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notes for telling you or vice versa. One time when I was writing a song in my name | en | id03701 | male |
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gospel singer, jazz singer, R&B singer, everything. So like six nights out of the | en | id07417 | male |
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And, you know, I've been to many jazz festivals, and it's extremely jazz. And I've seen enough of that. So I want to hear. | en | id07417 | male |
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That's the political correct way to go. Talent-wise, we should win. | en | id07417 | male |
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another album. I'm in the middle of producing Chaka Khan's new record as well, so we got a lot of things | en | id07417 | male |
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up. It's being together and sucking everything up and seeing how once we got to LA, we did the show a few days ago and seeing how much love and how much support people have for us. | en | id07417 | male |
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getting all the tweets and stuff that people really want us to win you know what I mean so it's just good to have that support system and just be out here | en | id07417 | male |
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really cool with all the MCs and Bilal was on the Commons records and I was... | en | id07417 | male |
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They would come to my little jazz gigs, my little stuff I would do in the bars while I'm in college. | en | id07417 | male |
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Balao's album so we flew down to Detroit me and Balao got to hang with Dylan for two weeks | en | id07417 | male |
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A lot of the most amazing musicians, especially young African-American musicians, come from | en | id07417 | male |
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that believe they're you know they making a certain amount of money a week they're comfortable they're good | en | id07417 | male |
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have conversations with them about music. And so they could try to reach for something else because they're so talented. | en | id07417 | male |
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because that's where they're used to being. They've been making money for years there. They're comfortable there. | en | id07417 | male |
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My next project, I have a few different options in my mind. I'm thinking. | en | id07417 | male |
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You mean I can play music that I like? You know what I mean? Because a lot of times you come up, | en | id07417 | male |
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you know there's really not much of a lane they kind of give you hip-hop and they give you straight up r b they don't give you much time much space to be creative | en | id07417 | male |
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know it's very hard i'm not sure who's performing but um i'm i really want to see barry gordy get this award | en | id07417 | male |
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Grammy? No, especially not that Grammy. I didn't think the R&B Grammy. Honestly, no, because I didn't think there was a | en | id07417 | male |
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Yeah, it's, I mean, my love is jazz, so the spine of my last two records, they're called Black Radio 1 and Black Radio 2. | en | id07417 | male |
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You know, we have so much experience in so many genres that we've created. It's hard to get them all on one record, | en | id07417 | male |
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for it. You know the Grammys are very lane oriented and especially for urban musicians. | en | id07417 | male |
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The spine of it is jazz meaning it's just a freedom in the music that you hear and it's all live instruments But there's definitely it's it's so connected to soul and hip-hop Which is why in 2012 we won R&B album of the year at the Grammys, you know with that So it's connected to soul and hip-hop but the spine and the spirit of it is jazz So it just it's just albums that embody the black music | en | id07417 | male |
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And I was never actually in the band until high school. I always had a fascination | en | id07417 | male |
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and through that man that's how i'll end up pretty much you know where i am now i'm a product | en | id07417 | male |
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taking the upright bass seriously because I had learned it pretty much on my own. | en | id07417 | male |
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So I said, you know, how can I get in an orchestra | en | id07417 | male |
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musicians that helped me really attain another understanding of the instrument. | en | id07417 | male |
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And that's how I became kind of involved in that and learned | en | id07417 | male |
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available you know I said oh wait I can do this I don't have to just be on the road just | en | id07417 | male |
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Things are going well for me. I was a product of that because that was my only way of being exposed to jazz | en | id07417 | male |
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Clark and get to talk with them on another level about what they're doing with their compositional careers and how they found a way to make it all work for | en | id07417 | male |
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me man because it wasn't until that last year of school where I met Christian McBride | en | id07417 | male |
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a lot of questions, being in the right place. Not necessarily prepared at the time, but being willing to say yes, I can do it or yes, I'll be | en | id07417 | male |
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who's a bass player and a big influence on me, Thaddeus Trebette. | en | id07417 | male |
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On there, Aaron Parks, Travis Sale, some of those guys that I've worked with Maxwell with, | en | id07417 | male |
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Bootsy Barnes and I was voicing to a lot of people based off of my experience | en | id07417 | male |
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you know I don't have that thing you know a lot of people might want to say oh yeah well and I practice ten hours a day trying to | en | id07417 | male |
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the way different people kind of perceive music, how they understand music, you know what I mean, how they see it. Because working on Bach... | en | id07417 | male |
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not stayed in school and made that decision to go back to school just for those extra eight months that created a new path for me so coming out of school | en | id07417 | male |
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that just blew my mind from a compositional aspect and that opened up another avenue that I can honestly say I don't think I would have even attempted | en | id07417 | male |
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interested in working with him and I ended up filling in for him a couple of times and then got the position working with him and through him that opened up a lot of opportunities | en | id07417 | male |
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I was playing with a lot of R&B groups at the time, Jill Scott and Music Soulchild, that style of music. | en | id07417 | male |
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was either sports or music you know so that's how I got involved and I was inspired by the bass player from my mother's church | en | id07417 | male |
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We're going to do a project together. We just don't know when it's going to be. We're trying to work it out. But we're definitely going to do a | en | id07417 | male |
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These are people I love And that I rock with And so I wanted to find a And I wanted to Find a way to keep Black radio out | en | id07417 | male |
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It's all live band. I don't do production on my albums all live band. It sounds like production. That's because we're playing it purposely | en | id07417 | male |
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But for the remix album, I wanted to throw in some people that I rock with | en | id07417 | male |
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It happened to be a week where most of the people, what, maybe nine out of 11 were actually... | en | id07417 | male |
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Let me move on to something a little bit different. I want to ask about the upcoming projects. I know there's going to be a black radio. | en | id07417 | male |
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Has there ever been a moment where basically you were just blown away, a jam session or | en | id07417 | male |
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remakes. But we come at it with a fresh palette. Sometimes I've done remakes for other people and I've told them I don't want to hear | en | id07417 | male |
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Rolled through the studio and a lot of people came and didn't know what we were doing and we just kind of sat there. | en | id07417 | male |
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always play music from the heart it's not about the technicality all the time so it's like when it's time to be technical we can do that but most of our stuff is really coming from the heart and we grab | en | id07417 | male |
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me and that could still happen and so yeah we won that grammy i felt like um that was a great thing and it happened right after us you know two bands were nominated | en | id07417 | male |
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Everybody had to do that. Everybody had to believe that. When you come in and you're doing something that everybody else is not doing, you have to have a sense of, | en | id07417 | male |
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you don't have to sound like Chris Brown or Rihanna you know you can actually play music that is your own and that's on | en | id07417 | male |
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That's why Prince is Prince. You know, that's why Stevie is Stevie. That's why all of our great icons in the music | en | id07417 | male |
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have we met before? Why do I know you? He was like, well, Heather Hunter's my, my, my, | en | id07417 | male |
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The girls are back behind him making out, right? | en | id07417 | male |
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He speaks to the gangsters, he speaks to the backpackers, he speaks to the people in the | en | id07417 | male |
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and it was just like, it was all about the music for him. All about the music, and that's what I, it takes courage to do that, especially somebody at his stature, you know, | en | id07417 | male |
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influence. After that album came out, you can hear the influence with so many albums now that dropped after that. | en | id07417 | male |
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it took courage because he could have easily got you know every rap album is the same damn guest this song features chris brown nicky benign this song features | en | id07417 | male |
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speaking to everybody, and it's casually positive. It's just not obviously positive. | en | id07417 | male |
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put up eight songs in a row. I played on nine songs on the record. He put up eight songs in a row that night. I didn't get up from the piano bench. I literally sat there to play a joint once and I would play, I would listen to it and play what I hear | en | id07417 | male |
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And then I went over to her and I was like, have you been talking to this guy? And she's like, I'm so confused. And I was like, no. And I felt, my heart was broken. So then we actually broke up over that thing. I was in the car, I was in the drive-thru at the- | en | id07417 | male |
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What's up, y'all? This is your man Robert Glasper, and we are celebrating R&B music, rhythm, and blues in the 2016 Essence Festival. | en | id07417 | male |
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what people want back then it wasn't about this is what people want it was how dope are you and how | en | id07417 | male |
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You know, we need somebody to be like the next guy. That's how you make it. You gotta be like the next guy. | en | id07417 | male |
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bands, the R&B. Like I always say, black music is a house with a lot of room | en | id07417 | male |
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dope stuff because my mom knew I wanted to be a musician. I remember I got a spanking because I didn't want to go see | en | id07417 | male |
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11 songs of his musical diaspora meaning that he's paying homage to the music that he grew up listening to as a kid and developed as a musician throughout his | en | id07417 | male |
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Eric Hodge, bassist, who used to play for the great Robert Glasper. | en | id07417 | male |
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Hello, welcome to this very special edition of the Pace Report. I'm Brian, Pace Reporting, live here at BB King's here in New York City. | en | id07417 | male |
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John Harold, John Ellis, Ben Williams, Nerf Felder, and Gretchen Pallotta, just to name a few. Tonight, we sat down earlier and we talked about his origins growing up in Newark. We talked about how he developed as a drummer as well as a musician. | en | id07417 | male |
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As always, please visit my website, www.thepacereport.com, for my weekly column as well as my past segments. | en | id07417 | male |
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This album has a hodgepodge of great musicians on it, ranging from Robert Glasper, | en | id07417 | male |
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Tonight marks an important milestone for drummer Otis Brown the third and tonight. He's performing selections off his debut record | en | id07417 | male |
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He brings that organically and naturally because that's the music he loves, just like me. | en | id07417 | male |
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this dynamic new york city record release performance party also i'd like to personally thank the talented staff here at bb kings for their warm hospitality | en | id07417 | male |
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saxophone ensembles helped him as a drummer ranging from the great Oliver Lake to his | en | id07417 | male |
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I'd like to personally thank Gretchen Pilato for her time as well as the staff and management here at the Jazz Standard as always please visit my website www.thepacereport.com for my weekly column as well as my past segments until next time remember if it's in the | en | id07417 | male |
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out now. Where do you see yourself going musically? Where do you see other | en | id07417 | male |
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vocalist Gretchen Pilato's latest CD, The Lost and Found, has been getting lots of positive press. And what she's been able to do over the last five or six years is, one, she's been able to be straight ahead as far as singing traditional jazz, but she's been able to successfully fuse both pop, world music, as well as R&B. Tonight she's performing selections off her new CD, and tonight we're going to talk about her career, as well as her view on where jazz music, as far as a vocalist, is going. So let's get started. | en | id07417 | male |
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Hello, welcome to another edition of the Pace Report. I'm Brian Pace reporting live here at the Jazz Standard here in New York. | en | id07417 | male |
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Gotta do it again For another edition Of the Pace Report I'm Brian Pace Reporting live here At the Jazz Standard | en | id07417 | male |
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You know, because we're adding these other elements into it. Now it's not jazz. Jazz is. | en | id07417 | male |
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It's pretty much a regurgitation of the last 15 years I keep hearing the same things. | en | id07417 | male |
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I mean, it's supposed to keep moving. That's what keeps it alive. It would have died a long time ago if everybody had the mindset that a lot of these people have today. You know what I mean? If you had the mindset of a lot of these jazz purists, jazz would have stopped. | en | id07417 | male |
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or late 1920s or something. It would have ended there. But it takes people to say, fuck that. | en | id07417 | male |
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I'm not saying cats aren't killing and cats aren't playing. A lot of cats are killing, a lot of cats are playing, but what are you doing that's exciting? You know what I'm saying? What are you doing that makes me want to rush to the CD store? | en | id07417 | male |
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that melting pot music is not just one thing. Without other elements, there would be no jazz. So just by definition alone, | en | id07417 | male |
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because it's not much going on that's interesting anymore when you think about jazz, you know what I mean? I haven't been excited. | en | id07417 | male |
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is all different. The free jazz era is different. The hard bop era is different. You know what I mean? Then you can move into some fusion. That's different. | en | id07417 | male |
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You know, so that's kind of why I say jazz needs to slap because now that we're doing what we're doing, people are like. | en | id07417 | male |
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not just a jazz lover yeah you know what i mean how he's crossed over to hip-hop he's the first | en | id07417 | male |
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player back in maybe 2003 I want to say I was a guest on Terrence Blanchard's record Bounce and he had Lee Nell on the record as well and we met at that point so | en | id07417 | male |
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Since you brought up the hip-hop, I know you play with most, you play with most. I know Mark, you play with most. | en | id07417 | male |
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So hip hop, we had a conversation today, not gonna put anybody out there about a jazz club. | en | id07417 | male |