Live with PETER ANDERSON

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Yeah it does yeah nice to meet you you too uh. Where are you calling from i’m calling from st petersburg? Okay, so you’re so you’re um you’re in russia? Yeah not florida, not quite but uh go ahead, yeah yeah! So i’m not sure.

If you’re aware of the whole thing, but i’m basically having a chat with clarinetist, mostly jazz, [ Music ], just to to hear their story basically and to exchange some thoughts and views and whatever. So i would love to hear how you got started with the clarinet. What what made you play jazz and we’ll see where it leads yeah? Absolutely so, are we gon na is this live? Are we uh yeah?

This is a live stream. Yeah i’m streaming streaming, live to my social media channels and later there is a youtube playlist for people who watch it later sure. Well, just let me know when, when you want to begin yeah, i’m i’m ready, okay, great yeah. So, as far as when i started playing clarinet um, i started playing when i was nine years old. It was my first instrument and like most clarinetists, i started off.

You know just in school band and then i moved up into middle school and i started playing classical repertoire and you know i, like you, probably have um as i went through high school. I worked on a lot of the great clarinet repertoire, like the mozart and debussy and uh the brahms, sonatas and stuff, and at the same time i was playing jazz on the saxophone, and so they were kind of separate. And then it wasn’t until i got to new york when i was 18 that i started kind of i started working as a professional musician and i didn’t realize it, but my my skills on the clarinet and like the technique and the tone and everything were really Useful uh on the music scene, uh, you know i i thought i was coming to new york to be a jazz saxophonist and i would just keep up the clarinet for uh for fun or for enjoyment, because i love the instrument and it really like blossomed into An avenue for me to get a lot of work and collaborate with a lot of people and through those experiences i kind of delved further into the jazz clarinet and you know, uh – did research into benny goodman and artie shaw and buddy defranco, and you know the List goes on uh, so so any encouraging teachers at that time when being a teenager or yeah by yourself, yeah. Well, when i, when i first um when i first was playing in in the washington dc area, there was a there’s, a musician named dave, robinson and he’s actually the brother of scott robinson. Are you familiar with scott yeah?

I am yeah, oh yeah, incredible, so um. So here i was in maryland. I was like 13 14 years old and i was playing in this community band led by dave robinson and he’s very skilled and knowledgeable, but i didn’t realize that his brother was, you know one of the greatest read players uh on the planet. You know playing clarinet and saxophone, so i came to new york and scott was one of those players that i kind of met and was tutored by probably the biggest influence i had initially was victor goins, because when i moved to new york at juilliard, i was Studying with victor – and i know, you’ve interviewed him and and he’s just he’s, a great player he’s a really well-rounded doubler um, and he taught me a lot of what i needed to know in the beginning, to kind of break break in to being a a full-time Working musician, very cool yeah, so so, basically, when you study that juilliard this was like uh was this uh the jazz program or or classical program or yeah yeah? It was.

It was the jazz program. Um mr goins victor was was very uh gracious and that he uh taught me on the saxophone and the clarinet. I was also able to take some classical lessons on the clarinet, which i consider really important to my to my playing now like at that time. Back in school, i was really taking classical repertoire pretty seriously and much more seriously than i do now. Although i try to keep it up um i was studying with another clarinetist named alan kaye and he really challenged me.

You know to just go beyond the mozart and uh. Like really challenge me with some kind of modern pieces, we played the muchinski um, we played the bartok’s contrasts. He had me working on like a whole host of really difficult, uh exercises the creps and the yule. He really wanted to find he really wanted to teach me like a classical player, even though i had no interest of going down that road um and then, as you know, a lot of the skills from that type of playing are transferable to jazz. So you had the foundation laid out in front of you, that’s good necessary to adapt to the jazz yeah yeah.

I think so. At that time i was, i was doing both um, but then then, ultimately, i kind of like you know just blended them um. So yeah, so to answer your question yeah i would say: victor goins was my biggest influence, um scott robinson and then of course, um uh, probably ken paplowski uh was it was another he ken was was a especially when i came to town. He was one of those musicians that was working as a leader and a soloist, so he was playing at smalls, jazz club and birdland and the jazz standard, and you know i would i would it – was the kind of experience that i couldn’t necessarily get from those Other players like i would go to ken’s gigs and i would you know, listen to what songs he was performing and and the way he kind of tailored his set and his performance, and then i would at the break. I would go ask him, you know how he was able to do certain things on the clarinet, and you know what his influences were.

So i really got like a hands-on experience from from kind of following around ken, that’s nice. It’S yeah. I was going to ask that uh what interests me that when you play, i mean you play saxophone and clarinet or clarendon and saxophone at the same time, but we all know that it’s much easier to sound, rather okay, on a saxophone, much quicker than on the Clarinet and the sound is louder and everything is more funky in the beginning. So what kind of what kind of things happened that you didn’t switch completely to the saxophone folks, in this case yeah i mean, i think i think most people would agree that clarinet’s. It’S a more unwieldy instrument.

It’S you can squeak easier. You i feel like you can be out of tune um more often on the clarinet um. You know i notice, especially like in this cold weather. I know it’s cold in russia, like the the saxophone warms up. Very easily okay um, because it’s made of brass and the wood is it can crack first of all, but it’s it takes longer to warm up.

So if you’re going to a gig – and you put down the clarinet for say 10 or 15 minutes – and you pick it up – uh, it’s uh, it’s it’s cold and it’s so yeah. So i to answer your question. I think it really took me years of of practicing equally. So if i have an hour to practice i’ll do a half an hour on the clarinet and a half an hour on the saxophone, and i might go as far as to say is say: clarinet requires more practice. Uh you’ll you’ll hear people like ken paplowski talk about this um or or dan block someone who who plays both of them.

Uh. You know the clarinet, you you in order to get a sound, you have to cover the holes very accurately of the instrument and saxophone. If you’re a little bit sloppy, it’s not really going to interfere, so maybe maybe clarinet is is more important to practice. If, if you, if you’re, trying to sound good on both instruments – and you only have a limited amount of time, go to the clarinet first in terms of styles, were you attracted to one in particular like to one kind of jazz or what’s the story with you? Yeah i mean uh.

I’Ve listened to some of your stuff and, like most musicians, um uh. I do a variety of styles. So, like i’m, i love like the old swing stuff, um uh players like benny goodman and on the saxophone lester young and coleman hawkins. But then i i love like more modern styles, like john coltrane sonny rollins um. Would you play the alto right?

Oh uh? I i play mostly tenor: sorry standards, yeah, yeah, so tanner and clarinet um, yeah yeah, exactly yeah, there’s just so many tenor players. I mean when i was younger. I listened to joe henderson and uh hank mobley and uh wayne shorter. I just i was just transcribing.

So much it’s a shame on the clarinet there’s just not as many good players, and so you know if any people are watching this, that are that are really into playing jazz clarinet. I would. I would encourage them to to check out saxophone players because um you’re going to get a lot more material, uh and and solos and and repertoire uh than if you just try to stick to just the clarinetists, because, as as you know, there’s not there’s not a Ton yeah not comparable to this to the tenor sex yeah yeah. So can you tell us about your first? I don’t know maybe projects or bands with buddies as a teenager.

What kind of tunes you guys played and where did you play and what kind of working experience was there at the beginning, yeah sure? Well, when i came to new york, i moved to new york, essentially with my brother, we’re twins and we both came to attend. Juilliard and then, when we graduated, we had already kind of built up some contacts in new york. We were already working, we were subbing a bit on broadway and um. We were playing in uh various configurations, big bands and this sort of thing so um and we met a lot of the people that you’ve interviewed on your stream, dan levinson and ken paplasky dan block.

And so we were. We were already working. So when we graduated school i already had employment. I had income, you know i so i could have an apartment and pay my rent. I was doing a little bit of teaching, but mostly just playing like all types of stuff weddings concerts recordings.

You know uh summer concerts outdoors, just like whatever it was, if there was any opportunity to to play and get paid for it like i was there, you know um and – and i i did that for a little while and then after a while my brother and I started putting more and more effort into our own ensembles, so we started recording more and booking concerts and tours and stuff, and up until you know the coronavirus last year we were really lucky. We were fortunate, we had uh, you know trips, all over the world, mostly in the united states. We had trips, like i think we played in nearly all 50 u.s states and things were things were really going. Well, we were getting a lot of great opportunities and you know just really grateful for everything that new york and the jazz scene has provided so so the twins are headlining and and who’s in the rhythm section, or this is kind of what’s the band yeah yeah.

Well me and my brother: will we we’ve uh we’ve played in a lot of configurations, um our piano players um? Usually we hire ahu to sherry, um, sometimes rosano, yellow and then on bass. We use uh, neil miner and clovis nicholas. Sometimes, on drums we we hire a lot of people, phil, stewart, paul wells yeah i mean in new york, there’s just so many great players. There was.

There were several years there when, when my brother and i actually formed a group with the guitarist um, and we used a couple of guitarists felix lamero, adam mazzinia and alex wentz um, and so we booked um some tours that were uh four or six weeks. Long and we would go out and perform as a trio, so clarinet, saxophone and guitar, and we had all these um intricate arrangements that we’ve written and uh man. Our guitarists are just amazing. They did rhythm, guitar and all sorts of chordal stuff. So we kind of we kind of built up this trio and it was sometimes we would join local musicians, bassists and drummers local towns and cities, and it was a blast like all the all.

The places that we’ve performed and visited were really great yeah. That’S a great idea. I mean to travel lightly, not with too many too many musicians and too many equipment right yeah i mean when, when a lot of younger musicians ask how they can build up their touring and how they can get experiences like booking their own concerts, i always tell Them that uh, you know it might be good to give your uh employers like options um. You know even some of the great players that we look up to you know like eddie daniels. I i heard eddie daniels at dizzy’s and he was playing a duo with with him and a pianist, and it was incredible sounded like a full band.

Roger kelway was was playing piano and you know eddie plays in a lot of configurations. He plays with orchestras and big bands, but he can sound just as good when it’s just with uh, just and uh. That’S essentially what we did we, we wanted a tour. We wanted a headline at jazz clubs and stuff, but it wasn’t really feasible for say you know, fly to california with a full rhythm section and a bass and drums. So we we like paired it down and uh.

Like i said for some of the concerts, we would add musicians but yeah to younger musicians. I say: don’t be afraid about yourself and join others or kind of create, like a small project that might that might work in some smaller venues. You don’t have to go straight to these big. Could pro you know, get performances for like fifty people. First, it’s funny.

It reminds me of jeff civil silver trust. Many years ago, back in uh, he was playing. I mean, that’s a guy that took it quite far. He played the trumpet he played the hi-hat and and the piano so it was. This was a it’s quite cool.

I mean you, don’t have to do that, but i mean that’s. That’S the only thing you can do yeah. Well, if you i mean, if you, if you listen to like um, you know this is a clarinet podcast, so you can’t leave out benny goodman. If you, if you listen to benny goodman uh before his quartet, he had a trio um, and it was just teddy wilson and on pink group on drum it sounds like a full band. You know they they’ve got these mints and the way he’s playing with all of his our arpeggios and um and things i i do think it’s it’s a good lesson for younger players to you know, don’t be reliant on.

You know trying to get kenny baron and ron carter and uh jimmy cobb in your rhythm section. You know you you have to you have to learn how to play. You know a solo concert or a duo concert, and you know your your articulation and your your time. Your rhythm and your tone quality has to be so good that it’s got to stand out on its own yeah. Can you tell us a bit about your uh practicing about the instrument?

What kind of instruments you play? What kind of things you do, what helped you, but what would you recommend to to people coming up want to play jazz on the clarinet? What what what was particularly helpful to you or things like that yeah sure well i’ll, probably be repeating a lot of this um kind of things because um i i’ve heard you and you sound, good, um and i’m sure um. You know you’ve repeated a lot of this, but i’d say for me. Probably the most important thing that i learned when i was young was that i had to learn music by ear and because i think i think especially younger students are taught like they come up.

At least in america. You come up through the band program and you’re in fourth and fifth grade and you’re like reading music, as especially as an instrumentalist, and some students can’t get out of that mindset like they. They can’t play unless they have music in front of them. But musicians have an incredible ability to memorize. You know like uh, some pianists who play concert pianists will play an entire rock monologue.

Piano concerto with no music and jazz musicians should do the same thing. So if you’re a young musician, you want to be able to learn songs by ear and memorize it, and you know, because when you, when you go when you when you transition and you want to work as a professional musician, that’s the way it’s going to be. You know you’re going to go on a gig and they’re going to say. Well what songs do you know? Do you know all the things you are?

Do you know um the way you look tonight, whatever whatever it is, and you have to have the the songs memorized, you have to learn the melody like exactly the correct melody. You got to know the chords um and you you can’t be messing it up. You put away the phone yeah yeah yeah, so like this yeah, the whole thing of uh musicians like having uh their ireal book on their phone and going to the gig, and that’s that’s not what i would recommend, um so and and uh being in new york. For for a while, you’ll see that not only not only does it allow you to work to have a lot of songs, memorized and repertoire to go out when you play, but it really adds a lot to musicianship um. You know the the the more songs that you know that you’ve learned by ear and that you’ve internalized you’ve memorized them.

It gives you a lot of material to improvise with, so you don’t necessarily have to transcribe a million solos. If you just learn songs and you have the melodies memorized it’ll, give you a lot of it’ll. Give you a lot of material to improvise with you know we’re not necessarily making up everything we play uh when we improvise it’s derived from the material that we’ve learned. So if you know a hundred jazz songs by heart, you’re going to be able to improvise pretty well just just knowing that that brings me to the next question like how much when you improvise is kind of because of your training you had over the years. You know how to outline a chord or how much is is definitely in the spot, just listening to what’s going on and really to improvise, because that’s always something you can tell.

If uh i mean how much brain, how much heart is in one player right so uh yeah – i don’t, i don’t think there’s i don’t think there’s one way to do it. I think um there’s some players that i listen to, who are like really spontaneous um. I’D put someone like scott robinson into that into that group, or going back into time. Maybe someone like sunny, rollins or charlie parker, they’re they’re, so they’re playing something different on every solo. They’Re really spontaneous um and those people are really those people are geniuses, um, but then there’s you know those other musicians in history um, like maybe maybe i put like someone like cannibal elderly, into the group um that are very worked out.

You know they’re very practiced, so a lot of the material that they’re playing they’ve, they’ve, um they’ve prepared almost um and i don’t think there’s a right way to do it. I think there’s a lot of musicians out there who are improvising but a lot of what they’re playing they’ve practiced. But you know if it sounds good on stage uh. It is good. You know i i i don’t think uh if if a musician gets up on stage and and he has some uh uh uh a solo, that’s his own – that he’s come up with or she’s come up with and and uh it really sounds good.

I wouldn’t put them down for that me personally. I i like to practice and i like to work out. I definitely like to prepare. I don’t believe that you can over practice or being pr as prepared as you can, is gon na help you it doesn’t. It doesn’t hinder, uh being spontaneous, you know, so you can.

You can practice and work things out at home and you can be spontaneous when you’re playing so let’s say tomorrow. Uh somebody asks you for a gig and the guy’s gon na play a standard that you usually don’t play that much. You would just go over it at home, playing through the chords checking out. What’S going on yeah absolutely um, i think, like i was saying before i think i think uh the more preparation, the better. I guess there’s like i don’t know if it’s like a myth or or it’s like uh, the cool thing to say you know it’s like um, oh man, if, if you don’t practice, you’ll go on the bandstand you’ll like really feel it and you’ll uh, i i Don’T believe that i think um yeah, i think i think practicing is – is important and um in some ways.

It’Ll help you be more spontaneous it’ll it’ll just bring more to your bag of tricks, so yeah. If someone hired me to play something, i’d definitely practice practice. It what kind of instrument do you play i play, i play a buffet clarinet, i’m assuming you do as well are 13 or what do you guys play there? Yeah i play in r13 actually uh. Two years ago i bought a green line r13 and i’ve been playing that and i’ve been happy with it, because i had one before just a regular r13 and it kept cracking like many many times, and so you know i’m very happy with with the green line, Because i don’t have to worry about uh, you know bringing it out into the cold weather and it cracking yeah.

That’S great yeah. It’S pretty good. We got one like that in the army. I remember oh yeah did you play? Did you play in in in the military yeah?

I played marches, oh okay, so i i i had that instrument too for a long time, and i i mean it’s a great great thing, of course, that you have something so consistent. Yeah i mean i feel like uh buffets are are made like very consistently. I’Ve played dozens of them and, and they all they all play. Well, i’m not i’m not like one of those people that if i lost my particular clarinet today, i would just get another one, and i wouldn’t really like be sad necessarily and you guys arrange like you, you mentioned with your brother you’re playing together. So you guys arrange like horn lines for the two of you that that fits the music, the the style, the gig, whatever it comes yeah, especially especially with our our small small group or trio you kind of like have to arrange for that size group and the The horn player, that’s playing the accompaniment or the harmony like has to come up with some uh horn line or some complimentary line, because when you only have three people, you don’t have a lot to work with.

So in that group setting we’ve probably done like the most arranging and uh i’d, say i’d say a lot. A lot of my arranging knowledge, though, has really come out of, like just playing jazz, gigs and and especially like new orleans and dixieland um, because when you’re the clarinet player, that’s what you’re doing for the whole gig. You know if you have a trumpet player on the melody the clarinet player has to you, know, play harmonies under him or her and has to come up with like a horn line and just through doing so many of those type of gigs type of performances. I’Ve kind of like learned a lot about playing thirds and sevenths or playing you know a sixth below the melody, a third below trying to play a moving line. If the trumpet’s playing the same note, um, trying to like play, fills when there’s uh kind of gaps in the melody.

All these things that i learned on those gigs helped me when it came time to like formal arranging like with pen and paper. Okay, just have to write down what you usually do live at the gig yeah yeah. Is it the same way for you? Do you feel like? Well, i’m not an arranger.

To be honest, i i mean i i compose but uh you know it’s it’s small size. I mean it’s standard like it’s just 32 bars, not more. You know right right, yeah, i mean i feel like in jazz. It’S it’s mostly about the playing um. I, like, i feel, like i’m, mostly a player um like first i mean i’ve, i’ve written some originals and and and this and that, but i think most of what i do is like just trying to think about just my own playing and when i write and When i arrange, i really think about that, so like what you know, what’s going to be fun to play yeah as an as an arranger like, if i’m writing a melody, am i going to be able to you know inflect the melody like put vibrato or put Little nuances like on the melody, that’s going to make it really sound personal, and if it’s you know, if i’m writing, if, if i’m writing a piece or an arrangement, and it’s just very mathematical and mechanical, and it’s just a lot of 16th notes like that, doesn’t Do it for me, because then it takes all the personality out of it.

Yeah writing is a tricky part. I i noticed once i listened to a recording and the compositions were so great that all the solos afterwards, just you know, was nothing compared to that. So that’s the hard part of it when you have clearly remember that yeah yeah, it’s like uh yeah, i mean some some people, if you’re not writing for jazz. If you’re, just writing for a composition alone – um, you don’t have to worry about that. But since since i’m mainly like right for jazz, i’m usually thinking about how is the player gon na feel about my piece, and i want them to be, i want them to feel like they can their own personality into it.

Did you come across some uh claire? Not specific jazz books because i mean there are some things out, but let’s face it, nothing really, nothing really serious. I mean i i remember there is benny government and already shaw that they show some scales up and down, but it’s not really like, like a jazz method or some kind of i don’t know etudes or something did you ever see something like that like comparable to? I don’t know jerry bergonzi for a saxophone or things like that interesting. I i don’t really know many jazz clarinet books per se um, i’m trying to think um.

You mean advanced for yeah for advanced yeah. Whatever i mean guidelines or jump like like historical uh facts or i don’t know just i mean it’s interesting for every instrument. There is a lot of tons of materials around, but for when it comes to the clarinet, it’s it’s it’s quite meager, so yeah you’re right. I mean, i think one of the one of the big reasons is um. I feel like playing jazz, clarinet hasn’t really jazzed, academia, yeah, that’s true, meaning yeah, like meaning.

You can go to university or in jazz saxophone jazz, trumpet um, because the clarinet doesn’t fit into the big band um. They don’t have it as an option. So you don’t get many people um like focusing on jazz clarinet in college um. So so you, your major, was your major was the second paragraph at juilliard yeah. So no, i don’t really know of any books.

It’S i mean it’s tough on clarinet. You just got to um. It’S it’s! It’S really like dirty work. I mean you’ve got to get you’ve, got to get the recordings of sydney shay and uh and duke ellington and like jimmy hamilton and and benny goodman, and you have to sit there with the or the recording and and transcribe the solos.

Like note yeah, which is the best, that’s one thing yeah, i mean any students that watch this. To answer your question, if you go on my website, i have a trans page and um like me, and brother have compiled the transcriptions together and there’s like hundreds of uh jazz solos on there and they’re for free um. You can just down and there’s no charge or anything um, and so i think to answer your question about jazz etudes. Reading transcribe solos would probably be the best way i mean, i think, transcribing them on your own. By ear is gon na like just be looking for etudes you can.

You can check out my website. It’S the website is peter and will anderson and um you just go to the uh solos tab. No interesting thanks yeah! It’S! I just wondered uh how i came up.

I i don’t remember because these days, kids, they have all those books about everything you can it’s it’s everything on the page right, but but actually it’s the best way when you just sit down – and you have that record, you love you, try to imitate you. Try to listen, maybe write down a few notes or something i mean it’s it’s it’s obvious to me, but uh. It’S just interesting to see if people like you’re in in that case, how you came up and what was around. Was there a teacher mentioning something to you or you just had to to dig and find everything by yourself? That was basically my yeah on the saxophone.

I i had a really great teacher name and paul carr and he was uh like very deliberate about teaching um like the whole thing was like through transcription. You know so he would assign me to describe a solo and i would do the best i could at memorizing the solo and then he would like break it down like take little bits of the solo and um. We would play a lot of do you. Did you grow up playing jamie abrasol yeah? I had a face.

Yeah yeah, you had a phase yeah, so we would. We would just like for every hour lesson we would play. We would just play together. He would just turn on the amy abrasol record and the whole lesson would just be him playing and me playing and – and he would play something and i would have to play it back. You know um, we we did a lot of those two five one um on the jamie abrasive like play, the same d, my g7 c major over and over again, and so he would play like a lick or a tritone substitution thing uh, and then i would Like just have to listen and play it back and that’s yeah, that’s i mean you know it’s, it sounds it’s like elementary um, but but just just listening to somebody and trying to imitate them.

Uh is just really important. I mean we do it in language. You know we listen to our parents speak and uh when we’re learning a new language. We try to go to that country and listen to the people. Who are you know using all the slang words and and the ups and downs and the speech and and like that’s the best way to learn jazz?

You have to like sit next to the sun or listen to the recordings and really really try to imitate like the the nuance uh. I remember that was something that this way you came up like that yeah, like i remember victor going one of my early lessons. He he said i want you to get the nuances of the great players you know. So we listened to we ben webster and coleman hawkins and just to see if we could like just for a moment to get the essence of of that. And then, when i play on my own solos, i can use it or not.

Yeah. Well, that’s a great way to to have a lesson i mean: that’s, that’s! That’S! Basically, it yeah to have the teach great guy next to you playing something cute and try to follow yeah yeah, and also that the the chance that he had to follow around ken, for example, piplowski. I mean suddenly you’re next to benny goodman, with whom he played right.

So it’s it’s a small world. Somehow yeah i mean he did that he did that with benny um and yeah he’s been he’s been like just a great resource. I mean, as the other musicians you’ve interviewed. I saw you interview dan levinson. I did the same thing with him and dan block.

I went. I went and saw eddie a couple times when he was in new york. Pequito there’s another fl bob wilbur who who passed away a couple years ago, but he was a big influence. Um yeah, it’s like it’s a really it’s it’s a hands-on art form uh. A lot of what i learned was was just um was just going to hear the players in person maybe to wrap up.

You can maybe give us some some insight in in what’s what’s uh, what’s your plan, for i mean, let’s leave aside all those uh that awful situation with that is the most famous thing now, not the music but uh any ideas or plans or things that you Would like to do in the in the future when, if, if the world comes back as we know it, yeah yeah, i think i think we’re going to talk. Yeah yeah it’ll be um. My brother and i have been playing some outdoor concerts recently, um and yeah. That, like people are just as hungry as they’ve ever been for live music and for jazz. I i think, um, you know the music, where there’s a lot of like we’re talking about nuance, there’s just a lot of feeling in it and in an era when everything that we hear on tv and on the radio is like computer generated music.

You know whether it be music made with logic or pro tools or something it’s it’s very sterile. You know it’s um, it sounds. It sounds like a bunch of numbers and uh it, and so you know when a real jazz musician plays. You can hear that they’re human, they put death into it, they put the vibrato, they put the the feeling of of the blues and and um, and i think people really want that and and uh you know so yeah. So for the future.

I i i just on things things returning um. After you know, people take safety precautions um the the clubs will open up um. I do think this is also a good opportunity for for, like new venues to open up. You know a lot of the older ones. Um have closed.

Unfortunately, i mean there’s probably been at least a dozen or 20 around the world that have just closed recently. So i do think it’s an opportunity for new venues to arise and i think we’ll see that happen like in the next five or ten years. Um there’ll be some new jazz clubs in new york, um, perhaps in in russia. Um uh yeah, like uh for us like florida, is a huge state for performing um where me and my brother are actually going. We have a tour here, um things things are doing.

A lot better there people are going out so yeah. I look forward to things returning the way they are in addition to that. My brother and i have kind of increased our internet prints. So um we’ve put been putting out uh our concerts on youtube. So that’s like a new thing that we’re going to continue doing even when covid ends um.

So like twice a week, we put out some live videos of our concerts um. We have this thing on our website where we’re posting free trends uh from our solos um. So yeah in a strange way, um a lot of the things that we’ve had been forced to do during this time. Uh good and i look forward to continuing them uh when things return back to normal, you guys played some some jazz parties. Did they still exist?

Like i mean the audience is getting older and older and uh? Can you did you guys play actually? Some of those does it exist, are those yeah um yeah. We played we played in tech, desa, texas, yeah um yeah, like the i didn’t even know, uh that you were familiar with the term jazz party um yeah, like i guess, back in the 80s. They had.

These um yeah what what are called jazz parties, which were basically um performances where they just added a whole bunch of music missions, um that weren’t like made ensembles like a quintet or an octet. They were just individuals from all over the country and so basically the theory behind it is they. These musicians came uh, the jazz parties were in texas and florida and colorado and these musicians would come and they would like throw them together in in strange combinations, um and yeah, like like bob wilbur, was playing at all of them. Um warren bushey, randy, sankey, um, c uh, um uh kenny de verne was another great clarinetist who would play at these jazz parties and uh harry allen’s, uh, scott hamilton, and so it was um. I my brother and i got to play a number of them.

One was in ojessa texas, there was another in florida and yeah just to be part of this performance when you’re like thrown together, um with different musicians, and you ha and you on the spot. You had to figure out a set list and fortunately, for me, a lot of these other musicians at the jazz party were players like john eric kelso and randy reinhart harry allen, scott robinson, so i was getting to play with really experienced musicians that had a ton Of experience and kind of history behind them, that’s great. I hope i hope i can do more of that. Yeah, i’m sure you will yeah was a pleasure talking to you peter yeah. Thanks a lot.

I really uh appreciate your podcast. That was, i went on youtube right. Yeah yeah, no worries no worries at all um. I i checked out your youtube channel and um man. These these interviews are timeless.

Just like they’re, wonderful, uh, all the people that you interviewed and there’s like some of the best musicians in the world. So thank you for doing that. Yeah thanks for acknowledging so yeah somebody’s whistling. I think that’s our sign right! Yeah!

Probably this police is coming, see you later man and thanks a lot for for sharing. What’S what’s happened so far, uh in your life, i mean you’re, still a youngster, so we’ll look forward to everything. That’S coming thanks! You too yeah, i hope to be in touch. Also cheers

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