1996 Monterey Jazz Festival Interviews; MJF Interviews #1

If we move then on Sunday to really a central issue that has to do with the whole creation of the Monterey Jazz Festival the California school high school jazz competition which was founded by the Monterey Jazz Festival 1971 to stimulate interest in jazz you know high schools throughout California by recognizing and rewarding the state's best young jazz artist. And I think this is a good time to mention what the mission of the jazz festival is. Yeah I'm glad you bring that up because it's I love to have an opportunity to talk about our education programs because a lot of times in NE all the hoopla and excitement of the jazz festival. People either don't realize or forget that we have a very extensive year around jazz education program and that the monies that are realized from the festival go directly into that Jazz Education Fund which is we have been able to triple that fund in the last five years and doing some really interesting programs it's

very comprehensive. Just to highlight a couple of things we have a year round traveling clinicians program where we bring in seven professional musicians from throughout California to travel around once a month for a week at a time to about 20 different Monterey County high schools and middle schools. We have our high school jazz competition every April which you just alluded to and most of the groups that you'll be hearing on Sunday afternoon are high school groups that were winners of that competition. And we also do extensive international touring with high school groups during the summer this year. We took. Three different high school groups one group on a tour of Europe to play at European festivals at the Montrose jazz festival in nor see jazz festival in Sweden. We did a tour in Australia to play in at a variety of settings down there and then we also did a two week tour in Japan and played three jazz festivals in

Japan so it's a wonderful opportunity for these groups not only to feel what it's like to be a professional musician out on the road but also to experience different cultures and just a different way of life. Now were these the winners of the high school jazz competition that went on the tour how do you select the tour the the European tour was our. We have a Monterey County all star band we call our Monterey County honor band which which we pick is some of the some of the best players from Monterey County. That group went on the European trip the Japanese trip was our statewide All Star Band which is comprised of players from throughout the state of California and actually now we have expanded it to the whole West Coast so we had some players from out of state as well. And then the winning band of our competition re-arm Eric Cano from the Sacramento area was the group that went on the tour of Australia and on the

stage on the main stage would you present what is it that who gets there. On the main stage on Sunday we have the winning big band from this year's competition which was Bullard High School from Fresno. Rio Americana won the year before hence they went on the trip this year because we need that year leeway so that the groups can fundraise and we can get all the money together for the trip. So in the main arena you will hear the Bullard High School Big Band and then our high school the statewide all star band which will also feature our artist in residence Joshua Redmond and Roy Hargrove. There are bands also being presented in mostly the big bands on the Garden stage throughout the afternoon as well. And what is happening on the night club and diseased in those days. Let's see on those. Afternoons we will have in disease Dan we are going to have a couple years ago we started a what we call our

conversations with prominent jazz folks and this year we're going to have a well-known writer and author poet Al Young doing A and open interview a conversation with Herbie Hancock that'll be fun. Which should be very nice. Then after that we'll have Marc Cantor presenting his jazz films. He has vintage jazz films and this year we're going to feature Dizzy Gillespie his putting together film clips of Dizzy Gillespie through the years and that will compliment our photo gallery exhibit this year which we're calling dizzy at Monterey which is a show that we have put together with four different photographers that feature images of dizzy from 1058 up to his last year at Monterey which was nineteen ninety one. And last year the exhibit was the Ellington. In that same space. Yes I believe last year was the Ellington exhibit. You always have an exhibit of some kind of some kind yet the year before was Milt Hinton snuff photographs.

So we felt that there were you know with the Gillespie on a piece on Friday night will make for kind of a Dizzy Gillespie theme that will be kind of running through the weekend and then some of the other groups that are performing on Sunday will include Dave Ellis group great young saxophonist from the Bay Area Local vocals from here in Santa Cruz Gail Dobson and her group a group called Dog slide from from San Francisco. And you know lots of other lots of other artists right. It's a fabulous. Three nights and two days of nonstop music for the Jazz enthusiastic. I'd like to tell our listeners that on the Garden stage Kay USP will actually be emceeing the programs. So some of your favorite people will be there. Pete Falco will be doing Friday night. Louise sellers there will be Sunday afternoon Bret Taylor is going to be seen this Saturday evening. Jill

Warner will be there Sunday afternoon for the high school educational aspect of the Monterey Jazz Festival and again will be there on Sunday evening. As usual one of the visual trees to go along with the music at the Monterey Jazz Festival is the jazz art and one of the artist has been here for many many years is Rameses as matter of fact how many years has it been Rameses. It's 14 years now. So it must be something special here in Monterey that keeps you coming back. Well the people the music the food I mean to me is just a party weekend. It's my chance to get away from the city and. Come up enjoy the people. Mix business with pleasure so to speak. Now Ramses does black and white drawings he specializes in those of all the jazz artists and also color drawings but lately I've been branching out into stained glass another medium

sized plane with saying last about three years ago a mosaic tile which is my latest because last year was a great day in Holland which was eight feet eight foot by four foot mosaic of the gradient. So so this this weekend is Lester and Billie Holiday. And describe to us the process that went into this is a wonderful mosaic as a matter of fact the present Lady Day colorful and huge. Well what it is is I go around the stores and I get discarded they're going to throw away and I take it and I break it up and put it into an image and. Saw the tabs you see here which is gold yellow browns and paint tiles that way. So I basically break them up and put them within an image and recycle tile. You know wonderful way and how big is it it looks huge What's what are the measurements. It's 10 feet by five feet and it's going to be it will be a

Merrill in L.A. on a wall. It's only five panels. And Lady and Lester other beginning of the panel. Which is going to go up in October. Wonderful. Great work thanks Rameses and we'll be mixing business with pleasure here at the Monterey Jazz Festival also. But when you've had enough jazz it builds up the appetite and one of the things you can do is cruise gourmet alley here at Monterey. Their food of every types and I'm here with Jerry at a Dale's gourmet sausage sandwich. What's different about a Dells Jerry. They're made with fresh poultry finest cuts of poultry and the finest seasonings that you can find. Nothing artificial in our sausages. So you send a healthy healthy and are lean and are tasty.

Very good. And the real question is how do they go with jazz. They go great with jazz they go great with anything. Right from go in a alley at Monterey This is Brett Taylor on K USP. Well it's been said that you can't have good jazz without good barbecue. I'm here with a man who obviously believes in that because he's got about a ton of ribs says Mint on a grill and the smell of it is permeating the entire atmosphere this is a man you know how's things Emanuel. Very good We're here at the Monterey Jazz Festival and we're having a good old time already. The people power in the end and we're going to have a good time nears So go and see me and have some ribs and you know we can give you a sample if you don't like it. I give you your money back guarantee the right to come by Z me right now how many pounds of ribs you plan to go through this Monterey Festival weekend. Probably about two or three thousand two or three thousand switcheroo over a ton of rib.

Yep your bed is there really a lot of so and they're good so I expect to sell a lot there for you know my God in a bag and to get rid of the hot legs and they're ready to go so I'm ready. Waiting for you in me you man you've taken the ribs so it must be true the manual that jazz and barbecue do go together. Yes it does. Is like Abilify and ice cream. Gotta go together. You heard it from Monterey Jazz Festivals Gore may alley. While at Monterey at the Jazz Festival the crowd is what really makes the festival a joyous crowd that comes for the pleasure of jazz I've got three gentlemen here. The first is that he's Larry Burton and this your first time at the festival. Absolutely first time he's buddies here they they brought me along and get me

educated I've always loved jazz but now I'm out here with the people. All right so you guys tell me about what the vibe was in Monterey and got them down. That's right we made it come all way from L.A. and my name is Ray and this my friend over here he's been gone for about 14 years and like he's want to turn me on to it. So we got the originator. Go there now tell us what's kept you coming back for 14 year. The music the people and the food the music the people and the food that in a nutshell is moderate. Hi my name is Hugh Davey and I love Monterey. The beautiful clean town. Nice fresh air and great jazz music here at the festival. So how long you been coming to Monterey to the Jazz Festival. This will be my sixth year.

How did first hear about it. Through a friend of mine he sold me his tickets now I've been getting my own. I lucked out and got my own the first time I tried and now I'm up in the backseat. All right. Sounds like another Monterey jazz festival concert will enjoy. Well the unique sounds of Howard Johnson's gravity will be heard tonight and one of the players with him is Bob Stewart Bob welcome to moderate. Thank you very very much like I have a feeling the fans and what you play and how long you've been with the group. Well my sister's a tuba and. We've been a group of them together for about 25 years now since 1968. And it's gone through different variations in terms of personnel most of.

I think there is IMO the only original member here today but there are different degrees of adding on in 10 years the last 10 years the last five years and so on and so on. So back when the group started you as well as how it must have been true believers in this real unique thing of a front line full of tubeless. Well Howard was the real true believer in what he did was convince a lot of other of us and opened our eyes to what the possibilities or myself and Dave Barger on who's unfortunately not here with us is out there although he's still in the group number other people like that and just kind of open up the possibilities and we all. It's interesting that we've all developed in different different ways and different points of view but still come together for this group which makes the group even richer and tell us about some of the things that you're doing apart from gravity. Well I haven't actually have an album that's going to be coming out and the end of September and so on postcard records called Then and Now and again difference and presentation house presence resenting the horn as you said as a front line instrument

and in my presentation I presented as the original bass in a contemporary ensemble where I'm playing to the base and I felt as that that that function I've done a lot of things with Arthur Bly a lot of different people like that so. You know. So you go and kind of back to the future in a sense. Exactly well what's happened was there are so many years all through the 30s and 40s and 50s where the two didn't make those evolutionary steps at all the other instruments made it kind of sealing was in what people now call Dixieland what we all were musicians who better know call it traditional music. It stayed there. And so it didn't evolve I think it had that that classic jazz trio would have been to a piano and drums. You know what I mean. But and when Jim came out with the trio and the others it was bass and tuba So it's kind of like letting folks know that it is possible to still do that on tube and have it be very contemporary. Now to the tuba as your main instrument did you start out on the tube I know Howard converted a lot of

people to Tuba. I started out on trumpet I wasn't converted by Howard I had so I had some when I was in college I had to do a like a recital. And in order to do it I had to correct some problems and I went to a larger mouthpiece being the two. So that's how I got to be a tuba player. Happy accident. How often does Howard know that the group with Howard gravity you guys play together very once in a while but you've managed to stay together for all these years. Well there's a camaraderie that that's undeniable. Absolutely. And we we have I think it's a it's a good thing in a way because we've all we've all developed different points of view having gone in different directions Howard doing what all the things that he does and me going off and doing baseline things and other people who who who do both of our work and do things like that it breaks the group that much that much richer. You feel anything special as an ex trumpet player especially played in Monterey the home of the late Busi not as a trumpet player.

As I feel honored to be here as a musician and to participate in the festival that I've heard records of Mingus at Monterey and so on so I mean I'm very proud to be here and finally participate in the Monterey Jazz Fest Absolutely. And it's a pleasure to have you Bob Stewart thanks a lot. Thank you. One of the most important places at the Jazz Festival is the bar and one of the most important people is the manager of the bar and I've got that guy with me it's Dennis Schaffer and Dennis what's the deal about the bar at the festival. Well we're here to make sure that everybody has a good time that they get the proper service and the proper amount of drinks not too many. And I've been working here for about six years this is the first year that I manage and I usually tend bar here but this year I manage in the bar out here. All right so you've been coming here for six years. What's your favorite part of the Monterey Jazz Festival.

I like the blues on Saturday afternoon because it's more of an upbeat sometimes. Jazz can get a little cerebral and I like the rhythm that that they put down on Saturday afternoon tomorrow we got Taj Mahal and I'm really looking forward to that. All right and I would just bit as a bartender that you probably sell a few more drinks on the blues afternoon. Oh yeah. And then during the afternoon a lot of people are drinking beer and everybody's having a good time. Saturday's really really my favorite time. This indeed will thanks Dennis and it's going to be lots of fans favorite time too. This is Gio Warner and I'm at the entrance of the Monterey Jazz Festival and I'm talking with Hans the cushion man. Yes but would you like me to tell you about the price. No no you don't need to tell me the price but you do have two different kinds of cushions don't have we have two different sizes and we have many different colors and we have the logo to date at least

a chair which is a jazz festival logo with a trumpet on top. Yes. So and how long have you been doing this. All we've probably been doing this for 10 maybe 15 years every year we first bait the questions and then we sell them. And every year we sell more and people see is here and and say we wave to the ones that come out the old cushions. If you see a lot of people coming back with old cushions sometimes offer a trade in but of course you have to pay for it. And this is a nonprofit endeavor. This is a nonprofit where they Weissmann the club of the Monterey Peninsula. We support the YMCA and also other functions like baseball and soccer teams and things like that. Well great well thanks for talking with me Hans. This is Geo at the Monterey Jazz Festival. But this is Gio Warner with us and I'm here at the Monterey Jazz Festival

talking to a couple of lovely ladies here. What's your name. Name is Claire chase TANNER. And what's your name. Conny Weatherly. Hi How long have you been coming for about 10 years. What's the what started attending the festival. Just coming with a group of friends and we all come stay in the same place. Party in the same place every year. All right how about you. Same reasons but same thing I'm done. The food the music the vibe people the people yeah so where are you all from. From Oakland California. All right Oakland Hayward California. All right. Taylor All right well thanks for talking with me and I do have you going into the arena or more so we're just waiting for some friends right now. All right well enjoy yourselves right. Thank you bye bye. Well the Monterey Jazz Festival has always been from its inception an educational institution.

And I'm with one of the guys who was instrumental in that Jazz Education Bill Barry Bill how things going on are you doing right. Just wonderful. Now to this jazz festival this year is kind of special because we've got several alumni that actually played with the high school all star groups that are playing here tonight as professionals. That's right. Yes several of them. Joshua Redman last year we had Benny Green with Ray Brown's trio. Larry granted Jerry is here with the Carnegie Hall band and I'm sure there's probably a few others too. Interestingly enough they're talking about next year being the 40th. Reading again are they. They're talking about me putting a band together of alumni who have become professionals from the high school bands. All right and I think that probably a huge band. Well I just said if we can afford it now that you know that you know it gives ever another but it's not working for nothing. That's right.

But it's got to be a real pleasure for you especially who have been so instrumental in this education to see some of these young men actually come and make it to the professional ranks and then come back on that main stage and wow. Yes I used to be worried and not just me. We used to worry about what's going to happen to jazz when they were all gone and now I'm not worried about it appears to be in pretty good hands. Tell us a little bit about the all stars that you conduct in the high school All-Stars who you got who looks good. Well we've got a tenor Blair. It's scary. His name is Sam Zappa Gursky and he's 17 and he's dynamite. Also we've got a young man from here in Seaside who is 13 years old our pianist. Milton Fletcher. And heres. You guy can hardly wait to hear when he's 14. You know I mean he's so good is dynamite I will be doing a feature piano solo with him on Sunday. And so from the state of things in Bill jazz is in pretty good hands.

Definitely not. It really is it's this band this year I think is probably the best one we've had I've been doing this for 16 years now. I think this is the best one we've ever had. All right well thanks a lot Bill and keep up the good work it's nice to see these young kids making it. Thank you Brad. Thank you. All right from the Monterey Jazz Festival it's Bret Taylor. Just. All right I am here in the van with Gio Warner Scott Cooper and Brenda Boykin of the Johnnie Nocturne band who just got off the main stage at the Monterey Jazz Festival. And Brenda thanks a lot for coming in to see us. How is it up there. It was great fun. It's I mean the view from that stage is awesome. The view from that stage is just people straight back and and the sides and I'm just trying to focus on everybody and it's just a kick. You just go

there in a good mood too aren't they. It's in a very good mood and they got there being a little bit cool I think people are quiet at first they don't know. I'm glad that I saw the smiles on their faces but they don't know how wild they can get and we just try to encourage them to let it go early. Yeah and I'm sure that our listeners heard the set you did and there's no it's just sitting still there is no hold and still you take us off on a ride and that's what happened. This van was rocking right off the bat. If you bed so they were pretty warmed up by the end I bet they're warmed up by the end they just gave us such a great response and. The band got more relaxed as things went on so we're just winking to each other smiling there but it got really loose. Have you been on the main stage at Monterey Jazz or not at Monterey Jazz. I a few months ago we were on with sharing Johnny Adams backing Johnny Adams set at the Monterey Blues Festival. So my mind memorized the stage so I came today with very little fear. You know I did I didn't have very much up tightness.

You never know how you're going to be once you get on stage but I wasn't afraid of the stage. How long have you been with the Johnny Nocturne band. About six and a half years. Seven years in March. That's pretty much the whole time they've been formed. I think they were together about a year and a half before me so. It's been a long tenure for this band. Yeah definitely. You played slams a lot don't you in the city. You know we haven't done that in a while but we when we first started out we played lunch at Slim's. Brenda before you start working with Johnny did you work with other bands too. Lots of the bands. A story a couple always like three balls in the hand juggling. I was doing a. Motown cover band when Motown cover bands were at their height. A group called the fundamentals which was a kick. And I was doing a lot of times friends have jazz trios and they'll get me to front the band and just bring down my set of jazz tunes that I do. And I've got a band called home cookin which is a blues band so you still work with them. Yeah they sound great. Where do they play.

We play up at Lewes pier 47 in the city right on the wharf second for Sunday so that's a popular little band. But it's a totally different thing to work with four warns you just when it's show time pushing it. It's show time. Yeah yeah right. Where are you from Brenda. Glenn California right. Practically a local girl for us down here in the Monterey Bay Area. I think you know it's like all of Northern California is Sister Cities. So how did you hook up with Johnny and this band. Well my brother was a very good buddy of John's and I don't even remember it but at some point he brought John to see me at a jazz club I was performing. My brother was a musician also. So I brought him to see me and John just filed this information is computer head and John at that point was not fond of singers but he made and he made a note like if I ever have to use a singer not to have not it's not like that. He did so

on the word of my brother he said I'm looking for singer uses when he was ready to look for a singer. He kept me in mind and tried me out and and really just a mastery of the group. We met because I grew up listening to Louis Louis Jordan records and. John knew that I he knew my brother well enough to know what kind of music we grew up with so we grew up with parents who had old 78 since that whole jump period. Yeah we had this stuff in our heads. So yeah it was good man. Yeah right. So you list are you guys working on a new record right now. We're going to start in November so rounders given us permission for the third album so I guess after those last two they were very very hot. They get a lot of airplay on KOGO Yeah all the time all the time. You know it's funny. The artist never if you're not I guess a big big big star on a big big big label. You're really not that in tune to where the charts are you just go like well I think I've sold one to all

my friends. And people seem to mention it. Yeah. But you never really tuned into how it's doing now right. I know I know but you know what the independent labels want Ronder isn't really an independent label I would say. Kyne is going to isn't going to. Yeah it's above that but you know some of the greatest music I think ever of a lot of the studio listeners and a lot of chaos is lasers there is a TODAY NO NO NO right now. Oh it is like a strange period of time where no matter what becomes of it you can put out your exact musical statement as you wish. You can just put out your musical statement that you want and I just. There's some powerful music out there right now because of that. That's right and then the majors start chasing you you know after you already made it on the independents I love it. That's the whole truth. Well thanks a lot. Does anyone else have any other questions here for a friend of me for so many good players out this week

and who are you looking forward to seeing I'm going to go and see a nother Oakland kid Robert Stewart who's playing at the nightclub. He is a good friend of mine and an Oakland kid and I'm going to go and see I hope I'm trying to whistle. I'm just totally weasel my way into tonight's show I'm totally trying to weasel my way I don't think it'll be a problem for Clark and the nightclub the Robert Stewart group. Thanks a lot. We've been talking to Brenda Boyd can you what Johnny Nocturne band and fellas have a good time. Thanks a lot. Why tell us. Yes. Well yeah I mean I was here with the Berkeley High jazz band and I was also here

as part of the California or the montréal stock jazz band. You know my my experience with music education has been rather limited in the sense of a formal music education I mean yes I'm a product of the Berklee School system in the sense that I started playing saxophone when I was 11. Immediately when I was 11 in fifth grade I was able to you know start playing in improvising in a jazz band that they had it at Longfellow school which is very unusual I think for a public school to offer improvisation to offer jazz at such a early age. So I definitely took advantage of of the opportunities which the Berkeley Public School system gave me to explore improvisation and to explore performance of jazz. But in terms of. Are. You having like an academic background in music I don't have that much of one. Like I said I played you know in you know in all the bands in the Berklee School system but that was really the extent of the education I had I

didn't take private lessons you know I never had formal private instruction. And as you probably know I never went to music school. So the education that I've had has been education of experience rather than education of academia you know education that I've had has been playing in school bands outside of school bands through listening to records through asking other musicians about their craft through getting you know direct you know little tips for musicians whom I admire. You know I'm kind of self-taught in that sense. So you know I feel that music education is like I was saying before incredibly important and for me I you know the most important thing is simply the exposer you know I think there's many different ways you can structure a music curriculum. But the most important thing is that you expose children to the music an early age expose them by allowing them to listen to the music and expose them by giving them an

opportunity to play the music. Beyond that you know I think there's I think there's many ways to to to go about it. Yeah. Oh. Oh. Oh. Oh. Oh. Oh. I'm. Sure. You mean Peter. Yeah Peter Bernstein. Oh yeah. Well for me this this record it was a very important record for me. I mean every record is important you know at the time. But for me you know I've always been. A musician who's been uncomfortable with with the idea of of of barriers of stylistic boundaries and music. I mean I love jazz music and I've always seen myself as a jazz musician and I've always had tremendous amount of respect for the jazz tradition but I've never wanted to be limited to that

tradition and I'm someone who grew up listening to ALL forms of music and and being influenced by all forms of music I think that's part of be of growing up and in the kind of multicultural environment that I grew up in Berkeley California. And you know I mean throughout my career from my short career I've I've always tried to you know take any opportunity to play as many different kinds of music with different people as possible. And I've never seen myself as you know a traditional jazz musician. But that being said up till this record I think one could argue that that you know the bulk of what I've done as a leader falls within what people would consider traditional straight ahead jazz. For me this album is a step out of that area because what we've tried to do is take. What we consider to be the spirit of jazz which is the freedom of jazz the improvisational aspect of jazz the spontaneity the interaction in the context of a group that to me is the essence of jazz. We try to do is take that and extend it beyond

it extended into stylistic territory which isn't traditionally considered part of the jazz idiom and specifically I take that that spirit of jazz and apply it to the rhythms and grooves which are which are different and maybe very different from you know straight ahead full force way. So. Sent it as a concept in the album. That's the concept and for me of of all the albums I've done I'm the happiest with this one I mean I still can't listen to it now. You know but but but because I've listened to it enough and it's all I hear is the mistakes at this point. But but you know I really feel that we were able to accomplish what we had in mind. And I feel that really explain we were really able to express and document the sound we were and identity we were developing as a band. Yeah. It's actually the second

time I was here in I think 93 with the liberation organist or with Charlie Haden's liberation artistry. Right. It's an honor. I mean it you know it's an honor and it's an inspiration. And you know of course it's an honor to be a part of the same festival with with Miles people like John Hendricks and Joe Williams and George Benson and Herbie Hancock I mean these are the people that I grew up listening to these are the people you know who are kind of like my God you know what. For me it's you know it's an honor to play music period for people you know. I mean that's that's what it's all about. And you know of course being part of a great wonderful you know very respected festival like this is a great honor but for me any opportunity I have to play for people you know I try to attack it with the same relish and and treat it with the same respect. Scott Cooper here on the Monterey Jazz Festival fair grounds and who do I walk upon

but Miss Lady both. Welcome Nikki will speak. Thank you How are you doing today. Great how are you enjoying the festival say afternoon. I am having a fantastic time. You come down here a lot every day every year. Well this is a new one this year I'm just hanging out you see I'm playing but this is great this is really great and if you play down here with yourself am totally or or just one of the other. We played with Bill doing to your state. Yeah. While bad. Before you try. Things were given a little. This is great. The jazz when. You play the blues for yourself now with the Bo Didley right. Yeah. The lady with a b c who. You speak with with Bo recently a couple months ago. OK. You had like a back surgery or something you know pretty

good. Have you heard his new record. Oh yeah yeah yeah. That's great. So are you taking in some of the sights and sounds and I'm in the food too. Out here in by the river. Tomorrow I'm going out. Well know after tomorrow I have to work. On a few. Are you going to come back and dance. Yeah yeah. I'm a bookie every every man I get. Yeah. We're great. Thanks to both thanks for coming down and being on. Enjoy the rest of the afternoon and look forward to hearing you out here again maybe next year. All right sure. OK. Why we're here in the remote van and a bunch of us with a smokey Wilson. Glad

to have you in here Smokey. Thank you Dolly. All right you just fine. Smokey Wilson just finished doing a great set at the Garden stage at the Monterey Jazz Festival. And how is that old man can say nothing but good. Does that. Tell you though Smokey not only does your set sound good but you look good to me. Well when you're a 61 years old you don't run a raw you don't rank in the mold when you say what do you do you know that what you read my my you got to do with just this house. We do this in the. So well materials you pull out today or pull out a lot of stuff that I used to do with my grand kids I call Rod p s and all them guys my grandkids like you better like you said and then I do a lot of that stuff I did at my pineal called and I got a lot of the new stuff for the man from Mars with that would be my next album come in now which I'm on my way to House of Blues a new on and what a band

Smokey Joe Cool back in them I'll be gone for about 10 days and then I do album and the last album for roundness demand from OS. And you don't drink what I drink in you show a little small What Asmo NO BABY YEAH YEAH YEAH. Well that sounds great. Oh you telling good shit yo ma like you no way. We're joined here by a friend of Smokey's John how long have you known smoking. Yes for the last four years now. Yeah for years I've been following Smokey. I play guitar myself and I went to go see I went to a jam session. And you know they have a lot of musicians up there and everybody's playing his stuff and smokey went up there and hit two notes and turned my whole world around I know yeah that's the real thing. That's the real thing everybody else is was up there were good players. When Smokey was playing you could see were everybody else's following in everybody else's footsteps Smokey's one of the last one of the last of the.

True Blues people out there you got Bebe and Nat and all those generations of players and then and then you get Otis Rush and Buddy Guy Smokey Wilson and all these other guys they're out there plant too and then you've got the new generation like me coming up listening to Smokey and just trying to see how it's all done very inspired Barry Very much so every time I hear him players like oh you know you've got him because he took his hat off when you were saying all this stuff. Well you know man like me you know when you. You know when you reach my age you know you get to if you had you by your bow my head so long when I was in the country misses that day then coming up from a kid my momma would tell me one thing Son you always respect the oil and the now with my good morning the late is good even like it is and then I did it so much there is a sun straightened up we'll all right.

You were saying that you played him in the neighborhood somewhere around fifteen hundred festivals and you're on your way. I've been doing a lot of Tokyo Ostrava yes was Davenport for my date. Time has come. Jesus is old man been around. Well I'll tell you what I don't get so many Bluesfest tell you what I did Keller when I started that thang in there right $450 a man I should own it. That's public radio Peewee Crayton Big Joe Joe our child Monica smale. Yeah buying a pearl with just a new common company and when we get this stuff so hey man I did I just stuffed me up when Carolyn was a little place called the chicken shack that added that you know what I'm saying yeah. Hey man some Russian own kilo in the day but me so I LOVE IT SO MUCH I just let them get by me on when I we start the thing shifted I was a man and some time when you can

benefit and then I went on with whatever they got by the 20s I'll be fine with me. So just to be doing it when you go to talking about blue fest the song you talking to the old man didn't let this stuff. Yeah yeah. Hallelujah. Smokey do you mean you live in downtown L.A. No. Well yes I'm down on my own nightclub the pineal club I boarded 21 years ago. Lock stock and barrel. So that's where you came from unnecessary pick cotton chop a new hall of prime cotton you know. Why I come from I came from a little kid out of the country and used time to look at smoking. Peter we strolled the double standard always be on my mom from the way that used to be saying they had been moaning then. DOWN DOWN DOWN DOWN DOWN DOWN DOWN AND I DON'T OWN with you and when you're snow that poor that does come up to that man and I break all run to the bank you know when a truck packed in the back you know what your truck but you're not what you drive George said but I want another cucumber so crazy red made a green you know me and wonder where no one it was

to come in time for a vaccination you know little midwives you know when I never knew what hospital was. Yeah me know what you sign you know not know it but I'm not telling you about me I'm less okay. I never knew what a hospital was you know and they come on bass and you know literally to come by and little 36 forward US times you have a little. They come right out they come out to the yeah you come out to your house in the country. And we had to go for room house and when you step up on the board you can hear all the noise in the back you see not all the parts and has now you know that's I you know the house was I lived and I built my first guitar outside the wall and I used to play and sound like I was in a nightclub you know. Yeah and you know every time I hit that string I had my mom's I thought I hear you out there playing the river. She you know we didn't call him booty call and river I hate playing the more real ones out there. And I look back and thank my mamas and I and you know I don't care that I'm off the farm now and the next thing I know I look around she saw an ad and oh. I'll be the one I make. I told you you know bad book Oh you don't want

to. She wants all she wanted putting up with my mom go to church on a Friday and saying to my my mama walks three miles you know. Would you believe this man. I'm a church man but I don't tell nobody. You knew do and with whom they who would see her whom you know as a boy why don't you sell your trade but I love him obey roll me baby like you. Let me ask you a church of a different kind. You know why I love you guys my you all beautiful Hey fans out there. I'm on a reality guy. All right well thanks for thanks for coming in here and talking with us his via his beautiful and thank you all so much in Monterey I want to say thank you all again for that this old man be here to express some of these openings. Thank you. Everyone.

Hi this is Smokey Wilson Kaye USP eighty eight point nine FM radio. Stay up baby you can't believe it baby not dead but get blue. It's raining and I want to clarify the story but I want to see wrote the second verse of it. He wrote the second verse and gave it to me in a studio and wasn't it was during the time we were actually doing the recording. Yes he put the second verse which was written out on the new music stand while I'm in the booth doing the actual singing of the song and just kept on singing. Well he had rehearsed this enough at home to know the melody saw had to do is sing the second verse like the

first verse and world and mind you that was back in the days when we didn't have tracks where you could go back and you know such a lot you had to redo the whole thing if you didn't do the right. Fortunately we will catch you. It sounds great today. It's a little still stands. All those great old cuts that you did back then still stand and still have that divide tell I find that even though I've had four five rounder albums most of the requests I've gotten were from the things from the 60s so I just keep them in their repertoire and pull out a few here and there and hopefully strike a chord with somebody. So it was still great. Yeah well after three marriages you can have my husband too bad you have a problem with me. But I love what I do and it's not difficult to walk on stage and enjoy what you do and the songs I don't enjoy doing I just don't do them.

But I love singing I enjoy you know getting the audience response and I feed off of that so it's not difficult to find the energy to do those old songs especially when they feed you. You know those are the ones that pay the bills and get the gigs and that sort of thing and if that's what the audience want to hear I'll sing for the next 20 years or 30 years. So now you know now what's Bambos last night. Yeah. It's shorter. I had 45 minutes and I may have changed up one or two songs. In fact I changed of several songs because I was trying to get a cross-section from the 60s and into hopefully into the 70s but I never made it to the 70s. I got to the 90s I described all the way in 90s. All the crowd was around me. They were calling songs from reissued material that I had songs a studio days. So you know you get you get a more fan fan type thing in and that's what I had last night.

And there are quite a few fans out in the audience today as you said they were so widespread they were not really together but I could tell that the ones who were fans because the reaction I got because I. Do watch Marty and I got the reactions from different songs that I was performing and people stand up jammed into it you know that's like me. So believe it or not I literally like them call the shots. Yeah whatever they want to hear that night I do it and what I don't remember from memory I have my tablets in there and I read it for them and if I don't have it in the tavern I'll sing what I know but I don't know we play solos the rest of the time. Yes your honor. Believe it or not they played one of my songs on one of the episodes about three or four weeks ago they did. I think it was smoke filled room from one of the albums on rounder which I was quite surprised. So I'm hoping that they think enough of me

to give me a bit but I'm not that great of an actress but I'm sure I'm right something to do. Well isn't it everywhere. You know it's it's it's the norm for the nation right now we're all cities are dealing with the high crime situation. The only thing I find funny with with the series The Big Easy is that they have helped California people trying to talk like new law and New Orleans people with Southern accents and they're not quite getting it just was they really should just relax and just be actors and play the parts and not be concerned about the you know the the ethnic part of it. If they live there and work there another three or four weeks that will come naturally. Instead of trying to force it they just be themselves be the good actors that they are and just be in the community they'll pick up on the little innuendos and things that we do and we talk. It's there. Oh yeah right I mean I like it.

Oh yeah. It's just so. Now it's adult but I'm not I don't get it. The only time I worry about a warm up is in the winter time I'll drink some hot water maybe some tea if it's available but I don't really go through any kind of rituals or anything. I just get out then go anybody and everybody It sounds good. You know your house very rarely. And if I do it's usually something some spiritual that I grew up seeing or something like that. So thank you. Sure anytime. OK. My name is Gio Warner and I'm here with Larry blood and Vincent or Jax Wright and Vincent is with the Montreux with the Berkeley Monterey court tête and he is a pianist he will be appearing

at 4:30 on the Garden stage tomorrow afternoon which is Sunday and we welcome you to KUSA piece studios. Well thanks for having me. Thanks. So it looks to me like you've been the recipient of a great many honors in the ability to play with such greats as Ernie Watts and Joe Henderson and Mark Turner. Right. Yeah I was had a chance to play with Johannes in and Ernie Watson for us. Two years ago and it was great experience for me and tell me about the band that you're bringing with you. I'm bringing here my my own trio. It's going to be it's a regular trio I'm working with in Boston. I'm a Berkeley students from the birth kind of music in Boston. It's going to be in marching on Bass who's from Toronto and Steve Hasen drums was from New York and we're going to have a special guest on tenor tenor saxophone who's going to be Bill

Vint. And he's he's also from the Boston area. Yeah he is yeah. So are all these cats people that you've connected with through the school right. Yeah I came to the school two years ago and I started to play I mean I met those two guys in March and Steve was a bass and bass player and the drummers and we started to play a lot of gigs around town and we start to play we'd be able to tentatively. So it's yeah it's guys I played I played a lot with yeah. And right now you're under the tutelage of joy Amber Keene. Yeah she's a great teacher. How exciting. Yeah she's a great teacher. So what does it feel like to kind of moderate enjoy yourself. Well it's my first time here and so far it's great. I mean I was amazed first by the way over here because I'm used to seeing a lot of rain and snow in Boston. So I mean it's great yeah I'm very happy to play here.

Have you been have you been in California before or was this a first time. I went one day in San Francisco like four years ago so I didn't receive much of California. How long has it been since you've been away from France and and. Well I was just basically I've been I've been living in Boston since like two years and a half and I've just been back to France like twice once just two years ago for Christmas and I went back. Last time the last time when back in France was in me and I want to play very actually the same band was great. So you get to go back there with you. Yeah. Oh great yeah that must have been fun to go over. Sorry. How did it go over the performance in France. Yeah yeah it was actually we did it he said Burkey Finney frost so I trying to run some stuff for the school there so I brought the host guy with me and we did some Kleenex and some are from these two acts and it was a good time.

Yeah. What kind what kind of material are you going to do tomorrow are you going to do a lot of your own compositions or maybe yeah first going to be like three or four originals some tunes I wrote and some tunes of a spear in marking the road to and we're going to do I think a couple of stand off standards do great. Who are your main you think inspired you to become a pianist jazz jazz band. Well life decided I play a lot of classical music for years and then one day I just heard on the radio El Garner playing a piano and I said that's it. Yeah switch. But now I listen to a lot of piano players you know Herbie Hancock is one of my favorites and he's going to be playing tomorrow night so I'm looking forward to hear him too. Yeah McCoy Tyner and you know Reg on Wynton killing all of those guys but everybody you know you know we know that the Berklee School of Music is one of the premier if not the premier jazz schools

in the United States. I'm wondering what kinds of. What's up with jazz education in France. Well it's not the same. That's why I came here. That varies a couple of really good school in Tyreese varies first. The counts of a three in Paris where there is a really good jazz program. And I feeling very is another school. In Terry's cold y and c p which is really good too but I'm not from Paris and from the south of France so I don't really know what's going on up there but I think varies Yeah varies just to programs for jazz who are really good. It's always part of why you went to Berkeley is because you said well I've got a go ahead and leave home anyway I might as well. Zip across the ocean and check out Berkeley right that I play with some American people in France and he told me No you have to come here that's you know that's a country Chaz. And so there was a vase and two

I want to I want to scholarship to go to Berkeley. So I was like after I was a money thing so I say OK I have to go and you know scholarship is a good motive. Yeah. So Vincent when your band comes up on the stage is there something that you want to tell our radio listeners you might be out with with radios listening right now your interview for something special they should listen for is there a particular hearing that you like. You mean when we play. Yeah well if he should come and check out the concert tomorrow you know it's so i see you say for Ferdie I think it's going to be at 4 o'clock 0 to 5. OK so tomorrow for four or five nights that stage and yeah I feel like we're going to pull it out you know for this time I can I can see that it's going to be hard but you know kind of type of jazz. So you feel like it's kind of jazz you can come and choose that. All right well thanks a lot.

VINCENT Well I'm going by. Vincent thank you. George x Wright of the Berkeley Monterey Jazz Quartet. And welcome glad to have you here. Thank you. Welcome to the US P. remote van My name is Geo Warner and I'm here with Larry blood and Bob Hartnett the president of MCI business sales and service. Welcome Bob. It's great to be here. Thank you. So you're involved in in the Monterey Jazz Education aspect of the festival right. Through our foundation grants and our and investment in the Monterey Jazz Festival we absolutely see one of the most important aspects is education and the arts to the middle schools the high school students in the area that receive that benefit.

It's one of our main criteria. Yeah and it's such a wonderful focal point I think of the festival itself. The kids are just so inspired when they come and play and you can see that the result of the input the monetary basically the monetary input to give these kids the opportunity to develop the dedication that they have to the music. Absolutely correct in fact. That aspect of the festival lives on year round even though the festival takes place over the next few days here. What's most important not only through the years is that they get the training but the performances the education and the balance in the lives and the children that take part of that so it really helps us as we make our philanthropic philanthropic tsunami donations in different areas. Education is a key part of that. And Monterey Jazz Festival certainly fills that bill. This is your 12th year. Do it 12 consecutive year doing this. This sponsorship is it not.

That's correct we've been very committed to this event for a number of years and have anything to say about it will be a number of years in the future also. That's great I really believe in myself and my family are active in. Over the years I've been active in the in the Santa Cruz County area in terms of working with kids in dance and music and theater arts and that's how I got involved down here through USP. At the Garden stage hosting the kids it come down here and that are the winners of the competition. And I was so inspired by seeing these kids come out and just you know I mean they are so good and so talented. And as I said before the opportunity just doesn't exist without these kind of programs. And what MCI is doing I know last year I think your contribution was in the neighborhood of three hundred thousand dollars I think it's up to 360 now is not. I believe that's correct on a cumulative basis that that amount has been invested in the education of those children and I just think that's beautiful.

So that's over the number of years that. Or is that all this year. I believe that's over the term that we've been involved with the festival. Okay that's investment in the education. How how how do you how is do you decide each year how much money you're able to pass through to the Monterey Jazz Festival and the education program as it's a an amount that as we subscribe to be the title sponsor for the event. That's an amount that's set through that relationship for the educational portion. Great for the jazz festival. It's really I think many times you think of MCI as a technology is a global network company but we really believe in the. And the charitable donations to help drive education especially the arts. We think the ballast employees we have our customer base all see this as a way to really benefit the community and also the investment in the arts going forward it really benefits our our youth of today. I think one thing that had been bandied about a number of years back. Whatever your political ideas may be I don't think that the trickle down theory

actually ended up working that well. Overall most corporations do not really take up the challenge so it's nice to hear about one that has in fact over the 12 years this event was probably more driven by our California organization and it now has become an integral part of the total MCI commitment not only to the arts and the jazz festival itself but as part of our educational endowment so it's really viewed as a key part of MCI strategy in this area. As a corporation do you have to bring back reports to your boss and say look this is what it's really doing. I mean I magine I hear it in your voice that you really feel on the edge of strong about educational program but you probably have to then go and convince some other people about it. I think the only way I need to convince them is have them attend take part. See what happens see the stage with the high school players on there see the involvement of the community. The excitement from our customers who are here both local and that attend is as part of that relationship. And although I'm a sales person that job is

already done once once they've taken part and they have all been here and been part of the Monterey Jazz Festival in fact a few years ago before he passed away our founder Bill McGowan attended numerous occasions met with and a number of the performers a number of the customers a number of the people here so from the top all the way down I think there's. Real enjoyment and a real pride of the commitment we have here with the Monterey Jazz Festival. You catch a lot of music this weekend as I am in fact I'll be here pretty much the rest of today we are going to have some dinner was some folks that are joining us and I hear throughout the evening in fact I think we present our check tonight. Great Well that's something we're probably hearing about. What it what have you enjoyed so far and what are you looking forward to. Well I think to be honest I think tomorrow I'm really looking for my top of that will be tomorrow and the high school students play. And as you said if you see a little bit of the benefit of that commitment the training really pay off. As they perform on stage I know George Benson will be on tonight so it's also exciting to see one of the

real truly global names in jazz which is truly an American artform that's enjoyed around the world and we see a nice tie in there also that MCI is truly an American company but global in stature so great relationship and that's going to be a wonderful evening and a great day tomorrow. Joshua Redman is a fine example of. You know the kind of result that a contribution like your company makes can have as he was a member of one of the high school groups that played here in 1906 and now here he is you know top man at the festival and will be here with MCI hopefully in the years to come and name him more and more people like that. Yeah and also in different parts of the community and different areas that this is a great balance not only in the jazz but and in the business in the community as a whole so it does great things. Bob thanks a lot for coming by we really appreciate your stopping it. Larry it's great to be here Gio pleasure to be with you both and you guys have a great spot here right outside the

arena and the stage. I'm looking for a wonderful event and thank you for inviting MCI to join you here. All right thank you. Juan this is Peter Wyler I'm backstage at the nightclub here at the 1996 thirty ninth annual Monterey Jazz Festival and I'm talking with Henry Robinette who just stepped off the stage after a fabulous performance. Henry Congratulations on an outrageous performance. Thank you very much. It's. Great being here. Are you having fun. I'm having a blast. This is a very symbolic occasion for me. Is this your first Monterey Festival. I mean you come here for years and the first time actually being here as well as playing great. You were digging up in Sacramento up in the Bay Area are both in a situation where it's hard for me to transplant myself family and everything else like

that. My band is based in the Bay Area. Every person is not in the Bay Area myself. Getting a lot of work. Starting to starting to yeah yeah I've reorganised some things and. I'm coming out swinging. How long has this been together. Well in this configuration it has been together probably about three four months. The whole band has been together for about 10 years. That sounds like it actually. We always play in bare feet. Always I and I you know want to be. Why and a multifaceted question probably multifaceted answer actually. Probably mainly because my feet are so big. I was 13 and a half and when I'm on stage it kind of looks like a bozo and I'm wearing shoes. So I take them off and it's it just feels much more comfortable. Actually it's kind of like I like the feeling because it makes me feel like I'm playing in my living room very relaxed. You mentioned a major influence in your past is there somebody else who comes to mind

without whom this would not have been possible. Well yeah that goes to back to the fact that Monterey is so symbolic for me because my. My cousin was Charles Mingus and he was the primary person who influenced me and I don't know whether it made me want to play music but he gave me the feeling of legitimacy when there really was no legitimacy for me being able to play music but there was. You know that was right there on the mantle. You know I you know I saw. All these CDs about a foot. Long. And on CDs are records and one of his best as far as I was concerned was make it at Monterey. Well. The echoes of Memphis are all over the moderate Jazz Festival this year and I'm enjoying it I hope you are too. A couple of just just quickly. See the woman is going to be here tomorrow. I believe you're going to be at that show. Unfortunately I can't make it. If you've got a show somewhere else. Yes I do and I wasn't able to procure those tickets those ever valuable

tickets. Now but you know I was kind of hoping that you know someone might hear and say oh he wrote this code when you wrote a tune called Cedar. Maybe we should get him together over here when you. Haven't worked that line yet. That angle. 100 thanks so much for talking with us and thanks for a great show. Hope to see you again before the festival is over. I've enjoyed it thank you for talking to me. Hi this is Pete Falco here at the nightclub stage of the Monterey Jazz Festival and we're going to catch Robert Stewart tenor saxophonist Robert Stewart at the close of his set now it was hot out there wouldn't. Oh yes it was most definitely hot up there. And you were mailing me. Yeah right you know and there are people talking to uptight Rob it was a perfect opportunity to talk about your CD

one. Oh absolutely I mean you know moderators want to know this in the largest jazz festivals in the world so I had to take advantage of the opportunity. All right now Robert you have been playing all over the place and you've been doing that not just the organ trio the organ thing but your own projects. This is got to rank about. Some of the most fun playing I mean playing with the organ is fun for you. Oh absolutely I mean I've always enjoyed the organ trio concept you know as a GM and all those jets you know and I had the pleasure of playing with Jimmy Smith. And then before so I had a lot of like experience with the organ you know and even play a little bit too you do let it. Yeah yeah all right. Yeah talk about it a little bit while he's walking off there Robert. Oh yeah Kelly is is too much for words I mean he's the great one. I mean you're one of my mentors and teachers we hang out and he's a wonderful musician wonderful person you know he's just now it's due in Friday and Saturdays at the first stop in Oakland on the Embarcadero are you with him on some of those gigs.

No not at first but we work together plays golf club deluxe on Thursdays in San Francisco and on Saturday so you know whenever I'm in town out you know I made sure I'd make sure the community gets the music you like what you see that's why I asked you because you know Jimmy has got to be three in there now it seems like there's going to be a more a more demand yet for you for you in this organ combo thing and I know you're ready for it. Oh yeah Oh absolutely I mean you know even know where it has been out about six months now so I'm about to do my second request which will be organ but I mean from time to time I'm still going to use the organ concept. Yes and let's be honest Bradford was with you on the the record. You're going to use ED you're going to do other organists I mean who have you been conceptualizing for your next CD for the next CD is going to be you know a quartet you know back to that standard jazz setting and be mostly like Yeah stuff I mean you know away from that because I've documented you know when I went in and got us I just wanted to get that out of the way and listen for people who don't know or hearing about Robert Stewart for the first time just a brief little thing.

You're out of the East Bay. You came up out of the the same groove that Joshua did right and the energy is right there. Do you feel as if you're in this wave hit and hit the city. Oh I'm what you call the dead I mean a lot of due to what Marcella's you know because he was like the first young person I had seen playing jazz so I guess he kind of got me involved in you know with the visual aspect like television that kind of thing but your radio records I mean it's so much out there now you know for young people I mean you have videotapes and all this stuff whereas you know they didn't have all that as it was a lot harder to get to and so it's a big wave I mean all ages you know you get into this jazz music and you've got it all my man I want to thank you as your drummer around here with us. I want to talk to Randy. All right well we'll stop this and we'll get it. Thanks very much. All right here's our chance to talk with it Kelley Ed it's true everybody every time you see that. Old friends every time you play people come up to you from the old days and say How you doing.

Where we're you know I grew up you know everybody that I grew up with. Try to get a lot of girlfriends as everybody knows. Well let's talk about music just for a minute now you play an organ tonight with Robert Stewart when your students as well as Rangel merit it used to be what most of it but they all graduated obviously. So not studying from them and you're not just playing organ on Sundays anymore you seem to be booked the first stops gotcha Friday Saturday nights in Oakland. Well if you club was broken down and you don't know about bar bought Hammond B3 you know so look like a new Dave and a Hammond B3 that a lot of young people get into and out of the house. Yeah you know people like Francisco generousness and then you know like getting popular. Well now most people when you made mention Ed KELLEY They say what a marvelous pianist do you see I mean obviously the organ in the piano two different axes. How do you separate them in your mind do you have to just

just take that book and leave it home and put another one in your mind. Two different personalities. I don't know. I don't know. Like I grew up my own all going to church you know. Yeah oh yeah. I just love both instruments. Could you teach it because you know this is a hot subject. Young kids are listening to the organ would you take some of your students at Laney and teach him to be three or in right good good. Yeah well you know the Beasley was available to school we have like you know just the panels. But as far as I know there's no curriculum nobody's teaching to be three you go to Berklee School of Music and they put out all these guitar players but they put not organ players. I don't I don't know me I'm an automated. I really don't know anybody who sat you down when you were young you know who turned it on. Tom is a real turn off and I

don't like about Hammond B3 you know draw bars all that stuff. I don't know anything about that. He really got my hands on this a lot of Thomas Mann you know a lot of fellows that live in the community you know a lot of Church Street. Yeah. We had our share here in the East Bay and Monterey Bay I'm with you which I always say is an east coast instrument but we done a pretty good job. Yeah I did Kelly thank you for top of stopping and talking to us Metta best of luck to you. See you my man. And I. Haven't really yet. Thirty six years ago. When you were commissioned by July Did you at least have the blues.

You said that you are your friend Professor Bill Maher said advised you to write about what you know Jack now did you know at that time that what you knew what you were going to write about would become. Such a significant part of the curriculum you know classical music. You know. Again we had no idea. You know I don't think an artist ever ever dies. Just. Do it and. Fill it out to see what happens. Well I always feel that I'm writing for posterity but never for. More contemporary. Acceptance. You know. I'm writing for. Future generations. I think I think most writers do that. For a moment just thank you for that. You're welcome thank you. Thank you for having me. Thanks to George Mason being here as well. Yeah I'll. Do it. Thank you very much. You're welcome.

I never. Thought. I'd. Join you bring in evolution of the blues back to Monterey after a long hiatus What if you'd gone ahead you got anything updated to take into account what's happened yes since then. Yes I Hi george face off. That's up to. Patrick and me and he's already at work on it. We're just starting to be. Renewed. Activity of evolution of the blues. I just did it is concerned I've been. Doing it. And truncated concert and my club's versions. But now together with George and the House we're going to be mounted as a theatrical production. And we're going to take it all over the world. I think it's time. Especially a jazz festival. Would be good for you through the year. Oh yes it's been a staple. Yes but it's the best thing I ever did. One of our working families on this is this time

around. Well you know where you heard the cliches about dreams coming true. They do. Now is that certainly is one of mine. And I'm sure George feels that way. Yeah. It is. It's a dream come true. This one. I'm. This is a highlight. Yes I well I've also had my 70th birthday Monday at Lincoln Center. That was a highlight. That was quite beautiful too. Well. They say 75. But that that's a myth. That. If you visit this there's a very serious inaccuracy about that. Well my body is 75. But the eternal spirit. That inhabits the body and gives it life. Is

onboard and cannot die. And is eternal. So I'm seven. They just verified behind it to make it acceptable to 75 a 7.5. That said I'm as good once I'm but I remember seeing the work on Broadway in San Francisco years ago and the concerts you know starting out would be sacred into the music. I remember the phrase as a matter of fact it all started in the house of the Lord. Yes that that's an influence on you in the jazz world also isn't it. Well it's an influence on me because my father was a minister and the African Methodist Episcopal Church. But whether he was. He was or not even if he hadn't been this music is church music. One of the reasons I wrote the show is to dispel. The. Myth that that the actual law and not a misconception that's a lie that the music started

and the houses of prostitution Storyville. That's a libel you know. First they lock you up and they call you lousy after. The music is the music the secular music of the American Negro church. And it was played in Storyville freely on the streets when it was owned by the French. But the French had been had been losing. To Napoleon. His first defeat was not at Waterloo which I was taught in school and which I'm sure you were. His first defeat was from Haiti. And that's when he needed so much money that he let America buy one third of the United States the Louisiana territory from the French and the first thing I did was put the music in a hard place and said if that's where it comes from that's a bass Ken ard. If ever there was one. That is religious music that we are playing and singing and that is why it moves everybody and that's why even even a socially. Upwardly mobile people even they dig it. Even though

it they think that that's not true. It's true enough for me to go with it. It's what you call OK. Wait a minute stop it off. I say it's the music of America. When I lived in London. I used to be able to spot an American on the street by the way he walked. Because he swung. Press he kept I mean I was a man away from I could tell. We are. A People imbued with a certain culture. Every country has a culture and anyone. They can show you to the. Nearest theater. Because that is their culture in Italy a child can guide you to the opera house. That is their culture. They can take you to to the ballet. That's the Russian culture. They can take you to the symphony hall. That's their culture. In America they take you to the ballet and the symphony hall and of all the European cultures. But it's in the jazz club that. That's where America's at.

It doesn't know it yet but that's where it's at. Oh. You. Might. My favorite venue in the United States I think is the Monterey Jazz Festival. No that that's not that's not that's not. I'm not quoting you. I'm telling you the truth. This is one of the best festivals not only in the United States in the world. It's 60 when they stood in the water for 20 minutes. I cried. I was I'm still when I think of that. Phrase. In my heart I felt. I really had to keep them from my eyes but they were in my heart. It's that was one of the. One of the finest moments of my whole life. That was. That was even better than being called. To do the first sacred concert by Duke Ellington and I thought that was the spot. But. When they when

this happened in Monterey. When thousands of people parted like the Red Sea to let us walk through. That was ineffable. There are no words for that. Here Sunday afternoon at the Monterey fairgrounds with some of the participants you know high school bands and we have three people from the real Americana high school band. And I'm Bobby Bishop p with Peter Waller. And your name John told a Tory era come around. The corner now. How you doing so how does it feel to be had Monterey Jazz Festival. Well it's really an honor to be here like these are some of the best musicians in the world that play here. Ella Fitzgerald and stuff so it's kind of neat that we get to come back and play on the same stage as them and yourself.

I agree as just it's just a real privilege and it's something that William for the rest of our lives and just there are just so many people here who just listen to us and it's just an honor to play here. Have either of you receive any kind of scholarships to the Jazz educational program at all. Actually I received a scholarship last year to go to the very thing in L.A. some of our band and this festival. Any particular song or school is going to do that you guys worked on there and you claim songs and your best songs that you do. What are they what instrument do you play. I play the trombone and probably the best song we're playing is mommy on the Samba which we work the whole year on and that's just one of our best minds and then Bert and you will sing sing sing which is just it's a great arrangement it's just a great song to play and it's just fun and enjoyable. Like I play tenor sax and I wrote a trombone player is playing with us Sinclair. Great player and he's going to be a martyr. He's going to you know play a future song and stuff so we got some good tunes that we can show off and

so was a real American high school located in Sacramento. Again in 1995 we won first place here and is one of the. Prizes we went to Australia this past summer. It's part of the Monterey Jazz Festival and we spent you know half weeks there. That's a whole school band or just the jazz band so you just jazz bands come to play here today. And how many members composed a band. Around about 20 or so. Years of. OK well what time you guys on four o'clock in the garden and you're going to be playing trombone. Yes. And you the sax tenor sax and the sax in yourself or no. OK give us names one more time here you go and now John torn Ohtori an air camera any more. OK so by Bishop sign off here to Monterey Jazz Festival with the high school band again real

American a high school band for clocks. Listen in award winning. Real American a high school band. Thanks a lot. Bobby BISHOP We here at the 30th annual Monterey jazz festival to Monterey fairgrounds in Monterey a wonderful Sunday afternoon here with the yellow jackets. Russell Francais and Bob Messer to the members and Russell how are you doing today. Bobby how are you. Well OK we're trying to get this interview and I'm really happy to have you guys come to our booth and give us an interview but my first question real quick Russell is give us an overview of the yellowjackets new and the original compositions in the group coming together. Well the band first got together in the late 70s playing with a guitarist who's actually from the Bay Area name Robin Ford and we made our first recording in 1981 and have

been making records ever since. There have been a couple of personnel changes in the band. Bob joined us in 1990 and our current drummer William Kennedy who's also from the Bay Area he's from Oakland joined in 86 and you know we've been playing instrumental music. Making records for a long time now. How many albums have you guys done you think. I think it's like 13 or 14 CDs something like that. We've been fortunate to win a couple Grammy Awards had a lot of the records nominated for Grammys. But Mr. Howe You came in about 1990 and I've missed a lot of your big band stuff New York sound I really appreciate and love that kind of sound you put out and how do you how do you fit in with the band you feel. I'm part of it yeah I feel very much part of the band. I think I fit in. I don't know that. I guess that's up to the listener I feel very much at home there.

It's wonderful music ship and people are very easy to work with. Just great bunch of guys and the music. Has really taken on a life of its own I mean it had a life before I came but I really am very excited about what's going on. Are you from New York area. Yes I am. Who was an inspiration for you is the sax player back as you grew up and you think even now that all the great saxophone players in and out of jazz really take a long time to name them all but it really made a concerted effort to check out the history of saxophone playing you know from the very early 1900s and early or even in the classical realm. And I you know I've tried to really do a thorough investigation of this music with the Jazz educational program that the Monterey Jazz Festival helps to stimulate. How do you see you have yourselves focusing on that as far as today with the Oakland Youth Choir. How many different choirs and how much work and details it takes to

really get to musicians and vocalists harmonize and so on and I was that a lot of work too. Well the director of the Oakland Youth Chorus did all the hard work we just sent him the music and the tape and then I think he gets together with his kids three times a week and. Formerly worked with a high school choir and performed this piece down in Los Angeles that Crenshaw High School Choir and they're you know they're in school every day and working on the music. So it's. It's not that that difficult but it takes a commitment from you know the directors and musicians willing to undertake projects that involve youth inquires in various you know ensembles and we would love to do that we're dads we have kids we enjoy that. Is the choir part playing with you the whole way through or is of splits. How's it going. Yeah we're doing 45 minutes with just the quartet and

then the choir will join us for two number three number zero ambition and the pieces that are going to perform are these pieces that were that you put together specifically for this this show while you set yourselves for more one more. It's this would be the second performer and what is the pace. It's well it's the pieces. It's it's two parts of a suite that was written music was put to my Angelos inaugural poem on the pulse of morning and. This is parts 1 and 2 of a three part suite so well was there any other interaction that happened with Maya Angelou truant in this process and you know did you have her you know out of the score and said What do you think got lines to say that's a saga that we probably can't go into here but we had hoped to include this on a recording at one point but evidently my aunt who is very much in demand her works are in demand as you know text to go with music and it's somewhat difficult to get yeah to get approval.

Yeah I don't know that she I mean we sent numerous letters I don't know that she ever received one or heard any tape about anything. Now did you have a special experience where as you were growing up and and your school program that that helped you out in your process. RUSSELL You know I didn't really study. I was studying music privately and when I was going to school I never was a part of the school music program unfortunately. And I missed missed that I wish I had been but. Now the yellowjackets band is doing a lot of clinics in you know in tandem with performances we played a lot of universities and even some high schools and Bob does a lot of clinic where can we just this last couple years have been doing a lot more clinics as bands and you know trying to you know help help young musicians as much as possible.

You ever have a situation where you give a clinic one year and you come back a few years later you touch base with some of the same kids and really hear a major do absolutely. I'll give you a perfect example today. The saxophonist that's played with Herbie Hancock a fellow named Craig handy was going to north Texas 12 years ago I did their fall concert there you know I do a lot of performances with big bands around the world and he was never you know a junior I think at the time at North Texas State and you know was playing very well but it's really great to see some of these kids I work with you know when they're in school come up and get to you know playing in these very prominent bands he's actually turned into a real strong player he has several releases of his own strikes on Arabesque records I think. Yeah a real strong player and a good composer an arranger as well. Do you have any interaction with the students about composition and structure because that's that's a real leap in some ways sure. You can go ahead and learn how to read you learn. It's a tough thing to learn how to solo. But then to do the composition that's a whole nother thing.

I always stress. Composing arranging and being a pianist even if you're a wind player as something quite essential in terms of survival in the music scene today. I know for Russell and myself composing and arranging is an integral part of what we do as players. What about there has been somewhat of a direction change sense since you got in with the band. Is that something that you can talk about just in just real briefly. Yeah. You know as during the the history of the band we've had a couple different personnel changes in as a new musician comes in because the band is a co-operative. One guy can really have a big impact it's not like a leader and sideman every man has you know contributes equally so. When William joined the band. The music really took another direction and when Bob came in it really opened up even more. He being more steeped in the jazz tradition and playing other instruments that we hadn't previously had in the band tenor and bass clarinet and Hughie

and his writing and arranging as well so yeah it takes some of the load off of you in some ways probably have another writer at about 8 in. We've been trying to collectively write which is kind of funny and we wouldn't want a video camera in the room it's something that it's guys and everyone huddled around the piano or the keyboards or whatever and it's that is really fun just to get get the ideas you know flying around the room. The Change the ban and being flexible Obviously music is always changing evolving to something new and different and fresh ideas as any new compositions or any new works and in the works fires in the studio and the competition is next in new CD than anything coming out shortly. We have a new CD forthcoming and one of brothers I think early next year. It's called blue hats and I think it's yet another leap in terms of some changes in terms of what the band has done previously

so it's hard for me to describe in words what's going on musically I think it's just need to buy it and listen to it and it's just it's pretty much a new experience each time you go into the studio and each time you put an album out it is not. And so it is. I mean we talked about this before we we were on the road together we knew we were going to have to write music do another record so we said OK let's do this we're going to the music should be bloody bloody blah. And so two months later after we've written and played all of a sudden we have this music that has nothing to do with what we talked about. I mean it just it just has a life of its own. You start writing and if stuff just comes out and it can go anywhere it's almost somewhat accidental in a way I mean you know you do something by X and you go wow what was that. And that somehow suggests a direction and you kind of you know it's like putting dots on a paper or two dots suggest a direction and then you come up with a third dot was in turn suggests maybe another direction and you just try to keep going.

In some ways they're really part of the trick. The jazz tradition but let's be realistic I think part of the musical tradition all the way back to classical composers they probably had a similar sort of creative process where they got an idea to come to a completely different place. Yeah I was like to tell the story I played in Gil Evans band one night I subbed for somebody and I was in the process of writing an orchestra piece and had very little experience running for French wine and I thought let me go pick Gill's brain he should be able to shed some light on this. And I said you know I got to write this piece that uses French horn is there anything at all you can tell me about running for French horn and he went yeah you know I like French and I generally put it in my pieces. And that was it that's what he said and I said no thanks. Yeah I mean I came to realize that you know at this point is I'm sure he had done some studying at some point but he just kind of went with his intuition and what he felt and heard and you know some of it was somewhat left to chance. OK well it's been real nice having you guys stop in and visit with us and we're really looking forward to the show.

Now I can get out there. Thank you thanks. Ments All right. Russell Ferrante of the yellowjackets. Bobby bishop here at the Monterey Jazz Festival and Sunday afternoon with the music director at Bullard High School. Mr. Lloyd John Ellis and Lloyd thanks forgiveness is time. No problem. Where is high school located. Bullard High School is located in Fresno California right in the center of the state. Well raising capital and all that kind of good stuff. But we play some hot jazz too there. OK how big is your band you're bringing here for us today. We've got a twenty one piece band. I've got a couple of sax doubled. This is education and I want to try to get as many people playing as I possibly can and to experience this because this is this is unbelievable for a high school

kid I mean this is you know the Monterey Jazz Festival Oh man this is hot stuff you know this is like you know holidays for their lives basically I'm absolutely it's stuff they'll never ever forget. And hopefully some of the will be back here on their own you know but for right now I mean this could be this could be their big moment you know. How long have you been a music director at Bullard High School. This is my second year there. OK. And had you any affiliation with the school before those two years. Well in a roundabout way. I also have a private music studio. I teach trumpet private lessons in the trumpet and I've had trumpet students at Bullard High School for I think the last six or seven years. Was it a transition when you came in with your jazz department already before you came in. Yes yes absolutely a very good one. Very strong. The only problem that it's had is it's had a different teacher. You know a different instructor every year. So you're going to hope you're hoping obviously to have some continuity just give it some solidity and some continuity.

I think it makes all the difference in the world to the to the kids. And certainly they're getting the same kind of direction you know. You know I'm twisting their head and point it in one one way instead of you know having it change every year. Well it's easier for you for your interaction with them because you actually can watch the growth you can see what they need from one year to the next etc. and you also get to know to get in touch with their feelings which as we know in high school. One day they can be real sharp and next day their horrible hormones are doing something or a pimple comes out or. Yeah it's your friend girlfriend it's high school I school kids are the word I use in needy. They need a lot and I think that's probably the biggest issue that I have with high school teachers. In fact we've got a deal set up this year that we have two teachers were fortunate enough to have two music teachers instrumental teachers and we are we told the kids guaranteed we stay after school at least an hour one of us will be there every day of the week and it makes a difference they come back in practice sometimes they come back and just hang out. You know sometimes

I hear schools they say they've got gang problems and you know my line is you know you don't have gang problems you have you have problems with your gang. You know like the band is a gang man but it's a positive one it's a really good gang sort of regular activities that really involve the student Absolutely and there are their family they take care of one another they they eat together they you know they hang together there. But the main thing is they play music together. And it seems to really lock them. Has there been an interaction that you've seen with moderate jazz festivals the support of education and jazz that had any particular impact on what you've been able to offer there. Well what I know is this is that is that my kids winning this event this last year. You can't believe the drive to come up here and I don't mean driving a car I mean these kids have been working and I mean they want to do a good job here and they want to come back here next year. So that motivation right there you can't buy it. You know you can't buy it. You win once then it's time to win twice. Absolutely.

When and if you don't that's OK because the trying is the part you know. Are there some some charts that you're using that you're particular excited about that the kids are really getting into or using. Neil Slater wrote probably our most demanding chart. It's called hourglass and it's very very soon. But the one that I'm actually the most excited about is we're doing an original count basi chart called the jumpin at the Woodside. I mean it's a cooker you know it's really a barnstormer and for these young kids to you know to be cooking on this thing it's. And where we're trying to break a world speed record on it so it's kind of fun. You know it's fun for them too. Yeah all right well it's really been a pleasure having you here and we're really looking forward to hearing your band smoke when we hear that that you're bad on the All Stars band this year is some of the best music that we've heard a number of years that so out of Bill Barry's mouth sells hot. That's very very hot. I do makes me feel good. Now my heart started to go I better get out here. All right thanks for coming by. All right thank you.

We're in the remote van and we got noted. Read man Paul Kontos who has Paul contests rather than me who has been involved for many years with the Monterey Jazz Festival and Paul want to give us a quick rundown of some of things you've been doing this weekend. Well this particular weekend seemed to be a little busier than some of the many years I am doing the CO conducting with the California all star band that I normally do with Bill Berry. Those students are playing this afternoon on the main stage and Friday night

did a set with Claudia Gomez band Claudia Gomez from Colombia. She's in the Bay Area and we did a real successful set in the nightclub Friday night and we've been working with Claudia for a while which are. Yeah yeah we've been doing some concerts the last couple years and been going very well. She's just a wonderful performer she's just got so much heart. It seems like her career is taking off for a while but not hear him. Yeah she just got really something going with the audiences and the report just seems to be wonderful So I'm. That's one of the more fun things that I'm doing now. The band that you are normally playing with specializes in lot music to ablate right. I saw you out of the street fair of the shuttle right. Right I do concerts with a group called al agree which is headed by Steve Robertson as Marie Lowe and some really wonderful musicians and we're. I call him we're the warriors of the street fairs because it seems like the

majority of gigs we do. And that's a lot of fun that's a really fun band that gives you some good experience to go for when you go to play with some other Latin players. Yeah I've played in a lot of straight salsa bands over the years and Brazilian bands and that band I'll agree is it's a Latin jazz it's actually a little more jazzy. Probably it is Latin but so I really enjoy it because it's a little bit more freewheeling and you know it's not just that like the salsa band so it's a little different so I'm enjoying it. Have you been out on any tours I know that. Last year I think you said you'd gone to Japan with the some of the All-Stars. Yeah we do that trip to Japan in August where the festival takes them over and does a lot of. We play a lot of festivals over there in Japan all over Japan and exchange programs in the schools. I didn't go this summer but I've been in previous tours over there. I didn't go and the honor band which is the Monterey just students within

Monterey County that we pick now is like a kind of a mini All Star Band within Monterey County. They took them to Europe this last summer and. Bill Berry directed them they played the North Sea Jazz Festival and Montreaux Jazz Festival so a lot of these kids you were involved with jazz education program with the Monterey Jazz Festival they not only get the great excitement of playing the Monterey Jazz Festival but of some other world some of the other little yeah. Oh yeah for the high school students some of them they were actually a few students from Monterey County that were chosen for the county honor band they went to Europe came back and we were in her system for a couple of days beginning of August and it went on the Japan trip because they were actually chosen for the for the all star band so there's a couple of talented students that they were on the road all summer. Plus we did it two weeks summer camp a jazz camp at the beginning of the summer. So they were pretty pretty real hands on training sort of and what part of the jazz experience can be like oh yeah you know they you know starting with

well the program that we do the traveling clinician program throughout the year and then in the jazz camp we were just every day all day just playing and rehearsing and you know classes two weeks straight and working with the pros of the clinicians and then on the road I mean they get an experience that you just can't get in a classroom. Any observations about the all star band this year. Well every year we say help us a good band this year it's a great band and this year I mean I think it's probably one of the better bands we've had I mean there are some extremely talented people you'll be hearing them. There's a tenor player Sam Satta Gursky from Southern California and he's just a monster player. He's just so mature so developed he's he's wonderful alto player John spell it from Sacramento area and he's wonderful. Them some of the trumpet players are fantastic they're all great. Well you were playing with John Hendrix last night on the evolution of the blues How did that come about right well.

Just kind of happened last minute. I finished the set Friday night in the nightclub of clotted Gomez and Roy Hargrove manager just kind of nabbed me and John Henderson he's a tenor player. The last minute there was a miscommunication or something. So I jumped right in they were rehearsing. They've done a lot of rehearsals for that show which was a pretty elaborate show with singers and dancers and you know choirs and everything we heard Friday night and then we had a soundcheck at 7am on the main stage yesterday Saturday morning for a few hours and did the show and it was just a wonderful It was an incredible experience being you know around all that talent. Those people are you know bigger than life and it was a great great show. Paul anything you want to say to listeners of us be. Just really appreciate everything Kay USP does to bring the Monterey Jazz Festival to audiences in the Santa Cruz area and just a lot all my friends and old group that we had called the high tones will be playing

this evening on the Garden stage. Looking forward to that a great band if you haven't been seen or seen or heard the hard tones before. These guys really kick in fact I was amazed at the time I got the high tones you know that should be fun. We had a real fun rehearsal the other day and it was great with Stan papa and Jim bomb and Paul Nagle So we're looking forward to it. Paul thanks a lot for coming by. Great to be here. Nice to see all. As Peter Wyler at the 1996 moderate Jazz Festival the thirty ninth annual And I'm standing here backstage with members of the Santa Barbara high school jazz band is that right.

Yeah what's your name. My name's Dan Escobar and what's your instrument. You're excited to be here. Definitely. What's the best things happen to you here at Monterey so far. We got to talk to John fettucine met him backstage. Did you see the show. We didn't get to see the show. It's too bad it was a great show. It sounded like it. What time you're on. We're on it 12:45. Got the jitters. Not yet. How long have you been practicing for this. All year not necessarily for this but we've been gone since last year. You're an award winning band is that right. Yeah we went to Europe this summer on a tour. Fantastic. So this is not your first time performing in the big time. No. Great great. Thanks and your name. Zach you know us. Zach What's your instrument trumpet trumpet what's Have you seen a shows while you're here and moderate just a couple walking around because we don't have any tickets until the day we played. I see so you haven't been here all weekend. Just today we were here two years ago we had backstage passes into the manor. There was some big name says it was really cool and I was going to be better this year. So you going to do a great show. Of

course anybody else. Who are you making your payments. Jeremy what's your instrument from bone on bone. How many trombones in your organization from the jazz band 5. How many people total in the jazz band. Twenty three and you're having a good time too it looks like Yeah yeah it's great. You were here all weekend. You were you're just go to every night so far. Did you see any good shows. I heard John Faddis from outside like he said that I got to meet him too. It's pretty cool. I haven't. Been to the main arena yet see any big names so that's coming later today maybe hopefully. Well thanks so much all of you thank you thank you. And one of the great things about the 1996 Monterey Jazz Festival and every jazz festival is that you might walk around in the middle of the day time and see somebody walking around next to you with a

baritone saxophone. And that's what's just happened to me. I'm here with my gun from the Monterey County honor band. I get that right. What time are you performing at 12:00 here. Right now I'm all right now you got the jitters. You know not bad I'm kind of getting over it. How long have you been practicing for this. Well we started the band assembled in January of last year so we've been working for a while. I rehearsal once a month for. A while. How many pieces. I think about four or five. I mean how many band members. Twenty. Together we're performing an hour. So you're having a good time here. Yeah. You've been here all three days. Yeah yeah I've been selling programs. What's your favorite show so far. I really like red meat on the Garden stage last night and big bands that.

You can hear their instruments all around me and it's getting harder and harder to do just a little bit more. Your favorite performance. Well I really like like my favorite stylistic James Carter and he plays every sax. Thank you so much. Thanks so much. Thank you. I'm standing outside the Turf Club at the outside bar at the Turf Club and I'm talking with the bartenders here at the 1996 moderate Jazz Festival the thirty ninth annual What's your name. My name's Renee Renee. Would you characterize the moderate jazz festival

goers as big drinkers big drinkers big drinkers in spite of the you know relatively stiff cost of a drink by all means they love to drink and I enjoy serving and that's great. How you having a good time and having a great time always do are you hearing any good music while you're here. I'm usually yes I am. You know usually I'm we're working inside the turkey club and this year I get to be out out side by side get to hear more of the Garden State music which is great. So it's just what you can hear from here. Right right right. Well it's a nice thing anyway what's what are you pouring more than anything else. Actually yesterday morning started with Bloody Marys then went to beer in the wine and then we went to cognacs. Well that seems to make a lot of sense right now. Chris thanks so much and I hope you enjoy the rest of the show. OK. Thank you have a good day. Early Sunday afternoon here at the 1996 Monterey Jazz Festival I'm standing

backstage at the main stage the arena and I'm talking with security guards What's your name. I've been running this or is this your first year moderate loss of a second. Are you enjoying the music while you're at it goes on tight. Are you enjoying the music while you're here. Yeah I do I just really. Get a chance to hear much or is it just from backstage tour. It's good to hear from backstage you to see it. Let's see what great guys. What's your name. Sergeant Haines. Sergeant Haines What's your biggest security problem at the Monterey Jazz Festival. Backstage things well they just. Keep people you know back a little bit. No rush for autographs guys with tape recorders in their hands is that ever a problem. No that's not you they're probably using the cameras in their papers and opinions are you hearing any good shows while you're here. Oh yes pretty much all of them having good bad judgment and Opal and you've got to be really really turned out but what is Clay

was good also yes. Did you have to work while you were listening to these shows or did you get to go in. Well I mean I went backstage upstairs so I get to work and see. And meeting. All of the performers. Were great thanks very much to both of you and I hope you enjoy the rest of the afternoon.