Taking a Walk.

Taking a Walk.

I always never want to learn a lot of licks or anything, you know. I mean, I've spent time doing that in copying people solos and learning step and I've always been worried about like how to interact with the musicians and how to take someone on they if they don't have an idea, to throw them something that they can grab on to, or there's always a give and take.

I always never want to learn a lot of licks or anything, you know. I mean, I've spent time doing that in copying people solos and learning step and I've always been worried about like how to interact with the musicians and how to take someone on they if they don't have an idea, to throw them something that they can grab on to, or there's always a give and take.

That's kind of what's exciting about it.

That's kind of what's exciting about it.

Welcome to our musical journey as we take a walk with Robert Walter on the Taking a Walk Podcast with your host Buzz Night. Robert Walter is a key figure in the soul jazz scene and a founding member of the renowned Gray Boy All Stars. He divides his time between the band, his own project called Twentieth Congress, and his thriving career in film soundtrack composition in Los Angeles. Most recently, Walter has been touring with Pink Floyd co founder Roger Waters. Joined Buzznight Now as we step into the world of Robert Walter on the Taking a Walk Podcast.

Welcome to our musical journey as we take a walk with Robert Walter on the Taking a Walk Podcast with your host Buzz Night. Robert Walter is a key figure in the soul jazz scene and a founding member of the renowned Gray Boy All Stars. He divides his time between the band, his own project called Twentieth Congress, and his thriving career in film soundtrack composition in Los Angeles. Most recently, Walter has been touring with Pink Floyd co founder Roger Waters. Joined Buzznight Now as we step into the world of Robert Walter on the Taking a Walk Podcast.

So, Robert, let's start with the origins of the Gray Boy the Gray Boy All Stars. How did you first get involved with uh with the DJ gray Boy.

So, Robert, let's start with the origins of the Gray Boy the Gray Boy All Stars. How did you first get involved with uh with the DJ gray Boy.

So I had had a band with with Zach Major and Chris still Well, who were the bassis and drummer, the original drummer and still basis for Grave Boy All Stars. But I had been in the band with them previously, and Zach had started to hang around with DJ Gray Boy. He had a studio in the kind of in our neighborhood, and he had been recording some stuff with Carl Danson and he had made that record Freestyling, which was kind of like it was like beats produced, like sampled breakbeats and stuff, but with live horn players and live.

So I had had a band with with Zach Major and Chris still Well, who were the bassis and drummer, the original drummer and still basis for Grave Boy All Stars. But I had been in the band with them previously, and Zach had started to hang around with DJ Gray Boy. He had a studio in the kind of in our neighborhood, and he had been recording some stuff with Carl Danson and he had made that record Freestyling, which was kind of like it was like beats produced, like sampled breakbeats and stuff, but with live horn players and live.

Jazz over the top of it.

Jazz over the top of it.

But he he wanted to have a live band to play the record release for that album, so we just kind of put together the band for that one gig. But the chemistry was so good on the first rehearsal that we were just like, let's book some more gigs, and it kind of just grew.

But he he wanted to have a live band to play the record release for that album, so we just kind of put together the band for that one gig. But the chemistry was so good on the first rehearsal that we were just like, let's book some more gigs, and it kind of just grew.

Out of that.

Out of that.

But that's part of why it's called the Grave Boy All Star. It was supposed to be just this one off sort of promotional gig for his album that none of us are on except for carlum So and what.

But that's part of why it's called the Grave Boy All Star. It was supposed to be just this one off sort of promotional gig for his album that none of us are on except for carlum So and what.

Was it like at the Green Circle Bar?

Was it like at the Green Circle Bar?

Do we have that place? Correct? And yeah, so that San Diego.

Do we have that place? Correct? And yeah, so that San Diego.

Yeah, So Grave Boy would spin there every Wednesday, and we started to play a first and a second set in between his DJ sets, and then it just became this whole phenomenon where it got It was packed every Wednesday. It was kind of cool that it was on off night so that it was It wasn't for like weekend Warriors. You had to be pretty hard core ext day out to two in the morning on a Wednesday, you know, to see this band. But it became kind of our home home turf and it was a good way. You know, you play the same room, so you're real comfortable with the sound, and we would try different songs out all the time and constantly be working on stuff and adding tunes to the repertoire and it's.

Yeah, So Grave Boy would spin there every Wednesday, and we started to play a first and a second set in between his DJ sets, and then it just became this whole phenomenon where it got It was packed every Wednesday. It was kind of cool that it was on off night so that it was It wasn't for like weekend Warriors. You had to be pretty hard core ext day out to two in the morning on a Wednesday, you know, to see this band. But it became kind of our home home turf and it was a good way. You know, you play the same room, so you're real comfortable with the sound, and we would try different songs out all the time and constantly be working on stuff and adding tunes to the repertoire and it's.

Really a great night. And then Gray Boy would spin.

Really a great night. And then Gray Boy would spin.

He'd usually start off playing like sort of straight up jazz records, maybe like Boogoloo or soul jazz stuff, but not really great backbeat stuff.

He'd usually start off playing like sort of straight up jazz records, maybe like Boogoloo or soul jazz stuff, but not really great backbeat stuff.

Then we'd play a set.

Then we'd play a set.

Then he'd play a bunch of funky jazz stuff like Lou Donaldson Records, Grant Green, some James Brown stuff like that, and then after that he would usually play a kind of hip hop that had sampled all these things. So it was kind of a whole arc and history of Black American music in this one night.

Then he'd play a bunch of funky jazz stuff like Lou Donaldson Records, Grant Green, some James Brown stuff like that, and then after that he would usually play a kind of hip hop that had sampled all these things. So it was kind of a whole arc and history of Black American music in this one night.

So it was a very cool thing.

So it was a very cool thing.

So before you met him, and when you were younger, were you always around this really unique, eclectic bunch of people like you still are.

So before you met him, and when you were younger, were you always around this really unique, eclectic bunch of people like you still are.

Yeah.

Yeah.

I mean, my father was a musician, played drums and bands, and we had a piano, We had a bunch of cynthesizers at the house. He was really into like building sort of like modular synth and stuff, so so we had that. He my parents had a pretty cool record collection with a lot of variety of music. And then I was in the bands that were totally different styles than this. Before I was kind of in the in the punk rock scene in San Diego and playing and you know, I grew up in the eighties, so I was into to sort of heavy music, and you know, my first band was kind of a heavy metal band, and then you know, and then I became interested in jazz sort of from the perspective of the sort of chance taking and the sort of rebellious nature of it, you know, from back in the day, so that that's kind of what attracted me to originally, and then it just kind of grew from there.

I mean, my father was a musician, played drums and bands, and we had a piano, We had a bunch of cynthesizers at the house. He was really into like building sort of like modular synth and stuff, so so we had that. He my parents had a pretty cool record collection with a lot of variety of music. And then I was in the bands that were totally different styles than this. Before I was kind of in the in the punk rock scene in San Diego and playing and you know, I grew up in the eighties, so I was into to sort of heavy music, and you know, my first band was kind of a heavy metal band, and then you know, and then I became interested in jazz sort of from the perspective of the sort of chance taking and the sort of rebellious nature of it, you know, from back in the day, so that that's kind of what attracted me to originally, and then it just kind of grew from there.

So but yeah, I always liked all different kinds of music, still do.

So but yeah, I always liked all different kinds of music, still do.

And how did you learn or how do you continue to learn both the art of collaboration but also you know, the importance and the art of improvisation as well.

And how did you learn or how do you continue to learn both the art of collaboration but also you know, the importance and the art of improvisation as well.

I always never want to like learn a lot of licks or anything, you know. I mean, I've spent time doing that in copying people solos and learning stuff, but I've always been worried about like how to interact with the musicians and how to egg someone on if they if they don't have an idea, throw them something that they can grab onto or there's always a give and take.

I always never want to like learn a lot of licks or anything, you know. I mean, I've spent time doing that in copying people solos and learning stuff, but I've always been worried about like how to interact with the musicians and how to egg someone on if they if they don't have an idea, throw them something that they can grab onto or there's always a give and take.

That's kind of what's exciting about it.

That's kind of what's exciting about it.

The less you think about, even when you're playing a solo as being your sort of linear thoughts, and the more you think of it as like a conversation with the other players.

The less you think about, even when you're playing a solo as being your sort of linear thoughts, and the more you think of it as like a conversation with the other players.

The more interesting it is.

The more interesting it is.

So you know, you always want to leave space for people and and sort of respond in real time to them. So, you know, I've always thought like the less of an agenda you can come into improvisation with the better it's going to sound. You know, if you come there with like an intentional I'm going to try and do this, you're not really living in the moment and react this stuff. So you know, there's always a there's always a goal to kind of get away from your tricks and the comfort zone and push yourself in a place where you're thinking on the spot.

So you know, you always want to leave space for people and and sort of respond in real time to them. So, you know, I've always thought like the less of an agenda you can come into improvisation with the better it's going to sound. You know, if you come there with like an intentional I'm going to try and do this, you're not really living in the moment and react this stuff. So you know, there's always a there's always a goal to kind of get away from your tricks and the comfort zone and push yourself in a place where you're thinking on the spot.

It's more exciting to listen to.

It's more exciting to listen to.

I think it's almost like what you've learned and what you profess, you could probably teach CEOs and businesses how to benefit from this as well.

I think it's almost like what you've learned and what you profess, you could probably teach CEOs and businesses how to benefit from this as well.

I think I think it's I mean, I do think it's applicable to a lot of things in life, like if you just kind of if you you know, it's all about being in the moment, you know. You know, actors who improvise talk about that same thing too, is making sure you're you're truly there, not not forcing your will upon it.

I think I think it's I mean, I do think it's applicable to a lot of things in life, like if you just kind of if you you know, it's all about being in the moment, you know. You know, actors who improvise talk about that same thing too, is making sure you're you're truly there, not not forcing your will upon it.

You know, was there one seminal moment concert wise with a national act whoever that really you know, was so impactful for you still to this day.

You know, was there one seminal moment concert wise with a national act whoever that really you know, was so impactful for you still to this day.

I mean, you know, one of the coolest things is part of the Grave Boy All Stars sort of philosophy has always been to pull attention to the sort of older artists that had influenced us and to make a real effort if we're obviously like using so much of the things that they gave us, you know, the music that they left for us to be excited about. But we've always tried to make sure that we don't take credit for things that aren't ours. Part of that was working with a lot of people from the generation just before us, So like on the first Grave Boy record, Fred Wesley from you know, from James Brown and Parliament, Fucka Deelic and all that came into play, and then subsequently he's become a good friend of all of ours and we've done tours with him a lot. I still see him, you know, even recently. But to just get first hand knowledge from those kind of guys, you know, over the years, and there's been a bunch of them that we were sort of our heroes that you like, always looked up to. And then you can learn so much from a record, but when you're in the room with somebody and actually working with them and playing every night, it's totally you get something else, which I think, you know, that's sort of a lost thing is that oral tradition of music and sort of.

I mean, you know, one of the coolest things is part of the Grave Boy All Stars sort of philosophy has always been to pull attention to the sort of older artists that had influenced us and to make a real effort if we're obviously like using so much of the things that they gave us, you know, the music that they left for us to be excited about. But we've always tried to make sure that we don't take credit for things that aren't ours. Part of that was working with a lot of people from the generation just before us, So like on the first Grave Boy record, Fred Wesley from you know, from James Brown and Parliament, Fucka Deelic and all that came into play, and then subsequently he's become a good friend of all of ours and we've done tours with him a lot. I still see him, you know, even recently. But to just get first hand knowledge from those kind of guys, you know, over the years, and there's been a bunch of them that we were sort of our heroes that you like, always looked up to. And then you can learn so much from a record, but when you're in the room with somebody and actually working with them and playing every night, it's totally you get something else, which I think, you know, that's sort of a lost thing is that oral tradition of music and sort of.

Learning from your elders.

Learning from your elders.

Now a lot of people are learning from you two or something like that, which which is cool, but it's like there's something about actually like talking to people and seeing how they do it, you know. I remember we we had Melvin Sparks played with us, and I think just from a couple of gigs with him, we all learned to play better rhythm because just the way, you know, you wouldn't know it even from the records. I mean, he's great on the records, but in the room, the way he would drive the band just by playing rhythm guitar was you know, really great.

Now a lot of people are learning from you two or something like that, which which is cool, but it's like there's something about actually like talking to people and seeing how they do it, you know. I remember we we had Melvin Sparks played with us, and I think just from a couple of gigs with him, we all learned to play better rhythm because just the way, you know, you wouldn't know it even from the records. I mean, he's great on the records, but in the room, the way he would drive the band just by playing rhythm guitar was you know, really great.

It made us all funkier. So that's a great quote. It made us all funky.

It made us all funkier. So that's a great quote. It made us all funky.

So when did you get so deeply connected with the beautiful ham and B three organ.

So when did you get so deeply connected with the beautiful ham and B three organ.

It's really at the beginning of the Grave Boys, guys.

It's really at the beginning of the Grave Boys, guys.

I had played piano.

I had played piano.

I started off playing drums actually when I was a kid in bands, and then I started writing songs.

I started off playing drums actually when I was a kid in bands, and then I started writing songs.

So the keyboard was a great instrumental right from so.

So the keyboard was a great instrumental right from so.

I played piano and I was into synthesizers and all this stuff, but I never really played a Hammonn organ.

I played piano and I was into synthesizers and all this stuff, but I never really played a Hammonn organ.

And then.

And then.

I got turned onto all those great Blue Note and Prestige sixties records kind of from Gray Boy and these guys, and I started collecting those records and became kind of in love with the instrument. And it was always a sign also that you're gonna the record will be soulful and funky. And you know, if you like the late sixties or mid sixties jazz record, it's based on a hamm An organ. It's it's kind of an indicator of what you're what you're in store for. So I just started getting everything I could and collecting you know, Jim McGriff and Jack McDuff and you know, Richard grow Holmes and John Patton goes on and on, and that just made me fall in love with it. And then you you start learning more about it all the time. It's a it's a very complex instrument. I'm still I still am intimidated by it sometimes, but I.

I got turned onto all those great Blue Note and Prestige sixties records kind of from Gray Boy and these guys, and I started collecting those records and became kind of in love with the instrument. And it was always a sign also that you're gonna the record will be soulful and funky. And you know, if you like the late sixties or mid sixties jazz record, it's based on a hamm An organ. It's it's kind of an indicator of what you're what you're in store for. So I just started getting everything I could and collecting you know, Jim McGriff and Jack McDuff and you know, Richard grow Holmes and John Patton goes on and on, and that just made me fall in love with it. And then you you start learning more about it all the time. It's a it's a very complex instrument. I'm still I still am intimidated by it sometimes, but I.

Can't really believe that that you are. I'm sorry, I don't think so, but it's just there's so much to it.

Can't really believe that that you are. I'm sorry, I don't think so, but it's just there's so much to it.

And then you like listening to Jimmy Smith and it's just so it's you know, Herbie Hancock said something like, if you ever feel like you're getting good, go listen to Art Tatum record, you know, and it's Jimmy Smith's sort of the same thing for organ players, where it's just you know, he was he kind of invented the language, and you know, it's just it puts you in your place if you listen to that stuff.

And then you like listening to Jimmy Smith and it's just so it's you know, Herbie Hancock said something like, if you ever feel like you're getting good, go listen to Art Tatum record, you know, and it's Jimmy Smith's sort of the same thing for organ players, where it's just you know, he was he kind of invented the language, and you know, it's just it puts you in your place if you listen to that stuff.

Now, I know, guitar players sometimes, you know, mess around with their guitar and soup it up differently, add you know, add things to it, reverse engineer things differently.

Now, I know, guitar players sometimes, you know, mess around with their guitar and soup it up differently, add you know, add things to it, reverse engineer things differently.

Whatever.

Whatever.

Do you do the same with you know, either ham and B three's or other organs. Do you fool around with them to suit your needs?

Do you do the same with you know, either ham and B three's or other organs. Do you fool around with them to suit your needs?

So yeah, I've done things like you know, put put it through effects and do all these things. But basically I'm I'm I play a pretty stock rig. I just turn it all the way up. It's kind of my trick because I really say, and it also sounds great to hit tape hard when you're recording, kind of like, don't be scared of distortion.

So yeah, I've done things like you know, put put it through effects and do all these things. But basically I'm I'm I play a pretty stock rig. I just turn it all the way up. It's kind of my trick because I really say, and it also sounds great to hit tape hard when you're recording, kind of like, don't be scared of distortion.

It's part of the sound.

It's part of the sound.

So I get in the back and turn the pre amp all the way up and turn the Levey all the way up, and that's that's the tone.

So I get in the back and turn the pre amp all the way up and turn the Levey all the way up, and that's that's the tone.

What are some of your other your favorites if you will love you know, instruments wise organ wise, I see one behind you right there.

What are some of your other your favorites if you will love you know, instruments wise organ wise, I see one behind you right there.

That's just the piano where I write my music. And then you know, I love electric pianos, have a you know, I have a big collection of instruments, so but you know, Fender Rhodes was sort of my my first thing I loved from out of this genre, from Herbie Hancock Records and Ramsey Lewis too. I always love so Bender Rhoades in Wurlitzer clavinet is a great instrument.

That's just the piano where I write my music. And then you know, I love electric pianos, have a you know, I have a big collection of instruments, so but you know, Fender Rhodes was sort of my my first thing I loved from out of this genre, from Herbie Hancock Records and Ramsey Lewis too. I always love so Bender Rhoades in Wurlitzer clavinet is a great instrument.

You know, it's unique.

You know, it's unique.

I love the Honer pionet, which a lot of people don't know about, but that's you know, if you like if you ever listened to Zombies back from the sixties there, the pianet is highly featured in that slice. Stone used one a lot too. And then lately I'm I've been really interested in synthesizers. I grew up loving all that stuff in the eighties, but I went through a phase where I was only playing sort of electro mechanical old instruments, and now I'm really I love like analogue synth.

I love the Honer pionet, which a lot of people don't know about, but that's you know, if you like if you ever listened to Zombies back from the sixties there, the pianet is highly featured in that slice. Stone used one a lot too. And then lately I'm I've been really interested in synthesizers. I grew up loving all that stuff in the eighties, but I went through a phase where I was only playing sort of electro mechanical old instruments, and now I'm really I love like analogue synth.

Do you remember the first time you heard the band's chest fever.

Do you remember the first time you heard the band's chest fever.

Oh yeah, and your reaction.

Oh yeah, and your reaction.

Yeah, that's the crazy and all that that huge intro. My parents were really into the band, so I grew up with that stuff. I love the version on what's that record, Rock of Ages with the long Garth, you know, like what they call that molecular something. I forget what they called the intro, but he has that bendy thing going on on the it's a lowry organ. It is a lowry yeah, that's what they say. And I met I met him briefly. I did this crazy show in New York. It was supposed to be al Cooper, Garth, Marco Benevento, and i Will Lee was in the band. It was pretty cool, like we all played some of our tunes. I'll didn't make it from for some health thing, but Garth did play and it was great to see him. At that time, he was playing a synthesizer, but still like did all the bens and that cool stuff.

Yeah, that's the crazy and all that that huge intro. My parents were really into the band, so I grew up with that stuff. I love the version on what's that record, Rock of Ages with the long Garth, you know, like what they call that molecular something. I forget what they called the intro, but he has that bendy thing going on on the it's a lowry organ. It is a lowry yeah, that's what they say. And I met I met him briefly. I did this crazy show in New York. It was supposed to be al Cooper, Garth, Marco Benevento, and i Will Lee was in the band. It was pretty cool, like we all played some of our tunes. I'll didn't make it from for some health thing, but Garth did play and it was great to see him. At that time, he was playing a synthesizer, but still like did all the bens and that cool stuff.

Can you imagine him playing his his his organ in a in a funeral.

Can you imagine him playing his his his organ in a in a funeral.

Parlor, right right? I always said that old time kind of thing, you know. So tell me.

Parlor, right right? I always said that old time kind of thing, you know. So tell me.

About working with Roger Waters and how you are able to sort of put your own unique stamp on this legacy music.

About working with Roger Waters and how you are able to sort of put your own unique stamp on this legacy music.

Oh yeah, so I grew up loving Pink Floyd and I remember going to store and buying the Wall when it came out when I was like ten, you know, So I've been listening to that stuff over the years. It's a great part of I love all of rock organ players in general.

Oh yeah, so I grew up loving Pink Floyd and I remember going to store and buying the Wall when it came out when I was like ten, you know, So I've been listening to that stuff over the years. It's a great part of I love all of rock organ players in general.

So all that Rick stuff was really interesting to me.

So all that Rick stuff was really interesting to me.

And it's it's it's different than like the guitar chair in that group is much more more sort of you feel like you have to recreate some of that solos because it's so they're so iconic, but the organ parts are pretty loose actually, and it's pretty you know, I'm I'm playing the sort of like the big footballs of it, but within that I can kind of screw around and you know, just create pixtures.

And it's it's it's different than like the guitar chair in that group is much more more sort of you feel like you have to recreate some of that solos because it's so they're so iconic, but the organ parts are pretty loose actually, and it's pretty you know, I'm I'm playing the sort of like the big footballs of it, but within that I can kind of screw around and you know, just create pixtures.

And so you've given obviously tremendous room in that relationship with Roger to do what you need to do.

And so you've given obviously tremendous room in that relationship with Roger to do what you need to do.

Right.

Right.

Yeah, it's freer than I would have thought, being such a classic thing. But that band always improvised a little bit, and I think even a lot of the arrangements were kind of made out of those things.

Yeah, it's freer than I would have thought, being such a classic thing. But that band always improvised a little bit, and I think even a lot of the arrangements were kind of made out of those things.

Although he is he has crazy attention to details.

Although he is he has crazy attention to details.

So he would, you know, here come to sound check every day with a yellow legal pad of notes from the night before and be like, this part you got to bring play play more, play more out or you're playing too much here. You know, everybody in the band, he kind of hears every little detail, so he does kind of like sculpt your parts, but out of things that you're you're playing sort of freely, he'll be like, yeah, more of that or less of that.

So he would, you know, here come to sound check every day with a yellow legal pad of notes from the night before and be like, this part you got to bring play play more, play more out or you're playing too much here. You know, everybody in the band, he kind of hears every little detail, so he does kind of like sculpt your parts, but out of things that you're you're playing sort of freely, he'll be like, yeah, more of that or less of that.

You know, when you.

You know, when you.

Think about working with with Roger Waters, uh, Mike Gordon of Fish and Stanton More, is there one thing those three have in common in terms of the way they look at their craft.

Think about working with with Roger Waters, uh, Mike Gordon of Fish and Stanton More, is there one thing those three have in common in terms of the way they look at their craft.

I don't know that there's that much in coming.

I don't know that there's that much in coming.

I mean, part of the reason why I feel blessed is to have played with such a variety of collaborators and they're they're all kind of have their own.

I mean, part of the reason why I feel blessed is to have played with such a variety of collaborators and they're they're all kind of have their own.

Unique their unique quirks, so but.

Unique their unique quirks, so but.

They're all different. Like Mike, Mike is very free with you know, almost doesn't tell you what to play or very often I'll just be like he wants he wants something unique to happen in the moment. It's all about setting up sort of a space where anything could go, where Roger's very like organized and it's more about like this playing around this lyric of the song and stuff. But but Mike wants to go off script all the time, so it's like it's a totally different thing. He he's inspiring because he's so fearless, like he doesn't really worry about if anyone I'll like it or not. He just kind of wants something. He wants to it to be exciting for him. And then Stanton's just I met Stanton way back in Green Circle days. Galactic had come out from New Orleans and they played I think it might have been on our night, or it could have been the night before something, but the whole Gray boy Band went to see them because they were kind of like our counterparts in from New Orleans playing this funky music.

They're all different. Like Mike, Mike is very free with you know, almost doesn't tell you what to play or very often I'll just be like he wants he wants something unique to happen in the moment. It's all about setting up sort of a space where anything could go, where Roger's very like organized and it's more about like this playing around this lyric of the song and stuff. But but Mike wants to go off script all the time, so it's like it's a totally different thing. He he's inspiring because he's so fearless, like he doesn't really worry about if anyone I'll like it or not. He just kind of wants something. He wants to it to be exciting for him. And then Stanton's just I met Stanton way back in Green Circle days. Galactic had come out from New Orleans and they played I think it might have been on our night, or it could have been the night before something, but the whole Gray boy Band went to see them because they were kind of like our counterparts in from New Orleans playing this funky music.

So I met Stanton Inn and we liked each other ever since.

So I met Stanton Inn and we liked each other ever since.

He played on my first solo record, and I've played with him on a bunch of records and written a lot of music that he still plays today. And I just thought of a couple of weeks ago. It's been a great friend and collaborator.

He played on my first solo record, and I've played with him on a bunch of records and written a lot of music that he still plays today. And I just thought of a couple of weeks ago. It's been a great friend and collaborator.

Great boy's been around thirty issue years Yeah, what's the secret behind longevity here as a band?

Great boy's been around thirty issue years Yeah, what's the secret behind longevity here as a band?

I think, well, I think part of it is we take time off. The first five years were amazing and the band was so tight, but we were you know, you get where you want to kill each other when we were playing like tons of dates, like it never rested and we'd come off the road and then play all our weekly San Diego stept So there was never a week where I didn't have a couple of Grave boyd gigs for five years probably so. But after that we sort of started loosening things up. But everybody has side things, so they all you can kind of express yourself in all these different ways, and I think the great oil starts. It's always kind of kept our mission statement the same, which is to play sort of pay tribute to this great music and keep it improvisational but also sort of dance floor friendly. So it never got confused artistically, you know, it's always been like one thing, and because we could do other things, we don't feel like.

I think, well, I think part of it is we take time off. The first five years were amazing and the band was so tight, but we were you know, you get where you want to kill each other when we were playing like tons of dates, like it never rested and we'd come off the road and then play all our weekly San Diego stept So there was never a week where I didn't have a couple of Grave boyd gigs for five years probably so. But after that we sort of started loosening things up. But everybody has side things, so they all you can kind of express yourself in all these different ways, and I think the great oil starts. It's always kind of kept our mission statement the same, which is to play sort of pay tribute to this great music and keep it improvisational but also sort of dance floor friendly. So it never got confused artistically, you know, it's always been like one thing, and because we could do other things, we don't feel like.

We have to force every creative idea into this band.

We have to force every creative idea into this band.

This is just this thing we do and we all agree on what it is, so it kind of never gets older.

This is just this thing we do and we all agree on what it is, so it kind of never gets older.

And there's just a kind of a magical chemistry.

And there's just a kind of a magical chemistry.

It's just one of those things you never I played with better musicians, but I haven't ever played it with a better band.

It's just one of those things you never I played with better musicians, but I haven't ever played it with a better band.

You know. It's that thing bigger than the South of its part to you.

You know. It's that thing bigger than the South of its part to you.

And you've got grab Bag two thousand and seven to twenty twenty three, talk about that collection.

And you've got grab Bag two thousand and seven to twenty twenty three, talk about that collection.

So yeah, So the new album is kind of a it's kind of a B sides pompilation.

So yeah, So the new album is kind of a it's kind of a B sides pompilation.

Really.

Really.

It's like things that were either left off the records because of time, you know, we didn't have enough space on it, or there was they were too weird in a sequence, they didn't flow good with the other songs are for whatever reason. Things, you know, things didn't make it on previous albums. And then there's a couple of brand new songs. So it's kind of like a collection of odds and ends. But we had been all listening to this stuff for years and they became kind of inside the band, became our favorite songs, and we were always like, we should just release the stuff. This is great, Like, you know, what are we scared if some of this stuff is a little at the sort of at the edges of what we would normally do genre wise, like there's a tune that's kind of like a real jazz song that has a lot of chord changes, and you know, are there's like some kind of atmospheric stuff. There's like a little bit stretchy. But I was I was pleasantly surprised when we put it all together how well it hangs as an album. It sounds like it was conceived as a as a set, not not made from you know, sort of discarded things. But you know, we had some time and where we couldn't tour because Carl, i think, was out with the Stones, and you know, everybody was sort of spread out, so we kind of went into archive and started working on these things and finishing up a bunch of stuff.

It's like things that were either left off the records because of time, you know, we didn't have enough space on it, or there was they were too weird in a sequence, they didn't flow good with the other songs are for whatever reason. Things, you know, things didn't make it on previous albums. And then there's a couple of brand new songs. So it's kind of like a collection of odds and ends. But we had been all listening to this stuff for years and they became kind of inside the band, became our favorite songs, and we were always like, we should just release the stuff. This is great, Like, you know, what are we scared if some of this stuff is a little at the sort of at the edges of what we would normally do genre wise, like there's a tune that's kind of like a real jazz song that has a lot of chord changes, and you know, are there's like some kind of atmospheric stuff. There's like a little bit stretchy. But I was I was pleasantly surprised when we put it all together how well it hangs as an album. It sounds like it was conceived as a as a set, not not made from you know, sort of discarded things. But you know, we had some time and where we couldn't tour because Carl, i think, was out with the Stones, and you know, everybody was sort of spread out, so we kind of went into archive and started working on these things and finishing up a bunch of stuff.

And I'm real proud of it at school. Great record, congratulations on it.

And I'm real proud of it at school. Great record, congratulations on it.

And you also have your solo work, the most recent called Better Feathers. Can you talk about that project?

And you also have your solo work, the most recent called Better Feathers. Can you talk about that project?

Oh?

Oh?

Yeah, so that was That's a bunch of music I made during sort of COVID lockdown. I had always I always made like sort of home recordings as demos of my tunes to bring into bands, but I never made like an album at home. So the good thing about that time is you had a lot of time, you know, a lot of time, and not much to do with it. So I just started working on music to say I wouldn't go crazy. And I started recording stuff and then sending tracks to my friends and they would record at home.

Yeah, so that was That's a bunch of music I made during sort of COVID lockdown. I had always I always made like sort of home recordings as demos of my tunes to bring into bands, but I never made like an album at home. So the good thing about that time is you had a lot of time, you know, a lot of time, and not much to do with it. So I just started working on music to say I wouldn't go crazy. And I started recording stuff and then sending tracks to my friends and they would record at home.

So that's all sort of homemade music, and it was a fun way.

So that's all sort of homemade music, and it was a fun way.

To sort of keep yourself feel like you're out of a gig with Stanton or whatever. You just he would send me tracks and he play on them and send them back to me, and we started work that way.

To sort of keep yourself feel like you're out of a gig with Stanton or whatever. You just he would send me tracks and he play on them and send them back to me, and we started work that way.

So well.

So well.

In closing, you've worked, as we've discussed, with so many unique people, and you continue to. So who's on the dream list to work with in some form that you haven't worked with.

In closing, you've worked, as we've discussed, with so many unique people, and you continue to. So who's on the dream list to work with in some form that you haven't worked with.

I always tell people that I would love to work with the York you know, b York.

I always tell people that I would love to work with the York you know, b York.

Yep.

Yep.

Yeah, I'm a huge fan, and that's way out of the realm of anyone I would normally meet, you know, But that's always sort of been like, oh wow, if I could, you know, And then you know, I don't know. I still have a bunch of heroes, but I've gotten to play with most of my heroes, which is what's really amazing, you know. I wish you could go back in time and play with Curtis Mayfield or something.

Yeah, I'm a huge fan, and that's way out of the realm of anyone I would normally meet, you know, But that's always sort of been like, oh wow, if I could, you know, And then you know, I don't know. I still have a bunch of heroes, but I've gotten to play with most of my heroes, which is what's really amazing, you know. I wish you could go back in time and play with Curtis Mayfield or something.

You know.

You know.

I could picture because of your you know, ability to move on the run. I could picture you doing something on a Dylan tour.

I could picture because of your you know, ability to move on the run. I could picture you doing something on a Dylan tour.

Oh that would be amazing too. Yep, yeah, I grew up loving all that music. My mom especially is a huge Dylan.

Oh that would be amazing too. Yep, yeah, I grew up loving all that music. My mom especially is a huge Dylan.

Fan because he likes keeping the band guessing, and I think you know how to deal with that.

Fan because he likes keeping the band guessing, and I think you know how to deal with that.

Yeah, yeah, yeah.

Yeah, yeah, yeah.

His gigs are interesting because he's never he's I think it's great.

His gigs are interesting because he's never he's I think it's great.

When people don't sort of go out.

When people don't sort of go out.

And play the hits like you expect him to call a weird setlist or play a weird version of a song. I love how I love it when older I just keep the thing vital. I just saw Joni Mitchell at the Hollywood Ball That's somebody.

And play the hits like you expect him to call a weird setlist or play a weird version of a song. I love how I love it when older I just keep the thing vital. I just saw Joni Mitchell at the Hollywood Ball That's somebody.

Also I would love to meet someday. A huge fan.

Also I would love to meet someday. A huge fan.

But it was great because she's still like throwing curveballs at the audience and it's you know, it's our Herbie Hancock did the same thing when I said on him recently, you're still playing very adventurously, you know.

But it was great because she's still like throwing curveballs at the audience and it's you know, it's our Herbie Hancock did the same thing when I said on him recently, you're still playing very adventurously, you know.

I love that. I love it.

I love that. I love it.

Robert Walter, the Gray Boy all stars, grab Bag the new collection. Thank you so much for being on Taking a Walk.

Robert Walter, the Gray Boy all stars, grab Bag the new collection. Thank you so much for being on Taking a Walk.

I really enjoyed talking with you. Yeah, thank you. Thanks for having me. It's great.

I really enjoyed talking with you. Yeah, thank you. Thanks for having me. It's great.

Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.

Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.