The Jazz Podcast

Sonny Rollins

March 05, 2022 Rob Cope & Tara Minton
The Jazz Podcast
Sonny Rollins
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Show Notes Transcript

WALTER THEODORE ROLLINS was born on September 7, 1930 in New York City. He grew up in Harlem not far from the Savoy Ballroom, the Apollo Theatre, and the doorstep of his idol, Coleman Hawkins. After early discovery of Fats Waller and Louis Armstrong, he started out on alto saxophone, inspired by Louis Jordan. At the age of sixteen, he switched to tenor, trying to emulate Hawkins. He also fell under the spell of the musical revolution that surrounded him, bebop.
In late 2020, the saxophonist released Rollins in Holland, a 2-CD/3-LP deluxe set via Resonance Records. The collection of unheard live and studio trio recordings from Rollins’s 1967 Netherlands tour feature “take no prisoners” performances with bassist Ruud Jacobs and drummer Han Bennink. 

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Speaker 1:

This episode of the jazz podcast is sponsored by Presto music. The UK's leading eCommerce site for jazz and classical recordings, printed music, music, books, and musical instruments. With over 70,000 jazz recordings and more than 60,000 music books to browse and purchase online. Preso offers an extensive catalog to suit musicians and jazz lovers. For more info checkout preso music.com/jazz.

Speaker 2:

Hello.

Speaker 3:

Hello? Is that Mr. Sonny Rollins?

Speaker 2:

Yes. Speaking

Speaker 3:

Sony. Lovely to hear your voice. My name's Robin I'm I'm here with my friend Tara.

Speaker 1:

Good.

Speaker 3:

Sonny. Do you have any, um, do you have any questions before we, before we start

Speaker 2:

Questions for about aging or about relationships or what I've got a lot of,

Speaker 3:

And I guess we better get to work.

Speaker 4:

Welcome to the jazz In conversation with musicians from the UK jazz scene and beyond, And now your hosts, Rob cope and Tara.

Speaker 3:

Hello and welcome to the jazz podcast. I am your host, Rob cope, and I'm here as always with Tara Minton. How are you doing Tara?

Speaker 1:

Hey, Hey, it's very early in the morning.

Speaker 3:

Mm. Well, you are in, you're in Melbourne. So what is it like 10 to four, 10 to five.

Speaker 1:

It's 10 to five. I I've got a green tea and I am buzzing because I'm still super jet lagged.

Speaker 3:

Yeah, the, the, the way it's lined up here that having, having a we're the, the, the, probably one of the biggest guests will ever have, I should expect today. Mr. Sony Ronins for him is 1:00 PM. For me, it's for you is 5:00 AM. But the fact that the three of us are making this work across three consonants is wonderful.

Speaker 1:

Very, very excited.

Speaker 3:

Yeah. So I reckon we should get straight to it, but before we start, I'm gonna play a little bit of the track blue room from, from Sonny's latest album Rollins in Holland, Sonny. Welcome to the jazz podcast. It's so great to talk to you.

Speaker 2:

Yes, my, my pleasure.

Speaker 3:

I normally ask our guests to tell our listeners who they are, but I assume most of our guests know who you are already. I mean, you are, you are maybe the most iconic voice that we know in jazz. So

Speaker 2:

Do you, well, I'm, I'm overwhelmed. Thank you so much.

Speaker 3:

Do you ever walk around like thinking I'm Sonny Rollins, this is, this is, this is right. Do you get recognized often when you are out?

Speaker 2:

Uh, sometimes, sometimes.

Speaker 3:

Cause I assume like people probably really pleased to meet you. If, if you then, you know, just like bump into you on the street.

Speaker 2:

Well, times people want to know that's, uh, that a musician or like that. Yeah. Yeah. It's it's okay. It's um, I'm a curiosity. I'm sure some people,

Speaker 3:

Well, a way to describe yourself, but a curiosity. Can we go all the way back to the, to the sort of the start of your career and just tell us how you got into playing the saxophone?

Speaker 2:

Yeah, sure. Why not?

Speaker 3:

Brilliant.

Speaker 2:

I'm stuck with it. That's my life. So I can't escape it. So, yes.

Speaker 3:

So, um, I'm starting in thinking that you, you started playing on the Alto.

Speaker 2:

That's correct.

Speaker 3:

Did you choose the sax? Did you want to learn it or were you given one and, and just sort of told to get to work and figure it out?

Speaker 2:

No, no, no. I wanted to play saxophone. My early influence was, uh, Lou Jordan.

Speaker 3:

Right.

Speaker 2:

And everybody knows Lou Jordan. Well, he was an early influence of mine. I had all of his records, Louie Jordan and the Tim five. I followed him, uh, closely. I had his records. I, I was going to elementary school right across the street from where he was playing in a nightclub. I used to look at his picture in the window of, uh, in the night club. And there was a big, big, big Louis Jordan fan. And there still am. I mean, he still is a very good entertain, wonderful blues man And, uh, jazz magician. Yeah. He was just one of my favorites, uh, that I'm so happy. I happened to be born in a time when I can Know of Lou Jordan, and He having heard him and having influence in my life.

Speaker 3:

Do you remember the first time you heard him play?

Speaker 2:

Well, we used to have a record in my house Called the green grass grows all around and around and, and had little chicken in an green, something like that. And I, I remember up wrecking and then later I had an opportunity to him, More wreck by him At, uh, my uncle's house. And, uh, Like that, by that time I was hooked And, uh, it started from then and I had all those early records, low down, dirty shame. I'm going to move to the outskirts, My baby Deacon Jones, everything that he had With his, uh, temp five. I Made sure I heard it, whether it was on a juke bumps Or, Uh, getting the record

Speaker 1:

Sunny. Was there a lot of music in your house when you were growing up?

Speaker 2:

There was a lot of music in my house because my older brother was a, uh, classical, Uh, violinist. Wow. And he, so I would hear him practicing over time. He was five years, my senior. So I would be A little boy, but I'd hear him practicing. His name was Ralph. And they had Val Val DeMar. That was his name. And I think of somewhat of a Russian name, maybe I, I, I should feel ashamed to say it now.

Speaker 5:

Not at all

Speaker 3:

A fantastic name. Valar.

Speaker 2:

Yeah.

Speaker 3:

Did, what did he,

Speaker 2:

He was, he was a very smart kid and he was the, uh, he was very smart, very, he pledged, uh, violin. I, I remember, uh, playing a lot of, uh, practicing a lot. And I remember one of his favorites was, uh, Fritz Chrysler and then he also liked, uh, Yaha efforts.

Speaker 5:

Right.

Speaker 2:

And some of those people, you know, I remember him practicing and I loved listening to the music. So there was music in my house growing up, my older sister played a little piano, uh, for the church and all that kinda stuff. So there was music I grew up in a, there was music all the time. And I grew up in Harlem. Harlem had music all the time, all kinds of music.

Speaker 3:

Were they ever tempted to kind of make, make a career out of music, your, your older brother and sister, or did they go on and do other things?

Speaker 2:

No, they did other things. And, uh, and, uh, my grandmother who was very close to me, I almost, uh, uh, grew up with my grandmother as much as my mother, but my grandmother used to take me around with her and, uh, to churches and all this stuff. I hear a lot of gospel music, you know, and everything like that. Uh, thanks to my grandmother. And, uh, I was hooked on music. My family was my brother. Yes. He wanted to put, but nobody was really that, uh, well, I shouldn't say that my mother was a very wonderful woman that wanted to get her children into, uh, the, uh, things of the day, all of the, uh, music, all of the entertainment, cultural things. Our mother used to take us to see pirates of Penza, but as no boys, Gilbert Sullivan, we used to go to, uh, all the movie. She was a real cultural person that introduced us as little kids to OPRE and all of these things and the movies. She used to take us to these, uh, movie houses, which had music and movies. So she introduced us all to cultural things and music, mainly they all, they all involve music. So, uh, I guess I'm very fortunate that I was introduced to music at an early age. Now I loved jazz. As I said, nobody in my house was really into jazz. Like I was, they, they didn't really, I remember my grandmother thought jazz was a terrible thing

Speaker 1:

And she wasn't rug.

Speaker 3:

Okay. Do you think that that was, um, part of its appeal that nobody else in the house really liked it?

Speaker 2:

Well, no, that's okay. Because, you know, uh, my brother was five years, my senior, so I wasn't associating with him. Really. My sister was two years, my senior, so I wasn't really associating, uh, with their crowds anyway. So I was doing my own thing. And so my people that I, my, my crowd of people were younger and we had our own things. So, and I, and my grandmother, as I said, she thought jazz was a very decadent, uh, form of music and everything like that, that I should play it. So she didn't realize what it was. And, and this went on for a long time, until I began to get, uh, prominent myself, then she realized it well. Okay. I'll, I'll accept it a little bit,

Speaker 3:

A little bit. Do you ever remember a moment when you decided you were gonna like, just play jazz as, as your life?

Speaker 2:

Well, I thought I, I thought that came to me very, very early. And when I got, when my mother bought me saxophone, uh, from one of our family friends that played saxophone, she, she got me a secondhand instrument, you know, but there was, and, uh, I was about seven years old and I had a premonition that I would become a famous saxophone.

Speaker 3:

Wow.

Speaker 2:

It was almost a vision. Knew that I would be more than just nobody. I knew that I would be, uh, somewhat a famous as a jazz musician.

Speaker 1:

Yeah.

Speaker 2:

And it, and it, it came out that way. I wasn't surprised. I wasn't surprised.

Speaker 3:

Did it, do you think it motivated you more when you were practicing when you were younger because you kind of had

Speaker 2:

This? Well, we did. Yes. It probably did. I sort of knew who I was going to be, who I was. I, I had a great job. I was talking to one the other day and they were asking me, was I ever afraid when I was playing with all of these older, well known musicians, which I was because I was a youngster playing with some of these older guys. And I told'em no wasn't. I felt that if they wanted me there, then I must have a reason for being there. And I never felt ENT about, uh, playing or felt shy about what I was playing on. Maybe I wasn't playing that much, uh, stubborn. I was a kid playing with a lot of the grapes, but, uh, no, I never felt that I didn't belong there. I never felt that

Speaker 1:

That's a wonderful thing. I think so often today, musicians and people in general are scared to, um, are scared to fail. You know, they want to be amazing right from the start. And I think that that fear gets in the way of actually becoming who they want to be. You know,

Speaker 2:

I think fear is a terrible thing, period. I think it's one thing that people have to learn. We cannot have it's it's not as human beings. We, we must get rid of fear. Fear is, is a detriment to everything. It must not fear. Doesn't the fear. If you have a to belief, which I have in abundance, we realize it's, it's wrong. It's like even poison, you don't have fear, But you be afraid of don't be afraid of anything. We are a human being and human beings. Nobody is, is, uh, or should engender fear in us. And it's a good learning.

Speaker 3:

Yeah, absolutely. I think that when you are not, but when you listen to your records, I think that that really comes across. I think that's the case for all great music is that it has to have like a, uh, sort of, of feeling that, that you are trying things and you are reaching for things and you're not afraid of, of whether it actually sort of comes outright or not. Doesn't that make sense,

Speaker 2:

Right? Yeah. Yes. Correct. Yes. Yes.

Speaker 3:

So do you remember a moment where you thought like your careers really like taking off now, is there like a, a big break for you or was it like a gradual kind of slowly playing with bigger and bigger and sort of names?

Speaker 2:

Yeah, it was more like playing with bigger and bigger names. And our small group, we, we eventually, uh, began playing with, uh, bigger guys. Uh, uh, the guys I grew up with, I grew up with Arthur. Taylor was a great drummer. We were all, uh, playing kid vans together and he got a gig playing with, uh, different people. Uh, uh, and then, uh, let's see who else I played with Jackie McClean, the alpha player. He began playing with older people and that's what had happened. Uh, the older musicians were always on the lookout for young promising talent. And so we were just, uh, fitting like that. You know, we were young guys and older musicians heard about and, and heard us playing the next thing they do, they hired us. And then our career got started.

Speaker 3:

Yeah, absolutely. That, and then, do you, you remember once your career was sort of flourishing, was there any young players that you heard that you were really like impressed by?

Speaker 2:

Well, yes. I was impressed with the, I didn't get a chance to hang out with younger players when I was coming up because it, I was sort of young myself and I was too busy trying to get my own stuff together. Uh, in retrospect, you know, I know there's a lot of guys that, uh, I can think back, but I didn't, I didn't have too much of an association with younger guys when, because I was young myself, I was trying to fit in with the older guys with the knowledge they had. So I, I didn't associate too much with younger guys than me. You know what I mean? Yeah. I just didn't have the time to do that. I was trying to get in with the older guys that knew the music. So, so Frank was young much later on in life. Sure. As an adult in of, as, as a well known musician show liked a lot of, uh, young guys. I could recognize talent when I heard it and I encouraged it, uh, when I could, but when I was coming up, no, I didn't get too much time for people, uh, younger than me. Cause I was young myself.

Speaker 3:

Was, was there any musician in particular whose band that you really wanted to get into when you were coming up?

Speaker 2:

Well, I, uh, when I was coming up, let's see, I, I loved all these guys. I mean, I loved, uh, all the bands at duke Eton, uh, count Basey, Leino Hampton, all of these bands. I also, they was at place a, a, uh, music theater called the Apollo theater in Harlem, New York. And every week they had a new, big band play there or new band, mostly big bands. And we were there every week. And if we really led the band either more than, uh, one should be the after school, then we try to go on the weekends, everything. So I got a chance to hear all of these big band, Jimmy Langsford, uh, all of the Tabler and some of the great, uh, GERD, Billy holiday, all of these people. I had a chance to hear them at the Apollo theater.

Speaker 3:

Wow. That's, you know, amazing

Speaker 2:

Young enough to be able to get in, you know, without, uh, haven't taken somebody to take me in there.

Speaker 3:

Did you have trouble getting in some nights?

Speaker 2:

Well, the nightclubs, right?

Speaker 3:

Yeah.

Speaker 2:

Later on when we wanted to go and hear dizzy Gilles and she Parker and all those people, those may clubs, those were a little bit forbidden cause we were young, but, uh, we found ways to get in there,

Speaker 3:

Love that you found away. Um, can I hear,

Speaker 2:

I used to put, uh, uh, this dark pencil over my mouth. Like I had a mustache, I would look over, you know,

Speaker 3:

Genius. Can I ask, were you ever tempted to, to, to play in, did you do a lot of playing in big bands? Was that ever a thing for you?

Speaker 2:

No. I never got into the big band, uh, you know, a couple bands when we were starting out, but the big band, it sort of escaped me because I was coming up with the small bands, uh, Lily Jordan, and there's ten five. That, that was a, the typical saxophone trumpet base, piano and drums. And then, uh, we, Charlie Parker became our, our a God. And that was all small bands. That was the music I was trying to get into. And I never had a chance to really play with any popular, big bands. I was getting the small band motif under my fingers and that's where we would. So in my case, and mostly the guys of my age, we came up when the, the big brands were, uh, going out of a favor in a way for the small brands. I think the owners of the clubs also realized that they can make more money with a great small band, uh, than they could paying a big play, uh, having to pay a big band. And the, and the small band was what was my, uh, period when I was coming of rage. So unfortunately I never got a chance to play with any of the big band, Billy Stein. It's a big band and all that stuff.

Speaker 1:

When you were playing with these small bands, um, when you were starting out, did you have a favorite venue that you loved to play?

Speaker 2:

Well, we played, there were lot of clubs in Harlem and we played a lot of places. We played for dances. They used to have a lot of clubs all over hall ofish uh, and, and so we had to play all kinda dancers. We had to play Calypso music. Do you know, Calypso music.

Speaker 5:

Yeah.

Speaker 2:

Right. So we play Calypso music and a lot of, of these dances and other swing music, because we played a lot of these little clubs that, uh, were dances. You know, we were playing where they were people dancing.

Speaker 1:

So when did it change from people coming to dance to people coming to hear you?

Speaker 2:

Well, that's sort of, that happened sort of, uh, it was sort of hard to determine when I was, I was getting famous, but I do remember one thing I remember when we used to go, when I say we, I mean, my, my age young guys, we used to go to, uh, these places, uh, uh, dances. They were called dances, bigger, uh, halls and auditoriums where that have big bands were playing. And, uh, we would go there because we would go up and stand in front of the bandstand to listen to the music right behind us, little further about people were dancing. So it was sort of a, a me was sort of beginning to, to, uh, surface. And I remember that very well, us, the guys, our young guys, musicians, we would go and stand up in front of the bandstand. And, uh, little behind us, the people were dancing. It was a dance, but then, but for us, we would try to listen to the music. So that was the beginning of when night clubs began to get into a front. And there were only music. And, and then people were coming to dances. It was a different thing. And the music took over and, and that's when the, uh, small band that they sort of happened simultaneously. And, uh, I do remember that I, I remember how it was a dance, but we would be up near the bandstand, listening to all our musicians play. Most of the people would be dancing. There were places like that. There are places like the ballroom big, big, famous jazz place in New York column. And some of the other, uh, venues were similar to that. Most people were coming to dance, but as the music was beginning to entice this, I mean, great musicians coming up, then a lot of people would begin listening to the music rather than going to dance. And that evolved into nightclub where people would just go to really listen to the music.

Speaker 1:

So when you started to tour and to play in different countries, was there any cities that you really loved?

Speaker 2:

Well, yes. I, I loved a lot. A lot of the cities that I played in, it was a pleasure. It was, it was an honor for me to play around the cities that, uh, were near New York. Uh, we played in Newark, New Jersey. We played in Boston, Massachusetts. We played in Philadelphia. These are all cities close to New York. And eventually as I, uh, got more prominent and played with bigger, uh, we played all over. We played in Chicago, we played in, eventually we played in California, which was the other part of the country and, uh, places in between Cincinnati, Cleveland, uh, all of these, all of these towns had jazz clubs and, uh, had the following of jazz people that would come to see us playing when I was playing with max Roach and clipper Browns band. And when they, I played with miles Davis' band and like that. So by that time, the, uh, guy had been cast and there was small groups playing in these venues all over the country.

Speaker 3:

Sonny, you have a sound that's instantly recognizable, I think, to a lot of people when you were practicing, how much were you focusing on like the, the tone of your saxophone and, you know, the fundamental sound that you are making? Is that something you'd spend a lot of time thinking about or did that happen very naturally? Well,

Speaker 2:

I, no, no. With me and with most of the French come out, we had idols. Now. I mentioned, uh, Louis Jordan, but as I began getting into jazz more Louis Jordan was more of a blues player. Jazz and blues were blues. He would sing a rock, sing a lot of his, uh, uh, blues songs. And then, and then, but as I began to, uh, uh, get more into jazz and one of the people that I got into was Coleman Hawkins. When I heard Coleman Hawkins, I realized that there was a slight difference between, uh, Louis, Jordan, just, uh, uh, Lou and his very, uh, ethnic, uh, uh, soulful blues. When I had Coleman Hawkins, I realized, well, wait a minute, there's something very intellectual about jazz extremely. And that this is different from Jordan. So I got into Coleman Hawkins. And as far as your question listening for, to brings, we first copied artists and whatever tone they had, we tried to copy that. We didn't realize that every person has his and that it will eventually come out. So that my tone, sunny Roone came out of me. I did, but I tried to play like everybody, uh, Coleman Hawkins bless to young to Davis bias, dead Webster. All of these were my favorites that I didn't think about my tone. I was trying to play like their tones. Yeah. But everybody has their tone. And eventually your tone comes up.

Speaker 3:

What do you think brings it out of somebody? Their own sound?

Speaker 2:

Well, I think it's just, every person is a different individual. Every person is different. We, we, we look different. Uh, we, we talk different. Everything is different. And we, you try to play music. That is what comes out. That's you coming out, not Laurie Jordan anymore. That's coming out when I'm playing, I'm getting to a professional point. That's me coming out. It's not me trying to play like rush to young. Yes. I might be doing that, but it's coming out as me coming out of Sonny raws and so they Yad next thing people say, oh yeah, that's Sonny raws. Yeah, but I didn't start out son, Ron. I started out trying to be down bias and all of these people,

Speaker 1:

Son, you've written some, some really iconic pieces that are now standards. Um, how, how talk, talk to me about your creative process and how you write music?

Speaker 2:

Well, I've done some composing, but, uh, don't consider myself a great I a lot, the guys, and it creates songs, uh, that I think are much better than mine. My thing is mainly just improvising. That's when it, when it shakes out, that's what I ended up being, uh, better, uh, than a lot of it guys. My well composing was, are night, but not like a lot of other people I know, but what I could do is improvise when I'm soloing, I'm a good soloist.

Speaker 1:

Yes you are.

Speaker 2:

And that, that was my, uh, for so to speak. So I never consider myself a great composure. I was lucky to do a couple things that people like, but mainly I, I was a soloist and an improviser.

Speaker 3:

I was wondering what, what was, do you, did you have a, a favorite way of writing a, a tune? Would you, would you ever record yourself and then listen back to your improvising?

Speaker 2:

Well, that's a strange point with me because like many people, like I actors, uh, when some of us can look at us at ourselves and we can feel, oh, gee, I can learn something from myself that I didn't do. Right. Let me change this other people like myself. I am very, very ashamed when, because I'm not, I, I say, oh, gee, I should be better. I should do. And it, it became a real thing because I worked at was the type of person that could listen to myself and improve on myself that way. But that's not my personality. I'm the type of guy that is very difficult for me to listen to myself back to listen to myself, play, oh, you, you know, or listen to myself on now, you know, I don't listen to my records and all this stuff, You come to my house, you don't see my records, You know, except somebody get, but I don't. And if you come to my house, by the way, you're not gonna see any pictures of myself on the wall. I'm that type of a person. I, I'm not, I, I, I look at the things I have to learn rather than the things I've learned.

Speaker 1:

So is that what has inspired your incredible career? Because Sonny you've been, you've been performing and been active for decades and decades, um, which is such a wonderful thing for us. Um, yeah. Tell us what has inspired you to continue creating and searching all your life?

Speaker 2:

Well, that, uh, Unfortunately, or I should say fortunately, because I don't like to think that anything that happens in life is unfortunate. I mean, this is a spiritual thing. I think everything that happens in life happens for a reason. And if we don't get it, we get it later. But, uh, in, in the case of, uh, Oh boy, I went off on a different subject than I lost, but your question was, oh yeah. Okay. Your question was about, uh, creating, well, what happened to me about, uh, uh, 20, 20 13, 20 14, I developed and unfortu, or dear, I go again, I developed a, an illness, which I couldn't, it was a, a, uh, Fibrosis of a gang and I couldn't plum my horn anymore. And this happened to me back in 20 a team. And, uh, I said that because I would be playing today and I think I would be creating today, but I had to stop. And it was, I, it was very difficult for me to do because I, and enjoyed practicing as much as I enjoyed performing, I would be happy practicing, You know, it wasn't about performing. Okay, sure. I'm performing. And, and that, that's the ultimate, uh, goal, I guess, but I love practicing. And so when I had to stop practicing, I couldn't blow my horn anymore. Then it was a real drag. So just see a, I would still be playing. I would still be creating because music, it's always something to learn in music. And, uh, that was my life. I was always practicing, always practicing. And I think guy would've been creating something, uh, today, if I'm not being too, uh, braggadocia about that, but I think I would still be doing something, but unfortunately again, here I go again, unfortunately, what, for whatever reason, let me put it that I had to, uh, start playing

Speaker 1:

Son. I know that in the last two years, a lot of musicians have, you know, suffered a bit of an existential crisis because the thing that we form our identity year round was taken away from us. Um, how did you deal with not being able to play anymore?

Speaker 2:

Well, that's a very interesting, uh, dilemma, which I was forced with dealing with. What happened was that from a very, from the 1950s, I got, I began getting interested in Buddhism And yoga and all of these things, you know, Eastern philosophy. So, uh, I've done it all my life. So after I was, uh, forced to stop playing, I began to get to, to just study that more. And I began to realize that instead of lamenting the fact that gee, I can't play anymore and I can't blow anymore. And what a terrible thing it is, I began to realize that I should be grateful and that I will be grateful. And that I, I grateful that I was able to, to have a career playing. I love me music. I was able to do it for most of my life. I was able to get a, a following of people that appreciated me and, and allowed me to play. And then therefore I shouldn't feel bad about the fact that I couldn't play and that has, uh, sustained me. And so I'm very much into my, uh, yoga practices and my, uh, Buddhist, uh, practices and things that have to do with Eastern religion. And that has sort of taken the place of my playing my music.

Speaker 3:

Sorry, it's been amazing to talk to you. I would, I would, I, I don't know where to begin. It's, it's, it's just is wonderful to, to listen to you and to, um, adopt some of your, your like beautiful spirituality and, and how you think about the world. The, the, the, the, the landscape of jazz would be a very different place without you, which is, which is, uh, an under statement, but with all you've

Speaker 2:

Achieved well, well, now you're, now you're Pring me too much. That's too. I, I don't think I can take that much praise.

Speaker 3:

Well, you deserve it. I just wanted to thank you so much for coming and spending time with us and chatting to us, um, on the jazz podcast, it's been so lovely, um, to just hear you and, and chat to you. So thank you so much for making time for us.

Speaker 2:

Thank you very much. I, I, I'm very grateful for you to invite me. Thank you very much.

Speaker 3:

Your music's gonna inspire of course, generation after generation of, of young musicians to come and play.

Speaker 2:

I, I hope

Speaker 3:

Brilliant. Well, Sony, thanks. We need

Speaker 2:

Music. We need music. We need music. We need music and music is a gift and, and God knows we guys coming along all the time.

Speaker 3:

Absolutely. I completely agree. Um, well, thank you, Sonny so much. It's been wonderful to talk to you. We'll let you go and, and relax and, and enjoy your Friday.

Speaker 2:

Thank you very, very much and, and best wishers to all you guys. And, uh, uh, the all saying, we say here is God bless.

Speaker 3:

Well, God bless Sonny. Thank you,

Speaker 1:

God bless to you.

Speaker 3:

Well, I dunno what to say or how we'll ever top this moment in our lives for me in my career, this is certainly the peak. There is only one way down, um, from here for me, Tara,

Speaker 1:

I, I can't believe it. I've been sitting on this, not telling a soul all week, just in case we didn't pull it off.

Speaker 3:

We had a deal

Speaker 1:

We did, and we pulled it off from,

Speaker 3:

No, I know. I didn't even like send a tweet or anything, cuz I just was like, don't tempt fate don't even go there. Um, yeah. So let's just, let's just, should we just have a listen to what, like maybe son's most iconic track. 10 of madness to finish. Yeah, let's do it. All right. Fantastic. Um, you have been listening to the jazz podcast. We will see you next week

Speaker 6:

For.