I'm Alec Baldwin and you're listening to Here's the Thing from iHeart Radio. The sound you're hearing is the magic fingers of acclaimed jazz bassist, composer and arranger Christian McBride. That's him on Stick and Move with his band Inside, straight from Live at the Village Vanguard. The eight time Grammy winner is the leader of several bands of various sizes and configurations. He's collaborated with everyone from Herbie Hancock and Diana Crawl to Sting and Celine Dion. He also serves as the artistic director of both the Newport Jazz Festival and the educational organization Jazz House Kids. Growing up, McBride was known to many as a child prodigy. He attended the Philadelphia High School for Creative and Performing Arts in the same class as Questlove and Boys to Men. He even performed on stage with both Wynton Marsalis and Miles Davis while still in high school. I wanted to know how a young talent like McBride found his entry point to a challenging genre like jazz.

I'm Alec Baldwin and you're listening to Here's the Thing from iHeart Radio. The sound you're hearing is the magic fingers of acclaimed jazz bassist, composer and arranger Christian McBride. That's him on Stick and Move with his band Inside, straight from Live at the Village Vanguard. The eight time Grammy winner is the leader of several bands of various sizes and configurations. He's collaborated with everyone from Herbie Hancock and Diana Crawl to Sting and Celine Dion. He also serves as the artistic director of both the Newport Jazz Festival and the educational organization Jazz House Kids. Growing up, McBride was known to many as a child prodigy. He attended the Philadelphia High School for Creative and Performing Arts in the same class as Questlove and Boys to Men. He even performed on stage with both Wynton Marsalis and Miles Davis while still in high school. I wanted to know how a young talent like McBride found his entry point to a challenging genre like jazz.

The music I grew up on was James Brown. James Brown has always been my number one musical hero our household, you know, like you said, you grew up on Cream and Hendrix and Zappa. My household was full of James Brown, the Temptations, Aretha Franklin, Gladys Knight, and the Pips, Al Green, Isaac Hayes. So I sort of backed my way into jazz, you did, Oh yeah, absolutely? And what was the.

The music I grew up on was James Brown. James Brown has always been my number one musical hero our household, you know, like you said, you grew up on Cream and Hendrix and Zappa. My household was full of James Brown, the Temptations, Aretha Franklin, Gladys Knight, and the Pips, Al Green, Isaac Hayes. So I sort of backed my way into jazz, you did, Oh yeah, absolutely? And what was the.

Beginning of that seduction? How did you decide? Because I mean, I'm not saying this to be kind. You seem like you could play any music you wanted to, well, thank you, and you'd have a seed in any band you wanted.

Beginning of that seduction? How did you decide? Because I mean, I'm not saying this to be kind. You seem like you could play any music you wanted to, well, thank you, and you'd have a seed in any band you wanted.

Well, that was my ultimate goal. You know, my dad is also a professional bass player, and so while I'm growing up listening to all this R and B and soul music, my dad started playing with the great Cuban percussionist Mongo Santa Maria. And so I saw my dad play with Mongo a lot, and you know, I thought, I don't know much about Latin music, but this is killing, you know. And I was eight years old and I was watching dad play with Mongo and Dizzy Gillespie was the guest soloist with the band that night, and I knew who Dizzy was I wasn't familiar with his music, but I knew who he was, you know, who didn't know those cheeks, you know, And I had seen him on The Muppet Show and you know, so he was like the only jazz musician who I knew. And after the show was over, my dad took me backstage, and I remember Meltor May was also there that night, Ella Fitzgerald and Dizzy and you know, just being around all these legendary jazz musicians, I thought, man, he's these guys are cool, you know. But even still. It wasn't until I got to middle school and I started playing the upright bass. That's when the other bass player in my family, my great uncle, he plays bass also. He got so excited that I was playing upright bass. He said, come over to my house. I got something for you, and he had a stack of records waiting for me. He gave me a crash course in the history of jazz in like six hours, you know. He played my house Cold Traine, Charlie Parker, Louis Armstrong all the way up through Weather Report and Return It Forever, and things that were contemporary like Win Marcellus and Terrence Blanchard. So He really pulled me all the way in. And the reason why I fell in love with jazz was partly because of the music, but also because of the way my great uncle taught me, which I feel is probably the most important thing that I wish more instructors would learn. So most jazz teachers, I think most jazz fans tend to be a little dogmatic. You know, they teach you how great the music is by belittling what you already like. And my great uncle never did that. So what do you mean, the little one. It's like Prince Man, he don't need to listen to No, Prince that's garbage. See, you need to listen to you need to listen to cat Jazz is a higher place, right right. So my great uncle never did that. He knew how much I loved James Brown and Michael Jackson and Prince and Rick James, and he was like, oh, yeah, they're bad too, they're bad too, But listen to this, you know. And you know he would like a cigarette, and you know he was. He had a favorite rocking chair that he like a lounge chair he sat in when he listened to his records, and he would sit way down his back was almost on the bottom of the chair, and his knees would wiggle and he would talk to the record as it was playing. He'd be like, yeah, baby, who listen to that? You hear you here with Miles is putting down baby, you know. So he was always so comical. How could you turn down? You know what I'm saying. I said, if jazz makes him that cool, I want to be like him. So that's what got me in there. Now, where'd you grew up a part of the county? You were in Philly. You're in Philly, you know.

Well, that was my ultimate goal. You know, my dad is also a professional bass player, and so while I'm growing up listening to all this R and B and soul music, my dad started playing with the great Cuban percussionist Mongo Santa Maria. And so I saw my dad play with Mongo a lot, and you know, I thought, I don't know much about Latin music, but this is killing, you know. And I was eight years old and I was watching dad play with Mongo and Dizzy Gillespie was the guest soloist with the band that night, and I knew who Dizzy was I wasn't familiar with his music, but I knew who he was, you know, who didn't know those cheeks, you know, And I had seen him on The Muppet Show and you know, so he was like the only jazz musician who I knew. And after the show was over, my dad took me backstage, and I remember Meltor May was also there that night, Ella Fitzgerald and Dizzy and you know, just being around all these legendary jazz musicians, I thought, man, he's these guys are cool, you know. But even still. It wasn't until I got to middle school and I started playing the upright bass. That's when the other bass player in my family, my great uncle, he plays bass also. He got so excited that I was playing upright bass. He said, come over to my house. I got something for you, and he had a stack of records waiting for me. He gave me a crash course in the history of jazz in like six hours, you know. He played my house Cold Traine, Charlie Parker, Louis Armstrong all the way up through Weather Report and Return It Forever, and things that were contemporary like Win Marcellus and Terrence Blanchard. So He really pulled me all the way in. And the reason why I fell in love with jazz was partly because of the music, but also because of the way my great uncle taught me, which I feel is probably the most important thing that I wish more instructors would learn. So most jazz teachers, I think most jazz fans tend to be a little dogmatic. You know, they teach you how great the music is by belittling what you already like. And my great uncle never did that. So what do you mean, the little one. It's like Prince Man, he don't need to listen to No, Prince that's garbage. See, you need to listen to you need to listen to cat Jazz is a higher place, right right. So my great uncle never did that. He knew how much I loved James Brown and Michael Jackson and Prince and Rick James, and he was like, oh, yeah, they're bad too, they're bad too, But listen to this, you know. And you know he would like a cigarette, and you know he was. He had a favorite rocking chair that he like a lounge chair he sat in when he listened to his records, and he would sit way down his back was almost on the bottom of the chair, and his knees would wiggle and he would talk to the record as it was playing. He'd be like, yeah, baby, who listen to that? You hear you here with Miles is putting down baby, you know. So he was always so comical. How could you turn down? You know what I'm saying. I said, if jazz makes him that cool, I want to be like him. So that's what got me in there. Now, where'd you grew up a part of the county? You were in Philly. You're in Philly, you know.

For me, I grew up with that music, you know, British Invasion, all that stuff in the seventies and Pink Floyd whatever. And then, as I told people on this show, because I'm a big classical music junkie, I was in a car once in nineteen eighty six, I think it was, and I turned on the radio, and you know, all the popular music that was playing at that.

For me, I grew up with that music, you know, British Invasion, all that stuff in the seventies and Pink Floyd whatever. And then, as I told people on this show, because I'm a big classical music junkie, I was in a car once in nineteen eighty six, I think it was, and I turned on the radio, and you know, all the popular music that was playing at that.

Time ceased to speak to me.

Time ceased to speak to me.

Right, So I turn on the radio and on comes SCHALTI conducted the Chicago that we were doing them all or ninth and I go down that rabbit hole of classical music forever and the same with jazz. When I saw Fosse's movie, I just was like, you know, the mathematics of jazz. Jazz to me is mathematical. Are jazz compositions written and scored like regular music, like any other music?

Right, So I turn on the radio and on comes SCHALTI conducted the Chicago that we were doing them all or ninth and I go down that rabbit hole of classical music forever and the same with jazz. When I saw Fosse's movie, I just was like, you know, the mathematics of jazz. Jazz to me is mathematical. Are jazz compositions written and scored like regular music, like any other music?

Some of them are. You know, jazz is based on improvisation, but there is a there's very much a form to it. For example, most pop songs have a very strict structure, you know, verse, verse course, verse course, bridge, verse course. You know, whereas jazz, you get a melody with the set of chord changes. You play that melody with those chord changes. Now, once you do that, you have a conversation based on that melody and those chord changes. So it's kind of like giving someone a topic and say, okay, talk about this. I don't really know what I'm going to say, but you know enough about this subject that you can just have an open conversation about it. So that's what jazz is for me.

Some of them are. You know, jazz is based on improvisation, but there is a there's very much a form to it. For example, most pop songs have a very strict structure, you know, verse, verse course, verse course, bridge, verse course. You know, whereas jazz, you get a melody with the set of chord changes. You play that melody with those chord changes. Now, once you do that, you have a conversation based on that melody and those chord changes. So it's kind of like giving someone a topic and say, okay, talk about this. I don't really know what I'm going to say, but you know enough about this subject that you can just have an open conversation about it. So that's what jazz is for me.

When I listen to different types of jazz, I mean, there's jazz I find very soothing. Obviously piano. I'm a huge Oscar Peterson nut soundtracks of movies you mentioned cab Caliwaight Nose sequences and cotton Club. But then there's jazz that is like, you know, I got no idea.

When I listen to different types of jazz, I mean, there's jazz I find very soothing. Obviously piano. I'm a huge Oscar Peterson nut soundtracks of movies you mentioned cab Caliwaight Nose sequences and cotton Club. But then there's jazz that is like, you know, I got no idea.

Where we goes that way. Yeah, it goes that way. What you said, It goes that way.

Where we goes that way. Yeah, it goes that way. What you said, It goes that way.

And these guys are playing then you're going and you know, I feel like they're going to play until they just drop. There's no end to the song. I feel they're going to play until they just pass out. Is it always was twas?

And these guys are playing then you're going and you know, I feel like they're going to play until they just drop. There's no end to the song. I feel they're going to play until they just pass out. Is it always was twas?

Ever?

Ever?

Thus was a jazz always like that? Or has it evolved over time which was much more freeform?

Thus was a jazz always like that? Or has it evolved over time which was much more freeform?

Definitely evolved before. Actually before I answered that. Knowing that you're a big Oscar Peterson, you might want to know that my godfather was the late great Ray Brown. Oh yeah, I actually have one of his basses. Oh my god. Yeah yeah, so Ray lives with me every day, and therefore some of the's Oscar. But it has evolved big time. You know. One beautiful thing is a built in challenge with jazz because no one's ever played jazz to get rich or famous. We play it because we love it. It's the highest form of musical artistry, and that you get to bring all of these things in one place and interpret it through this lens. Of what we call jazz, you know, this this swing based blues idiom. You know. But in the sixties, when people like on that Coleman and Cecil Taylor and Coltrane left Miles Davis's band, he starts to evolve on his own. The music took this extremely cataclysmic explosion where like it was turned into free jazz or what some would call avant garde, meaning that you have a form, but you don't actually have to stick to that form anymore. You know, if the song is twelve bars, well, once we start improvising, let's making thirteen bars. Let's making fourteen bars. Now the challenge is that that's a lot of fun for the musicians, but sometimes the listener is going, what the hell are you people doing? Right?

Definitely evolved before. Actually before I answered that. Knowing that you're a big Oscar Peterson, you might want to know that my godfather was the late great Ray Brown. Oh yeah, I actually have one of his basses. Oh my god. Yeah yeah, so Ray lives with me every day, and therefore some of the's Oscar. But it has evolved big time. You know. One beautiful thing is a built in challenge with jazz because no one's ever played jazz to get rich or famous. We play it because we love it. It's the highest form of musical artistry, and that you get to bring all of these things in one place and interpret it through this lens. Of what we call jazz, you know, this this swing based blues idiom. You know. But in the sixties, when people like on that Coleman and Cecil Taylor and Coltrane left Miles Davis's band, he starts to evolve on his own. The music took this extremely cataclysmic explosion where like it was turned into free jazz or what some would call avant garde, meaning that you have a form, but you don't actually have to stick to that form anymore. You know, if the song is twelve bars, well, once we start improvising, let's making thirteen bars. Let's making fourteen bars. Now the challenge is that that's a lot of fun for the musicians, but sometimes the listener is going, what the hell are you people doing? Right?

You guys have a lot of fun on glad, I'm glad you're enjoying this. And so who would you say were some of the pioneers there? Rather in terms of the changes, like who is a person that came along and click there's a change?

You guys have a lot of fun on glad, I'm glad you're enjoying this. And so who would you say were some of the pioneers there? Rather in terms of the changes, like who is a person that came along and click there's a change?

Well, I think most people would say on that Coleman was sort of like the definition, like he was the demarcation point in you know what Miles Davis and Harras Silver and blaking the jazz messengers were doing up until the late fifties, and then Ornett came along and just kind of really shook the tree and like you know, he calls the stir when he came on the scene. So most would say Ornette Coleman was sort of like the godfather of free jazz.

Well, I think most people would say on that Coleman was sort of like the definition, like he was the demarcation point in you know what Miles Davis and Harras Silver and blaking the jazz messengers were doing up until the late fifties, and then Ornett came along and just kind of really shook the tree and like you know, he calls the stir when he came on the scene. So most would say Ornette Coleman was sort of like the godfather of free jazz.

What I notice is that when I read about because you seem like a very robust, physically fit, healthy man, and I wonder, what is it about jazz that No more so than the rock and roll world, but for sure, but a lot of the people in that world were very troubled. People like Bill Evans is somebody that I was obsessed with, and I got all the Bill Evans records I could, and Evan singing with Tony Bennett.

What I notice is that when I read about because you seem like a very robust, physically fit, healthy man, and I wonder, what is it about jazz that No more so than the rock and roll world, but for sure, but a lot of the people in that world were very troubled. People like Bill Evans is somebody that I was obsessed with, and I got all the Bill Evans records I could, and Evan singing with Tony Bennett.

But I love Bill Evans, and I found.

But I love Bill Evans, and I found.

That that his life was horrible when he was like a huge he was a heroin Annet and all this other stuff, and Miles was all messed up.

That that his life was horrible when he was like a huge he was a heroin Annet and all this other stuff, and Miles was all messed up.

I mean not saying that the jazz plays.

I mean not saying that the jazz plays.

Into that or any more so than rock and roll, right, but to this day, do you find there's a spirit, there's a soul to the people that can play that music, well, that's a tormented soul.

Into that or any more so than rock and roll, right, but to this day, do you find there's a spirit, there's a soul to the people that can play that music, well, that's a tormented soul.

I don't know if that's a myth or a fact, because just like you said, I mean, you can find just as many musicians in any other style of music that had a lot of personal problems, you know. But I feel like the way jazz has been probably inside the last half century, you find less of that now than ever now. On the other hand, one of the great legends who I played with early in my career was the late great trumper to Freddie Hubbard, and I remember Freddie. He told this to my friend Clark Gaton, great trumpbone player. He says, see, man, you know what's wrong with you young cats? Y'all. Don't drink y'all, don't smoke y'all, don't eat meat y'all, health conscience by nine o'clock. Man, what the hell is that? Man? You know what you sound like it?

I don't know if that's a myth or a fact, because just like you said, I mean, you can find just as many musicians in any other style of music that had a lot of personal problems, you know. But I feel like the way jazz has been probably inside the last half century, you find less of that now than ever now. On the other hand, one of the great legends who I played with early in my career was the late great trumper to Freddie Hubbard, and I remember Freddie. He told this to my friend Clark Gaton, great trumpbone player. He says, see, man, you know what's wrong with you young cats? Y'all. Don't drink y'all, don't smoke y'all, don't eat meat y'all, health conscience by nine o'clock. Man, what the hell is that? Man? You know what you sound like it?

Harold Klerman spoke at this school when I went back to school, and he did this lecture there, the famous producer Harold Cleerman. And when it was over they someone said to me, what would you do differently? And by then he was in his eighties, what would I do differently? He said, I'd go to more parties, I'd stay out late at night, I'd have more alcohol.

Harold Klerman spoke at this school when I went back to school, and he did this lecture there, the famous producer Harold Cleerman. And when it was over they someone said to me, what would you do differently? And by then he was in his eighties, what would I do differently? He said, I'd go to more parties, I'd stay out late at night, I'd have more alcohol.

He just was like, so balls to the wall.

He just was like, so balls to the wall.

Now, is it tough in the I mean people in the classical world, people in every corner of the music business are lamenting the difficulty with digital downloads?

Now, is it tough in the I mean people in the classical world, people in every corner of the music business are lamenting the difficulty with digital downloads?

Is it? Is it tough in jazz as well? Obviously? Well it was so tough before then. I don't know if it really hasn't mattered that much. You know, because even before streaming came along, both jazz and classical musicians had the smallest piece of the pie. I think it was like one percent and three percent of the entire record buying market. So, you know, all of our money comes from playing live performances. When do you first go on the road. When are you in a club and you're getting paid?

Is it? Is it tough in jazz as well? Obviously? Well it was so tough before then. I don't know if it really hasn't mattered that much. You know, because even before streaming came along, both jazz and classical musicians had the smallest piece of the pie. I think it was like one percent and three percent of the entire record buying market. So, you know, all of our money comes from playing live performances. When do you first go on the road. When are you in a club and you're getting paid?

Yeah?

Yeah?

When did that happen? Nineteen eighty nine. I graduated from high school and by that time I had become good friends with when Marcellus, who was the hottest young name in jazz, and you met him where I met him in Philly. He came to do a masterclass and I attended this master class, and you know, I told him how much I admired his music, and I had all of his records and he kind of put me on the spot. He says, yeah, what do you play? I said, I played a bass. He said go get it, and so I ran and grabbed my bass and all the kids in the classroom were like, ooh, you know, what's he about to do? And so went and said let's play something and we played a little blues. And a couple of nights later he said, Hey, my band is playing at the Academy Music. I want you to come and sold fifteen yeah and playing with Wynton at the Academy of Music at fifteen yeah. Well he just invited me to the show. I didn't know he was going to actually invite me to come. He didn't tell you that you were going to play. No, he didn't come to see the show man. I'm sitting backstage with two of my friends, one of which was the late great Joey D. Francesco. And went and gets on a micro phone. I see his bass player is putting us bass down and my feet start getting like, where's he going? And went and gets on the microphone. He says, you know, ladies and John want to tell you about this kid I met at this masterclass a couple of days ago, like what and you know, two thousand people in the audience, you know, he said, I think you're going to be hearing a lot more about him. Please welcome Christian McBride to the stage. And I mean, like I had icicles coming off of my hands, like, oh my god. And we played what was the title track to his new album at that time. It's called Jay Mood. And from that point on he became a big brother, a mentor. He started telling people about me, say, hey, you got to look out for this kid in Philly. And so by the time I moved to New York to go to college, a few jazz musicians knew who I was. So the saxophonist Bobby Watson found out that I was going to Juilliard and he came and said, hey, I want you to make some gigs with me. I was like, what you know? So Bobby gave me my first gig in New York and I was in the fall of nineteen eighty nine at Birdland back when it was up on one hundred and fifth Street. So Bobby kind of he kicked me off my career in New York.

When did that happen? Nineteen eighty nine. I graduated from high school and by that time I had become good friends with when Marcellus, who was the hottest young name in jazz, and you met him where I met him in Philly. He came to do a masterclass and I attended this master class, and you know, I told him how much I admired his music, and I had all of his records and he kind of put me on the spot. He says, yeah, what do you play? I said, I played a bass. He said go get it, and so I ran and grabbed my bass and all the kids in the classroom were like, ooh, you know, what's he about to do? And so went and said let's play something and we played a little blues. And a couple of nights later he said, Hey, my band is playing at the Academy Music. I want you to come and sold fifteen yeah and playing with Wynton at the Academy of Music at fifteen yeah. Well he just invited me to the show. I didn't know he was going to actually invite me to come. He didn't tell you that you were going to play. No, he didn't come to see the show man. I'm sitting backstage with two of my friends, one of which was the late great Joey D. Francesco. And went and gets on a micro phone. I see his bass player is putting us bass down and my feet start getting like, where's he going? And went and gets on the microphone. He says, you know, ladies and John want to tell you about this kid I met at this masterclass a couple of days ago, like what and you know, two thousand people in the audience, you know, he said, I think you're going to be hearing a lot more about him. Please welcome Christian McBride to the stage. And I mean, like I had icicles coming off of my hands, like, oh my god. And we played what was the title track to his new album at that time. It's called Jay Mood. And from that point on he became a big brother, a mentor. He started telling people about me, say, hey, you got to look out for this kid in Philly. And so by the time I moved to New York to go to college, a few jazz musicians knew who I was. So the saxophonist Bobby Watson found out that I was going to Juilliard and he came and said, hey, I want you to make some gigs with me. I was like, what you know? So Bobby gave me my first gig in New York and I was in the fall of nineteen eighty nine at Birdland back when it was up on one hundred and fifth Street. So Bobby kind of he kicked me off my career in New York.

Now when you talk about you guys don't pick it up. You don't see Freddie Hubart, Freddy Hubbert. So when you get Freddy Hubbard's admonition that you're not living the right life, what was it like for you to be that young around.

Now when you talk about you guys don't pick it up. You don't see Freddie Hubart, Freddy Hubbert. So when you get Freddy Hubbard's admonition that you're not living the right life, what was it like for you to be that young around.

These guys, Well, specific was your mother picking you up at the stage door at the end of the show. She was definitely worried, you know, because my mother saw all the musicians that my dad played with, and they come from their old school. So when I told my mom I wanted to be a professional jazz musician, She's like, oh god, you know, really you sure? You know? So Winton, because he was so well studied. He was sort of like the complete opposite of what the image of a jazz musician had been.

These guys, Well, specific was your mother picking you up at the stage door at the end of the show. She was definitely worried, you know, because my mother saw all the musicians that my dad played with, and they come from their old school. So when I told my mom I wanted to be a professional jazz musician, She's like, oh god, you know, really you sure? You know? So Winton, because he was so well studied. He was sort of like the complete opposite of what the image of a jazz musician had been.

You know.

You know.

He didn't drink, he didn't smoke, he was clean, well studied, well read. He actually had a conversation with my mom said, listen, miss McBride, it's not like it used to be. You know, your son's going to be all right. You know, I'll look out for him. He's got a lot of big brothers who look out for him, you know. So he talked. He made it easier for my mom to let me move to New York. But when I started playing with Freddie actually a little bit of Bobby Watson too, there was still a lot of that old school element, you know, a lot of tough love. You know. They didn't put their hand on your back and say, you know, next time, maybe you should do it like this. You know, they were like, hey, what the hell are you doing? Yeah, you know it's professional.

He didn't drink, he didn't smoke, he was clean, well studied, well read. He actually had a conversation with my mom said, listen, miss McBride, it's not like it used to be. You know, your son's going to be all right. You know, I'll look out for him. He's got a lot of big brothers who look out for him, you know. So he talked. He made it easier for my mom to let me move to New York. But when I started playing with Freddie actually a little bit of Bobby Watson too, there was still a lot of that old school element, you know, a lot of tough love. You know. They didn't put their hand on your back and say, you know, next time, maybe you should do it like this. You know, they were like, hey, what the hell are you doing? Yeah, you know it's professional.

Yeah, yeah, Jazz Babs, Christian McBride. If you enjoy conversations with preternaturally gifted musicians, check out my episode with Christian McBride's band and classmate Amir quest Love Thompson.

Yeah, yeah, Jazz Babs, Christian McBride. If you enjoy conversations with preternaturally gifted musicians, check out my episode with Christian McBride's band and classmate Amir quest Love Thompson.

We weren't even really going to accept the position, and then the funniest thing happened.

We weren't even really going to accept the position, and then the funniest thing happened.

We were on UCLA campus.

We were on UCLA campus.

I went to do a quick interview in my dressing room, and when it was over six minutes later, I opened the door and on the field, Grass, Jimmy and all eight members of the Roots were in the eight is Enough Human pyramid stands and I looked at my manager. We just looked at each other and we're like, we're not giving rim this guy, are we. What Jimmy managed to do was disarm us in less than ten minutes. He's that guy like when you watch the movie and the guys are trying to dissemble the bomb in like zero point three seconds. Yea, he knows exactly how to disarm you.

I went to do a quick interview in my dressing room, and when it was over six minutes later, I opened the door and on the field, Grass, Jimmy and all eight members of the Roots were in the eight is Enough Human pyramid stands and I looked at my manager. We just looked at each other and we're like, we're not giving rim this guy, are we. What Jimmy managed to do was disarm us in less than ten minutes. He's that guy like when you watch the movie and the guys are trying to dissemble the bomb in like zero point three seconds. Yea, he knows exactly how to disarm you.

To hear more of my conversation with Questlove, go to Hear's Thething dot Org. After the break, Christian McBride talks about attending Juilliard and the challenging audition period he endured to get in. I'm Alec Baldwin and you're listening to Here's the Thing. This is eley Efe from The Philadelphia Experiment, a collaboration between Christian McBride, pianist Uri Kane and Questlove. As a jazz musician, Christian McBride natural spends a lot of time on the road. I wanted to know what life was like for someone that tours for a living. Man.

To hear more of my conversation with Questlove, go to Hear's Thething dot Org. After the break, Christian McBride talks about attending Juilliard and the challenging audition period he endured to get in. I'm Alec Baldwin and you're listening to Here's the Thing. This is eley Efe from The Philadelphia Experiment, a collaboration between Christian McBride, pianist Uri Kane and Questlove. As a jazz musician, Christian McBride natural spends a lot of time on the road. I wanted to know what life was like for someone that tours for a living. Man.

I feel so fortunate that I get to do what I love for a living. You know why complain? Yeah, things get a little hard every now and then. You know, you travel, you're on the road all the time. You don't get to see your family. You're married. I've been married almost twenty years and you have how many kids? No kids? No kids, you're a genius. No kids.

I feel so fortunate that I get to do what I love for a living. You know why complain? Yeah, things get a little hard every now and then. You know, you travel, you're on the road all the time. You don't get to see your family. You're married. I've been married almost twenty years and you have how many kids? No kids? No kids, you're a genius. No kids.

So the traveler is does your wife get to come with you.

So the traveler is does your wife get to come with you.

Sometimes when she sings in my big band? So when I play with my big band, she travels with me. But I mean she runs the foundation, so she's manning the fort at home. But you know, it's like going on the road seven days a week, probably forty to forty five weeks out of the year. That grinds on your health, you know. But the flip side of it is like, Okay, what else would you rather be doing? You know, I get to travel around the world and meet people and playing you know what I mean, It's like, there's nothing better than that. How many people in your band? So the band that I've been touring with the most for the last four years is called the New John. John is a slang terminology only used by Philadelphians in New York would be joint. So John is j A w N the New John joint yep exactly Philly term. Okay, And so that's just four of us trumpet, tenor saxophone, bass, and drums. Yeah. And I have another group called Inside Straight, which is a quintet. That band was named by a I had a fan contest I named the band contest, and a couple from Fort bradd, California submitted inside Straight, and I thought, hmm, you know, I actually do play poker, and inside Straight is the name of one of my favorite Cannibal Attley albums, so it made sense. And I have a new group. I had my big band, which is just the Christian McBride big band and comedy in that seventeen really yeah, how much did they get to travel? Not much? It's expensive. Yeah, yeah, we've gone to Asia. We went to China and Japan, but we we got a grant to go on that tour, and we did a two week European tour a few few years ago. So we don't get a chance to travel that often. But we get at least one gig every year here in New York or in Newark.

Sometimes when she sings in my big band? So when I play with my big band, she travels with me. But I mean she runs the foundation, so she's manning the fort at home. But you know, it's like going on the road seven days a week, probably forty to forty five weeks out of the year. That grinds on your health, you know. But the flip side of it is like, Okay, what else would you rather be doing? You know, I get to travel around the world and meet people and playing you know what I mean, It's like, there's nothing better than that. How many people in your band? So the band that I've been touring with the most for the last four years is called the New John. John is a slang terminology only used by Philadelphians in New York would be joint. So John is j A w N the New John joint yep exactly Philly term. Okay, And so that's just four of us trumpet, tenor saxophone, bass, and drums. Yeah. And I have another group called Inside Straight, which is a quintet. That band was named by a I had a fan contest I named the band contest, and a couple from Fort bradd, California submitted inside Straight, and I thought, hmm, you know, I actually do play poker, and inside Straight is the name of one of my favorite Cannibal Attley albums, so it made sense. And I have a new group. I had my big band, which is just the Christian McBride big band and comedy in that seventeen really yeah, how much did they get to travel? Not much? It's expensive. Yeah, yeah, we've gone to Asia. We went to China and Japan, but we we got a grant to go on that tour, and we did a two week European tour a few few years ago. So we don't get a chance to travel that often. But we get at least one gig every year here in New York or in Newark.

It's funny how the bands are touring, and therefore I was more successful the less people are in the band.

It's funny how the bands are touring, and therefore I was more successful the less people are in the band.

Absolutely. Yeah, man, you gotta wat it down to a trio. You're gonna get rich. Listen here, man, you gotta balance their budget. Now.

Absolutely. Yeah, man, you gotta wat it down to a trio. You're gonna get rich. Listen here, man, you gotta balance their budget. Now.

When you are in Philadelphia and Winton calls you up there at the Academy, when do you get to New York what year?

When you are in Philadelphia and Winton calls you up there at the Academy, when do you get to New York what year?

So that was eighty seven when Winton called me up to sit in So two years later in eighty to go where the Juilliard. There was no jazz program at Juilliard. When I went there, went to study as a classical bassist. Because while I was in high school, I was also playing a lot of classical music. So I was playing in the Philadelphia Youth Orchestra, Temple University Youth Chamber Orchestra. So I had like a little parallel thing going. And even though my heart was in jazz, I had gotten good enough at classical music where my base instructor said, you know, you should take the audition. You know, see what happens. I knew I wanted to be in New York. Again, this was this had nothing to do with classical music. I knew that I wanted to be in New York because I wanted to sort of go nag and stalk all my favorite jazz musicians. So I said, well, the only way for me to get to New York is to go to college. And so is that true, I thought, because.

So that was eighty seven when Winton called me up to sit in So two years later in eighty to go where the Juilliard. There was no jazz program at Juilliard. When I went there, went to study as a classical bassist. Because while I was in high school, I was also playing a lot of classical music. So I was playing in the Philadelphia Youth Orchestra, Temple University Youth Chamber Orchestra. So I had like a little parallel thing going. And even though my heart was in jazz, I had gotten good enough at classical music where my base instructor said, you know, you should take the audition. You know, see what happens. I knew I wanted to be in New York. Again, this was this had nothing to do with classical music. I knew that I wanted to be in New York because I wanted to sort of go nag and stalk all my favorite jazz musicians. So I said, well, the only way for me to get to New York is to go to college. And so is that true, I thought, because.

You're the kid who's fifteen who gets hand picked by Wynton to play I would.

You're the kid who's fifteen who gets hand picked by Wynton to play I would.

Have thought you would have gone to New York and you would have been walking through the doors and just playing well, you know, but my mom wasn't going to let that happen. So everybody agreed you should get an education, yes, yes, And so I only applied to three schools, the New Schoo, Juilliard, in the Manhattan School of Music exactly right, right, right. So I took an audition for Juilliard, and uh, much to my shock, I got in. You know, I think back to how traumatic that was. And one of these did that on purpose. Like one thing that they probably shouldn't have done is you could hear the other auditioners before you. Right, So I'm sitting outside of this audition room and I can hear the other bass players in there, and I mean they are awesome, you know. They're playing the Echo Sonata and the Dragon Eddie and the Kusovitski and I'm just sitting out there like, oh man, I might as well go home because I'm not playing that. You know. I went in with my little what did. I played the Vivaldi Sonata and I played a Benidento Marcello except from a sonata, and I just thought, just in terms of repertoire. I probably won't get in, you know. But I took this audition and uh, it went It was okay. I didn't think it was that great. But then two days later I auditioned for the Manhattan School of Music. The bass faculty was almost exactly the same faculty as the Juilliard, so they heard me again. And that audition at MSM went really well, And so I like to think that the bass faculty heard me and went, oh, that's what he really sounds like, you know.

Have thought you would have gone to New York and you would have been walking through the doors and just playing well, you know, but my mom wasn't going to let that happen. So everybody agreed you should get an education, yes, yes, And so I only applied to three schools, the New Schoo, Juilliard, in the Manhattan School of Music exactly right, right, right. So I took an audition for Juilliard, and uh, much to my shock, I got in. You know, I think back to how traumatic that was. And one of these did that on purpose. Like one thing that they probably shouldn't have done is you could hear the other auditioners before you. Right, So I'm sitting outside of this audition room and I can hear the other bass players in there, and I mean they are awesome, you know. They're playing the Echo Sonata and the Dragon Eddie and the Kusovitski and I'm just sitting out there like, oh man, I might as well go home because I'm not playing that. You know. I went in with my little what did. I played the Vivaldi Sonata and I played a Benidento Marcello except from a sonata, and I just thought, just in terms of repertoire. I probably won't get in, you know. But I took this audition and uh, it went It was okay. I didn't think it was that great. But then two days later I auditioned for the Manhattan School of Music. The bass faculty was almost exactly the same faculty as the Juilliard, so they heard me again. And that audition at MSM went really well, And so I like to think that the bass faculty heard me and went, oh, that's what he really sounds like, you know.

So there was no invitation to MSM. They got I got invited, Yeah, you got him both. Yeah, And I got into the new school. But I thought that if I want to continue studying classical base, I should.

So there was no invitation to MSM. They got I got invited, Yeah, you got him both. Yeah, And I got into the new school. But I thought that if I want to continue studying classical base, I should.

Go to Juilliard. Four years. I didn't make it, but I left. I started working. I started playing with Bobby Watson and my dear friend, the late Roy Hargrove had just moved to New York as well, and his career was about to explode. And Roy was like, hey, man, you're coming on the road with me. And so by the end of the school year I started working enough that only one year, right, Yeah, but that one years I learned so much and I met a lot of people. Audra McDonald was my classmate.

Go to Juilliard. Four years. I didn't make it, but I left. I started working. I started playing with Bobby Watson and my dear friend, the late Roy Hargrove had just moved to New York as well, and his career was about to explode. And Roy was like, hey, man, you're coming on the road with me. And so by the end of the school year I started working enough that only one year, right, Yeah, but that one years I learned so much and I met a lot of people. Audra McDonald was my classmate.

You know, it's funny that you say that about the blind audition or whatever and you hear the other guys in the room, because I remember in the early days when I was auditioning, it was the same. And that was you know, we'd come to a place, the old rehearsal spaces in Midtown where there were many of them, not as many now as there used to be, and we'd come to those spaces and when everybody would sit in a row of chairs, and every guy you were up against in that whole town was right right, there's Kevin Bacon, and there's that guy, and there's that guy, and they're all there and we all have the same thing, which was when you sat down and the door opened and out walked Kevin Bacon and you're sitting there and you know that something's going on in the room. Somebody's in there, and the door opens and it's Gabriel Burn. I mean, all used to lower our heads like, fuck, I.

You know, it's funny that you say that about the blind audition or whatever and you hear the other guys in the room, because I remember in the early days when I was auditioning, it was the same. And that was you know, we'd come to a place, the old rehearsal spaces in Midtown where there were many of them, not as many now as there used to be, and we'd come to those spaces and when everybody would sit in a row of chairs, and every guy you were up against in that whole town was right right, there's Kevin Bacon, and there's that guy, and there's that guy, and they're all there and we all have the same thing, which was when you sat down and the door opened and out walked Kevin Bacon and you're sitting there and you know that something's going on in the room. Somebody's in there, and the door opens and it's Gabriel Burn. I mean, all used to lower our heads like, fuck, I.

Get this job, right, did you guys, like when you're sitting there waiting to go in, are you guys speaking to each other? Was that sort of like minimally.

Get this job, right, did you guys, like when you're sitting there waiting to go in, are you guys speaking to each other? Was that sort of like minimally.

But what's interesting to me is I understand the benefits of the digital audition online auditioning that people who can't afford to come to LA they can't afford to come to there. There's guys in Kansas City, and there's guys in Salt Lake City, and men and women across the country who were submitting, you know, digitally. But I said to somebody, I go, you know, the reality was you walked into a room and you do the audition, and the casting directors who were prominent casting directors typically for all these movies I was going up for back then, they were casting multiple projects and they'd say to you, would you wait outside please? And you learn later on that they said, he's not right for this movie, but he'd be great for what we were doing. And there was a chemistry in the room that there's just denied now that they've gotten rid of all the in person auditions, you.

But what's interesting to me is I understand the benefits of the digital audition online auditioning that people who can't afford to come to LA they can't afford to come to there. There's guys in Kansas City, and there's guys in Salt Lake City, and men and women across the country who were submitting, you know, digitally. But I said to somebody, I go, you know, the reality was you walked into a room and you do the audition, and the casting directors who were prominent casting directors typically for all these movies I was going up for back then, they were casting multiple projects and they'd say to you, would you wait outside please? And you learn later on that they said, he's not right for this movie, but he'd be great for what we were doing. And there was a chemistry in the room that there's just denied now that they've gotten rid of all the in person auditions, you.

Know, with social media now, I mean, I realize this the way of the world now and it's not going to change. But I meet young musicians and mister McBride, you know, check me out, tell me what you think, and they give me like a YouTube link and I hear and see them on YouTube and it's fabulous, but you get no energy. You can't really tell what it's like, you know what I mean, I got it exactly. You know. Tommy Lupuma used to make great producer, Tommy Lupuma who he produced Natalie Cole, George Benson, Algiou, Diana Crawl. He used to tell me all the time. He's like, you know, as a record producer, every day I'm getting thousands of cassette tapes. You know. I was like, oh man, that sounds horrible, you know, And he said, but I will not sign a singer unless I can experience him live, because I want to feel what they're doing. I don't want to hear what they're doing. Say, you know, anybody can get in the studio and doctor it up a little bit and sound good. I want to hear you live, you know. So yeah, the whole digital thing, it's it's deep.

Know, with social media now, I mean, I realize this the way of the world now and it's not going to change. But I meet young musicians and mister McBride, you know, check me out, tell me what you think, and they give me like a YouTube link and I hear and see them on YouTube and it's fabulous, but you get no energy. You can't really tell what it's like, you know what I mean, I got it exactly. You know. Tommy Lupuma used to make great producer, Tommy Lupuma who he produced Natalie Cole, George Benson, Algiou, Diana Crawl. He used to tell me all the time. He's like, you know, as a record producer, every day I'm getting thousands of cassette tapes. You know. I was like, oh man, that sounds horrible, you know, And he said, but I will not sign a singer unless I can experience him live, because I want to feel what they're doing. I don't want to hear what they're doing. Say, you know, anybody can get in the studio and doctor it up a little bit and sound good. I want to hear you live, you know. So yeah, the whole digital thing, it's it's deep.

Now, Christian McBride. If you're enjoying this episode, don't keep it to yourself, Tell a friend and be sure to follow us on the iHeartRadio app, Apple podcasts or or wherever you get your podcasts when we return. Christian McBride shares the most challenging part of being a professional musician and bandleader. You can listen to all of the music from this episode and more in a curated playlist of my favorite pieces from Christian McBride. You'll find a link to the playlist in the show notes of this episode. I'm Alec Baldwin and this is Here's the thing. This is Christian McBride's new John. The track is Obsequious from the album Prime. Christian McBride studied at Juilliard for only one year before he left to play on the road with jazz trumpeter Roy Hargrove. I wanted to know how his very first professional touring experience suited him.

Now, Christian McBride. If you're enjoying this episode, don't keep it to yourself, Tell a friend and be sure to follow us on the iHeartRadio app, Apple podcasts or or wherever you get your podcasts when we return. Christian McBride shares the most challenging part of being a professional musician and bandleader. You can listen to all of the music from this episode and more in a curated playlist of my favorite pieces from Christian McBride. You'll find a link to the playlist in the show notes of this episode. I'm Alec Baldwin and this is Here's the thing. This is Christian McBride's new John. The track is Obsequious from the album Prime. Christian McBride studied at Juilliard for only one year before he left to play on the road with jazz trumpeter Roy Hargrove. I wanted to know how his very first professional touring experience suited him.

Oh man, We went to Europe and it was the summer of nineteen ninety. Now, I had gone to Europe the summer before with the Philadelphia Youth Orchestra, but it's hard to count that as my first tour because you know, it was a bunch of other high school students and my mom was one of the chaperone. It was a school trailer. It was a school trailer. We used to say it right, right, But my first time actually getting a chance to see the world was with Roy Hargrove, how long were you over there that first tour? We did? You know, I played in this band for a year and a half and we did like we were in Europe all the time. We did one month long European tour, came home, did like six weeks of gigs in the US, and then we went back to Europe for another two weeks. So we were always on the road. When you're with a.

Oh man, We went to Europe and it was the summer of nineteen ninety. Now, I had gone to Europe the summer before with the Philadelphia Youth Orchestra, but it's hard to count that as my first tour because you know, it was a bunch of other high school students and my mom was one of the chaperone. It was a school trailer. It was a school trailer. We used to say it right, right, But my first time actually getting a chance to see the world was with Roy Hargrove, how long were you over there that first tour? We did? You know, I played in this band for a year and a half and we did like we were in Europe all the time. We did one month long European tour, came home, did like six weeks of gigs in the US, and then we went back to Europe for another two weeks. So we were always on the road. When you're with a.

Band and you're a musician in a band, and you say you went out with Roy Hargrove's band, so that means Hargrove's the decider. Yeah, what music is played, what the set list is, and for you it's the same thing.

Band and you're a musician in a band, and you say you went out with Roy Hargrove's band, so that means Hargrove's the decider. Yeah, what music is played, what the set list is, and for you it's the same thing.

Oh yeah.

Oh yeah.

What's the toughest part about leading a band? What's the challenge?

What's the toughest part about leading a band? What's the challenge?

I think there's a balance in particularly in a medium like jazz. You hear a musician play and they do something that you like. There's a certain energy, there's a certain thing that they play that you like. You said, I want that in my band. But I know some band leaders that they like to rebuild a player. I'm not sure how wise that is, you know, because it's like I hear you you're great, and now let me change you, you know. So I think there's a balance in the van leader having a vision, having a certain sound in their mind, and then you bring somebody in to help you achieve that sound, but you like what they bring. So there's this give and take of like I like what you do, but I need you to do this, you know, and then that person says okay, and then there's like this give and take. I don't know if there's so much of a challenge anymore, because I tend to work with musicians who are really high level professionals. I haven't really had any rubs with too many musicians, but that's probably the biggest challenge pat Riley.

I think there's a balance in particularly in a medium like jazz. You hear a musician play and they do something that you like. There's a certain energy, there's a certain thing that they play that you like. You said, I want that in my band. But I know some band leaders that they like to rebuild a player. I'm not sure how wise that is, you know, because it's like I hear you you're great, and now let me change you, you know. So I think there's a balance in the van leader having a vision, having a certain sound in their mind, and then you bring somebody in to help you achieve that sound, but you like what they bring. So there's this give and take of like I like what you do, but I need you to do this, you know, and then that person says okay, and then there's like this give and take. I don't know if there's so much of a challenge anymore, because I tend to work with musicians who are really high level professionals. I haven't really had any rubs with too many musicians, but that's probably the biggest challenge pat Riley.

I've mentioned this before another podcast. When pat Riley was coaching the Knicks, I went off to have lunch with him because we were going to do a movie this friend of mine and I about a professional basketball coach and the intensity of the NBA. And we went to lunch with Riley and we watched the next train up in was it New Paul's wherever they were up outside the city. That we ran up there and watched the next train, which was kind of amazing, and then we went to lunch with Riley and I said, what's the job? I said, what's the challenge? He said, These guys have been champions at every level of their life. They've been winners, they've been champions. He said, They've been champions since they were eight years old, high school, college, they get to the pros, He goes, how do I get them to care one more night?

I've mentioned this before another podcast. When pat Riley was coaching the Knicks, I went off to have lunch with him because we were going to do a movie this friend of mine and I about a professional basketball coach and the intensity of the NBA. And we went to lunch with Riley and we watched the next train up in was it New Paul's wherever they were up outside the city. That we ran up there and watched the next train, which was kind of amazing, and then we went to lunch with Riley and I said, what's the job? I said, what's the challenge? He said, These guys have been champions at every level of their life. They've been winners, they've been champions. He said, They've been champions since they were eight years old, high school, college, they get to the pros, He goes, how do I get them to care one more night?

Right? See, that's the job.

Right? See, that's the job.

They've been playing at the highest level for fifteen years. Because now they're here, they getting millions of dollars, they're famous around the world. He goes, how do I get them to leave it all on the court and get out there and just blut and really work hard.

They've been playing at the highest level for fifteen years. Because now they're here, they getting millions of dollars, they're famous around the world. He goes, how do I get them to leave it all on the court and get out there and just blut and really work hard.

I think that's a challenge for a musicians. Yeah, because you know, you travel all the time, and you go from club to club, stage to stage. At some point it might get a little blurry, you know, you're like, oh, I'm tired, you know, and then you fall into that danger of phoning it in, you know. And I said, another challenge for me as a band leader, I need to keep my energy up because I always tell you younger musicians you need to follow the lead of the band leader. If the band leader is in a certain mode, you follow that you know what I mean. So like if I'm in somebody else's band and they're ready to go, and then I don't have the right to say, you know, I'm tired. I don't really feel like putting it all out there tonight. I look at somebody like Michael Jordan. I look at somebody like Freddie Hubbard. You know, like every time they gave it all every gig, whether there was thirty people in the audience, three hundred or three thousand, they played the same way every night.

I think that's a challenge for a musicians. Yeah, because you know, you travel all the time, and you go from club to club, stage to stage. At some point it might get a little blurry, you know, you're like, oh, I'm tired, you know, and then you fall into that danger of phoning it in, you know. And I said, another challenge for me as a band leader, I need to keep my energy up because I always tell you younger musicians you need to follow the lead of the band leader. If the band leader is in a certain mode, you follow that you know what I mean. So like if I'm in somebody else's band and they're ready to go, and then I don't have the right to say, you know, I'm tired. I don't really feel like putting it all out there tonight. I look at somebody like Michael Jordan. I look at somebody like Freddie Hubbard. You know, like every time they gave it all every gig, whether there was thirty people in the audience, three hundred or three thousand, they played the same way every night.

You know.

You know.

Oscar Peterson was like that, you know, just give it all all the time.

Oscar Peterson was like that, you know, just give it all all the time.

Now, do you write a lot of this? Do you write something? And have you ever because again, this connection between jazz and the movies, it creates the right it's the right texture. Do you write for TV or film?

Now, do you write a lot of this? Do you write something? And have you ever because again, this connection between jazz and the movies, it creates the right it's the right texture. Do you write for TV or film?

Ever? Do you ever do any saying? I did my first work on a major motion picture. Just recently. I wrote some of the big band music in the upcoming Color Purple doing a remake, Yeah, coming out on Christmas Day. I wanted to ask you, man, like being around all these great jazz legends and being like the young kid among all these giants. One of my all time favorite movies is Glengarry Glenn Ross and man, when I see you in that? And also the music for that film is one of the few film scores, if not the only, one that features the saxophone of Wayne Shorter. And so I remember, so I already liked the movie, but then I realized that was Wayne. So that's become like one of my all time favorites. Man, what was that like for you? Man?

Ever? Do you ever do any saying? I did my first work on a major motion picture. Just recently. I wrote some of the big band music in the upcoming Color Purple doing a remake, Yeah, coming out on Christmas Day. I wanted to ask you, man, like being around all these great jazz legends and being like the young kid among all these giants. One of my all time favorite movies is Glengarry Glenn Ross and man, when I see you in that? And also the music for that film is one of the few film scores, if not the only, one that features the saxophone of Wayne Shorter. And so I remember, so I already liked the movie, but then I realized that was Wayne. So that's become like one of my all time favorites. Man, what was that like for you? Man?

Well, it was tough because I had to piss in their face for three days. I mean, are all these legendary actors that I loved, right, And it was really tough, But I mean I had a job to do.

Well, it was tough because I had to piss in their face for three days. I mean, are all these legendary actors that I loved, right, And it was really tough, But I mean I had a job to do.

Yeah.

Yeah.

My last question for you, and that is that you have a pre show routine, Like how do you get yourself clear? When I'm acting in the theater? I got to get clear. I get the theater at six.

My last question for you, and that is that you have a pre show routine, Like how do you get yourself clear? When I'm acting in the theater? I got to get clear. I get the theater at six.

I'm glad you asked me that. What's your routine? See? One thing about the jazz communities as really small. We all know each other, you know. I always always joke, partially joking that jazz musicians probably know at least fifty percent audience personally, you know, And so everybody likes to hang out backstage, other musicians show up, fans show up, they all want to come backstage and hang. And I have now realized that I'm not good to speak to at least fifteen minutes before showtime, like leave me alone, do not talk to me, don't come backstage to get into it exactly. You know, I only want to be around the musicians who are in the band, you know. And the older I get, the more I realize how important it is just to have a little silence, you know. Just I don't want to do nothing, just I just need some peace and quiet around me. Fifteen minutes before showtime.

I'm glad you asked me that. What's your routine? See? One thing about the jazz communities as really small. We all know each other, you know. I always always joke, partially joking that jazz musicians probably know at least fifty percent audience personally, you know, And so everybody likes to hang out backstage, other musicians show up, fans show up, they all want to come backstage and hang. And I have now realized that I'm not good to speak to at least fifteen minutes before showtime, like leave me alone, do not talk to me, don't come backstage to get into it exactly. You know, I only want to be around the musicians who are in the band, you know. And the older I get, the more I realize how important it is just to have a little silence, you know. Just I don't want to do nothing, just I just need some peace and quiet around me. Fifteen minutes before showtime.

You know, we wanted you to come on the show. And then I like when we do the research. I started to get more absorbed in the stuff. You are so damn talented. Oh man, you are so damn talent from you. I was watching that thing when you're talking about a fast, playing you little tips of a fast. I'm watching all these and as I'm watching you, and I start watching more and more of these clips, I'm thinking, there's nothing you can't do musically, There's nothing you can't do.

You know, we wanted you to come on the show. And then I like when we do the research. I started to get more absorbed in the stuff. You are so damn talented. Oh man, you are so damn talent from you. I was watching that thing when you're talking about a fast, playing you little tips of a fast. I'm watching all these and as I'm watching you, and I start watching more and more of these clips, I'm thinking, there's nothing you can't do musically, There's nothing you can't do.

Thank you, thanks for coming, thanks for having me on, and honor.

Thank you, thanks for coming, thanks for having me on, and honor.

My thanks to Christian McBride be sure to check out Christian McBride live at the Newport Jazz Festival August fourth through sixth, and at the Montclair Jazz Festival Bloc Party on August twelfth. For more upcoming shows, go to Christian McBride dot com. I'll leave you with the Shade of the Cedar Tree from Live at the Village Vanguard. I'm Alec Baldwin. Here's the thing is brought to you by iHeart Radio

My thanks to Christian McBride be sure to check out Christian McBride live at the Newport Jazz Festival August fourth through sixth, and at the Montclair Jazz Festival Bloc Party on August twelfth. For more upcoming shows, go to Christian McBride dot com. I'll leave you with the Shade of the Cedar Tree from Live at the Village Vanguard. I'm Alec Baldwin. Here's the thing is brought to you by iHeart Radio

Int.

Int.