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