybe the sound of the recordings. He’s not digital, you know. Yeah. Yeah, I’m talking about the music is so amazing. He he reached so many, like a great artist who had so many facets of his life in one solo. Yeah. You know, he gets drama, he gets a sense of tragedy.

00:37:42:19 - 00:37:50:08 Speaker 5 He sends all of that sense of humor and sense of meaning. There is love. There is everything that’s right.

00:37:50:11 - 00:37:57:02 Leonard Feather: It’s all. With, you know.

00:37:58:11 - 00:38:43:28 Speaker 5 I mean, like, comments the, the oral tradition of, people telling stories or, or or problems and try seeing something simple patterns to music. He’s the old one. I mean, heaven probably, probably is the Iliad and the Odyssey was when they got to and he, you know, and the. I know he’s an American is gorgeous. They, they get a very simple cartoon with a guitar because they are not really musicians, but they can tell stories or they can sing and they make it rhyme or whatever, you know.

00:38:43:28 - 00:39:11:14 Speaker 5 So this is in the sense of authenticity. I would give it a four because it’s authentic. It’s really pure is is, you know, invitation of almost folklore. You know, musically, of course, is very primitive in the, in the real sense of the word because I don’t want to go primitive. when I say primitive, I mean very, very naive.

00:39:11:17 - 00:39:28:13 Speaker 5 Yeah, that’s what I’m trying to say. But maybe you need to be naive, you know, to allow that for these words to be heard. You know, he has, the, the distant relative of the blues, you know, so, I don’t know who that is.

00:39:28:16 - 00:39:29:25 Leonard Feather: No,

00:39:29:28 - 00:39:39:27 Unknown I, I didn’t expect you to, you know, it’s another world.

00:39:39:29 - 00:39:41:24 Leonard Feather: Okay. Do you have a rating for it?

00:39:41:27 - 00:40:02:23 Speaker 5 Yeah. I said for the authenticity and for the folklore. I will give it a four because it’s real, you know? Now, for the music, I would, you know, as I said, he’s very naive. So I would say it’s develops by sheer repetition. So I would give it a maybe two or something of that. Yeah.

00:40:02:26 - 00:40:07:10 Leonard Feather: Well, it’s, it’s a guitar band. James Love.

00:40:07:13 - 00:40:23:00 Speaker 5 You’ve heard of him? No, but, you know, if he say two for the music and for for the, authentic folklore, then get them. If you. If I had to make four and two is six divided by two. Three.

00:40:23:03 - 00:40:34:14 Leonard Feather: Yeah. Whereas it’s called Who Let the Cat out of the bag. And, the lyric is mainly a repetition of those words, as you heard. Yeah.

00:40:34:16 - 00:40:36:13 Unknown Okay. Well, this.

00:40:36:13 - 00:40:43:14 Leonard Feather: Is track eight. You have two more.

00:40:43:17 - 00:40:55:22 Leonard Feather: Elements and that is the.

00:40:55:25 - 00:41:04:20 Leonard Feather: Bass. Boogie goes like this.

00:41:04:23 - 00:41:19:24 Leonard Feather: In the beginning. The other way.

00:41:19:26 - 00:41:28:12 Leonard Feather: You finish. It is like.

00:41:28:15 - 00:41:31:24 Leonard Feather: This. You have.

00:41:31:26 - 00:41:35:06 Speaker 5 This. You know.

00:41:35:08 - 00:41:40:02 Leonard Feather: This.

00:41:40:05 - 00:41:52:09 Leonard Feather: You know something. And he. You know.

00:41:52:11 - 00:42:03:12 Leonard Feather: This dude. Yeah. It’s. You. Okay.

00:42:03:14 - 00:42:05:25 Speaker 5 Well, the unit is unequivocal.

00:42:06:14 - 00:42:07:26 Leonard Feather: No, it’s very much. It doesn’t really.

00:42:07:26 - 00:42:09:25 Speaker 5 Matter, but, you know, you want to.

00:42:09:28 - 00:42:22:08 Leonard Feather: Get it. It’s.

00:42:22:11 - 00:42:23:12 Speaker 5 Okay.

00:42:23:15 - 00:42:27:04 Leonard Feather: To go with the.

00:42:27:06 - 00:42:31:10 Leonard Feather: Okay. Know.

00:42:31:13 - 00:42:39:09 Speaker 5 These I should I put his hand away. I can lick my my style. Yeah. I remember from the days he was with you. No kidding.

00:42:39:11 - 00:42:40:08 Leonard Feather: Yeah.

00:42:40:10 - 00:43:05:11 Speaker 5 And, he’s an amazing trumpet player because he has an amazing technique, and he can play it. Sometimes. He can play like Rafael Mendez, you know, that kind of. Yeah. You so-called legitimate. I don’t know what they call jazz illegitimate, but, and when he plays jazz, especially in this case Latin jazz, and he’s a very good arranger.

00:43:05:14 - 00:43:10:24 Speaker 5 Very good, very tasty. the whole thing with harmonies and good rhythm.

00:43:10:24 - 00:43:11:22 Leonard Feather: And even.

00:43:12:09 - 00:43:45:08 Speaker 5 he reminds me of the influence of easy on him. Oh, yeah. And if there must be a reason why dizzy when he was much younger. I mean, when in the he embraced the Cuban music because he was interested in expanding jazz to other varieties. Yeah. And the dizzy, his association with General Pozo and then, you know, recordings of my Tito with Charlie Parker that that era in which they were discussing.

00:43:45:08 - 00:44:08:28 Speaker 5 And there’s something about Cuba, the Cuban music that is so different from jazz at the same time, so close to that they have some African origins with that, and they have some music and the difficulty is to find the common denominator, how to make it work. Because some conga drummers, they cannot make it swing against a jazz drummer.

00:44:09:02 - 00:44:22:09 Speaker 5 Yeah, and some of them they can’t. So it’s a very, very joyful experience. Very people who like, in the case of either Kitty or Paquito Rivera or Arturo Sandoval, they they can achieve that. You know.

00:44:22:11 - 00:44:31:17 Leonard Feather: Actually, an interesting thing about this, which I’m sure you couldn’t know, is it? There’s only one horn on the record.

00:44:31:20 - 00:44:51:01 Speaker 5 Yeah. Yeah, I could tell I didn’t want to talk about that because, I May 13th thing was May 13th thing was, this is overproduced, because I could hear this. I mean, they, they over that and they bother me at the beginning, but then when they realized he was him.

00:44:51:03 - 00:44:51:21 Leonard Feather: Yeah.

00:44:51:23 - 00:44:52:06 Speaker 5 You know, it was.

00:44:52:06 - 00:44:57:03 Leonard Feather: Probably a three horns, I would think. Maybe jump into Floridians or something. Yeah.

00:44:57:05 - 00:45:10:22 Speaker 5 When I realized. Yeah, when I realized it was him, then I didn’t complain because I said this is, an achievement. The thing that I thought it was negative. That’s why I kept my mouth shut. But I did notice that there was over that.

00:45:12:04 - 00:45:22:15 Speaker 5 Yeah. At the beginning, I thought it was a gimmick. But then when I let it go, when I. When I tell you to hear this line, I recognized his style. Then I knew that was him.

00:45:22:18 - 00:45:25:21 Leonard Feather: Yeah. would you rate it?

00:45:25:24 - 00:45:28:23 Speaker 5 Well, I would give it a 44.5.

00:45:28:26 - 00:45:34:29 Leonard Feather: Good. Okay. One more. Okay. There could number seven.

00:45:35:01 - 00:46:03:07 Speaker 5 Disappearing in New York, I think I recognized that because we stated practically the fact that the piano is an instrument that is already given. You don’t have to blow on it, and you don’t get your own sound. I say, however, you get your own sense with a touch, and I think I recognized it as you told me. Flanagan, who is a very underrated pianist.

00:46:03:10 - 00:46:27:12 Speaker 5 Yeah. Because, they they think he’s only in a company and he’s a very good company, but also, he’s a very good solo. He’s very tasty. He doesn’t have to play too many notes. I’m sure that he can play more notes that if he wanted, but, he doesn’t need it. So he uses the the notes that he needs and, lady be good.

00:46:27:14 - 00:46:59:03 Speaker 5 I didn’t know the verse. I never heard that. Very soon. And I know the tempo he selected a medium slow tempo, which is usually is then fast as we know the tradition. He’s a he’s a fast tune, and I like the idea of doing it. This because he can expect where he takes you to different places. And I can understand why he was inspired by this.

00:46:59:06 - 00:47:07:18 Speaker 5 He I mean by but he chose the tempo is. Yeah, but he was inspired by that. And I you can see the inspiration. So I gave him a five. Yeah.

00:47:07:18 - 00:47:16:10 Leonard Feather: Oh good. Well yeah it was Tommy Flanagan. It was a, it’s a new album dedicated to Ella because. Well the songs I think sings. Oh he played with her head.

00:47:16:10 - 00:47:17:23 Speaker 5 Hey I bad.

00:47:17:25 - 00:47:19:23 Leonard Feather: I’m sure you heard him with everything you said.

00:47:19:27 - 00:47:53:21 Speaker 5 Oh yeah. Yeah. You know, they’re calling Lou Levine now to do a lot of records because he had company, Stan Getz and, so, he just saying. Did he tell you he signed a contract? So I was going to at the beginning, and, you know, it was really, to me. But then he said, and we also because it’s a sensation with Stan Getz and with with, Peggy Lee and some other people, they came to him now, and he’s recording his own.

00:47:53:23 - 00:48:07:15 Leonard Feather: Yes. Yeah. You know, he deserves a break to to Tommy. was with Ella so long, he lost a lot. It was, I wouldn’t say he was, but he gave them. And now he’s working on his own all the time.

00:48:07:18 - 00:48:22:08 Speaker 5 He told me. Yeah. Oh, he should. I mean, his, you know, he used to record on his own. Yeah, many years ago. Yeah. Okay.