The Paul Leslie Hour Episode #7 – Bill Scheft

I first became completely aware of Bill Scheft’s humor and way of speaking by watching him one night on The Late Show with David Letterman.  Bill Scheft was a joke writer on Letterman from 1991 until Dave’s retirement in 2015.  He was talking with Dave about his book Shrink Thyself and I could relate to his talking about therapy.  He struck me as someone who was aware of how people think and behave and the seed was planted that maybe one day I could interview him.

It didn’t happen while Letterman still had his late night talk show, but everything happens that should, when it is supposed to. The things he talked about at the end resonated deeply with me and I’m glad that I remembered verbatim much of he said. It’s gotten me out of trouble a few times and soothed my soul on a few nights that my thoughts weren’t kind and certainly not conducive to sleeping.   The Bill Scheft interview wasn’t what I expected, but it’s one I will never forget.  Thank you, sir.

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Genius Either Way It’s Flipped

LATE AT NIGHT

It’s fate that some should touch the heights that make a mem’ry fast recall,

The words and deeds that make hearts light, and let the tensions built, desolve,

A comic’s not a name tag worn, nor ever was talent bought,

a showman true, is only born, then hones the talent he has got,

Let the hours slip ’til night, who fears the dark in merriment,

rather laugh in lowered light, then watch some other, lesser gent

Let talent come from where it will, in singers, actors, all renowned

spectators nightly hours fill, with David, Paul and Kalter’s sounds,

those talents many lives enrich, by daring to speak humors script

As Letterman describes “the switch” it’s genius either way it’s flipped.

(A Poem by Daniel L. Buckner)

I was about 9 years old and staying up very late on a Friday.  Everyone else was sound asleep and that was the first time I ended up on “Late Night with David Letterman.”  I distinctly remember the bandleader eating a bowl of Rice Krispies drizzled with Pepto-Bismol.  Clearly I had stepped into another era of my life.

The beautiful thing is that I am not unique.  Letterman has long appealed to those with a taste for humor that is off the beaten path.  No David Letterman would mean no Jimmy Kimmel and no Conan O’Brien.  There has been plenty written about the man’s contributions to comedy, but to me it has always been Dave’s curiosity about people that I found so interesting.  Moreso than some of his celebrity interviews, I recall him talking to a young kid who found gold.  Or his exchanges with his mother known to the public as “Dave’s mom.”

I’ve learned about interviewing from some of the best and have been able to interview truly great interviewers like the late Joe Franklin, Bob Edwards, Larry King, Bill Boggs and Elliot Mintz.  I don’t pretend to be in any way culturally relevant.  I’m still learning, but there is no doubt in my mind that the reason I interview people is because of David Letterman.

David Letterman is frequently over-looked as an interviewer.  I recall my conversation with his announcer Alan Kalter, when he talked about his first impression with Dave.  “He was a listener. And he still is to this day. Uh, he’s a great listener when he interviews the guests on the show, as you can tell. He’s also a good listener if you meet him in the hall or if he sits down with you and says ‘What’s new?’ He listens to everything you say and then asks the appropriate questions.”

I write this little tribute to the Worldwide Pants crew as the very last episode of the show is being taped.  Hard to fathom the impact Dave, Paul & Co.  made to millions of people, but also the people who helped create the magic and the music of every episode.

The people who created The Late Show are a lot more open than most people in what they call “show business.”

I’ve been a fan of Paul Shaffer and his 2 albums, in particular “Coast to Coast” for years.  His CBS Orchestra is arguably one of the best bands in the business and  this is not really a secret.  I set out years ago to help tell the story of the band, going back to when it was called “The World’s Most Dangerous Band.”  I was able to interview Steve Jordan, the original drummer back in the early days of 1982 when Letterman was first starting in late night.  I recall my interview also with Anton Fig, known to many as a great drummer who is also a composer who created one of my favorite albums, “Figments.” And of course Will Lee who along with Shaffer has been there since day one and never left.  I spoke with almost all of the horn section, some who have gone onto other things.  There was the enthusiastic Alan Chez who encouraged me to stuff myself on Bourbon Street in New Orleans.  There was saxophonist Bruce Kapler who will forever be associated with Christmastime to so many.  Aaron Heick, saxophonist and composer of songs like “Drifting Upstream” and “Desert Lullaby,” and of course their leader, the multi-instrumentalist  incredible Tom “Bones” Malone, a man who personifies what it is to be a gentleman.

But there are other people I got to meet, the former warm-up comedian and booker, Eddie Brill who I had the fortune to interview after interviewing the one-of-a-kind announcer Alan Kalter.  The people behind the scenes who gave so kindly of their limited time, like Executive Producer and CEO of Worldwide Pants,  Rob Burnett, who somehow finds time to also write scripts and make movies…or CBS Vice President of Late Night Programming Vinnie Favale who has an unlimited amount of passion for so many things, including his musical “Hereafter.”

I didn’t get to interview the entire band, but I did try my best so there are no regrets really.  There is only one regret I have.  It was back in 2008 and I was in New York City having interviewed arguably the biggest New York legend—Woody Allen.  I was stopped on the street and asked to answer 3 trivia questions (the most memorable being about Kalter’s hair color) for tickets to see a taping of “The Late Show.”  I answered all the questions correctly, but sadly my flight would not allow me to attend the taping.  The tickets were given to my friends who would stay behind as I returned home.  I truly regret not staying.  Meeting Woody Allen and then seeing a taping of Letterman?  New York dreams.

When I interviewed his good friend comedian Tom Dreesen he said to get a good look because we won’t see Dave again.  Perhaps David Letterman’s most attributed and repeated quote is “There is no off position on the genius switch.”  Maybe I’m being mawkish, but I can’t imagine so much wit, creativity and humor just suddenly turning off. 

Late at night, 11:35 PM to be precise, on television sets across the country, the recognizable sound of Alan Kalter  and the CBS Orchestra has been heard night after night…a sure sign that you’re about to be entertained.    Although the show is ending there are stories and as I have learned many incredible characters that are here to stay.

***

Special thanks to: Eddie Brill, Rob Burnett, Tom Dreesen, Vinnie Favale, Anton Fig, Aaron Heick, Steve Jordan, Alan Kalter, Bruce Kapler, Frankie Keane, Will Lee, Tom “Bones” Malone, Susan Shreyar-Miller and…of course Henry Jordan and David Yoder.

Tom Dreesen: Stand-Up Comedian

Tom Dreesen is a man who has found the recipe for good health and happiness.  His prescription is that you do it 10 times a day.  He wants you to laugh.  


Like the song popularized by his friend the late Frank Sinatra, Tom Dreesen “took a few blows,” but he definitely “lived a life that’s full.”   
In this interview Tom shares his story with us, and it is an inspiring one.  

Sinatra called himself “a saloon singer” and his friend Tom Dreesen “a saloon comedian.”  Dreesen has made over 500 national television appearances, including many on The Late Show with David Letterman.  A friend of Dave’s, Tom Dreesen has even hosted the show in Dave’s absence.  A stand-up comedian, emcee, motivational speaker, and sometimes actor, he still considers himself a neighborhood guy.  

 

David Sanborn: Saxophonist

DAVID SANBORN is a man who loves music.  As a composer, performer on his chosen instrument, the saxophone or as a recording artist with 24 album releases, the man has fans around the world.  Recognition?  He’s received six Grammy Awards, has had 8 Gold albums and 1 Platinum album.  He’s toured with artists as diverse as the Paul Butterfield Blues Band and Stevie Wonder.  As a session artists, he’s appeared on the albums of everyone from James Taylor to Billy Joel.

In this interview, Paul caught up with David Sanborn backstage to have a talk about his musical roots.

Eddie Brill: Comedian

EDDIE BRILL is a comedian, but as you can tell from this interview…he is a man with a lot of stories to tell.  He seems to be a busy man.  Just look at his resume!  In addition to being a comedian, he is also the warm-up comic on The Late Show with David Letterman.

Eddie Brill not only performs his brand of stand-up comedy regularly throughout the United States and the United Kingdom, but also has performed in Australia, Ireland, Scotland, Canada, France, Holland and Hong Kong.

In this interview Eddie Brill talked about not only his comedy, but also his appreciation for the talent of others.  He also talked about his work with Reader’s Digest and appearing as a cartoon on the acclaimed show Dr. Katz: Professional Therapist.

Enjoy this in-depth interview!  We would love to one day interview Eddie Brill in person.

We think you will agree with us that Eddie Brill is a comic of and for the people…

It is our pleasure to welcome comedian and actor, Eddie Brill. Eddie Brill is a worldwide comic. He is also the warm-up comedian and talent coordinator for The Late Show with David Letterman. Thanks so much for doing this.

Oh, it’s my pleasure Paul. I got an email from you that said you had talked to my pal, Alan Kalter, and now, uh, you know, I’m sure if it’s good for Kalter, I’d be more than happy to be on the show.

 (Laughs) Well, I think most stories are best from the beginning so tell us a little bit about where you came from.
I’m originally from New York and I had lived there as a kid ‘til I was just about 12 and then moved to Hollywood, Florida which is the other end of the spectrum, you know, from Brooklyn, New York. I went to junior high school and high school there and it was pretty nice. And, uh, I never thought I’d do any comedy. I always loved comedy and I loved George Carlin – he’s my hero – and Richard Pryor and all the comedians I would listen to on albums. Uh, and I was, you know, all ready to maybe go into college to go for maybe math or science. But my stepfather, who was very young and very close to us, died very young and I just changed my whole life and decided, you know what, I was going to do things that were really fun in life because you didn’t know how quick it could be over. So, I changed my sort of dream to go into maybe broadcast journalism and I went to a college in Boston for that, Emerson College. And then all these, uh, very funny people at the beginning of school, we formed a comedy group and it was the first foray I ever had in comedy. And it was a lot of very successful people and, uh, very successful people now. And a lot of people who were involved both, on both sides of the industry, you know, people like the president of Comedy Central and then, you know like, Denis Leary and, you know, a mixture of a lot of different kinds of people. But one of our best friends was Steven Wright and he was doing stand-up. So we would go watch him and it sounded fun so we started doing a little stand-up. Um, I did it for a little bit during college and then when I graduated I moved back to New York and said ‘You know what? You need a real job.’ And I went, I quit comedy and did some advertising writing. And I realized I was lying for a living and not making that much money. And I went back into comedy so I could tell the truth for a living and, uh, have a much better career.

I’ve never heard it put that way, ‘telling the truth for a living.’

Yeah. Since 1984 so, in a row, I’ve done it for 25 years.

Wow. Now, what do you think it is about comedy that attracts you?

Um, well, it’s just you know, pfff, it’s just so alluring. It’s, there’s no, you know, the feeling of, the cathartic feeling of laughing is just so wonderful. And when you make other people laugh there’s no better feeling. It’s really is, you know just, pfff – I mean, I’m giving you sounds effects. There’s no words really to describe the feeling. And to be able to, to make people laugh is just very, very fulfilling. And once you get a laugh, it’s like a drug. You chase that laugh for the rest of your life.

You mentioned just a moment ago George Carlin.

Right.

Now, who would you say is your all-time biggest influence?

It would be George Carlin.

And what about, what about him do you think, makes him so?

Um it was just that, you know, the way he thought, the way he just told the truth and was silly. He was smart and silly and that was attractive to me, and a lot of things I heard him say were sort of echoing the way I thought. So I couldn’t get enough of, you know, somebody who was making people laugh, thinking the way I was thinking. And, eventually, that’s the path I took. And the beautiful story, part of the story, is that we ended up becoming close and, uh, respecting – he respected what I did which was, you know – now I can die (laughs). I got my hero to respect my work and it was a really wonderful thing. He taught me a lot and he was really just a wonderful man. And anybody who’s ever met him would say the same story. Butit’s not like it was just me – he was good to a lot of people, a lot of people.

What about the comedians that are, are active today, like the young guns? Who out there do you have to give the respect to?

Well, Chris Rock I would think is the best comic of our generation. Dave Chappelle, um, you know he’s not been around as much in the public side but still out there at the comedy clubs. He’s pretty damn terrific. Uh, you know, there’s Jim Gaffigan, uh, Brian Regan, and Jake Johannsen who are sort of really smart, funny network guys. And then there’s the people like Norm MacDonald and Nick DiPaolo and Colin Quinn and Nick Griffin, who may be a little darker but, uh, still hilarious and smart and great. And I’m sure there’s a million people I’m leaving out. Lewis Black is very funny. And you know, there’s a, there’s a good group of really great stand-up comics. And young kids like Joe Wong and Tommy Johnagin, who are, you know, coming up through the ranks, are – as young guns who are, you know … Bill Burr who’s a phenomenal comedian, Greg Giraldo, Louis C.K. You know, there are so many great comics out there really doing smart, great stuff.

Well, tell us a little bit about this comedy club that you had in New York City called The Paper Moon.

Well, what happened was is, I wasn’t really thinking of getting back into stand-up. I was working with the group in college and you know, because it was so successful, the people we went to college with respected what we did. So there was a gentleman who worked at this restaurant and heard that they wanted a comedy night downstairs in this cabaret room. And he called me because he knew – you know, the connection of going to school with these people – Joe Mauricio, and we started comedy at The Paper Moon in 1984. And all of a sudden, I was hosting the shows just to, you know, take care of the shows. And I was paying these comedians out of my pocket with my day job just so we could get really good comedians in there. And, uh, it just became a comic’s club for a bunch of really great comedians from all over the country – could come into the city and work out. And it was very widely popular – ‘widely popular’? I don’t know if those are even two things that go together (laughs) – it was wildly good and very popular. And, uh, it was very successful and I did that for a while. Unfortunately, there was a – the drinking age went up from 18 to 21 and that was a real NYU kind of a place. It was called The Paper Moon. And Adam Sandler was going to NYU at the time and he would come and work out there. And Colin Quinn would work out there, and Susie Essman and Mario Cantone and Paula Poundstone and Bob Goldthwait, and all of these different folks from all over, you know, from that era. Dennis Miller would come by and work out material for Saturday Night Live at the club. So it was a pretty phenomenal place. That lasted for a while but, as a comic, I started having some success and I didn’t want to be tied down to this club because I wanted to now get out there and do some good things for myself.

Something that I thought was really interesting was, uh, your work with Reader’s Digest.

Yeah, you know, that happened by accident. They, um, because of the connection with the Letterman show oftentimes I’m asked to judge competitions which is ironic because, you know, you can’t really judge comedians. … really said it best when he says ‘I’ll give you two famous painters. Tell me who is the better one.’ But you can’t. It’s art. It’s subjective. But oddly enough, I was asked to judge this joke competition for Reader’s Digest. The host got sick or hurt – I think it was hurt – and I was forced then to be the host of the show. I worked with them, um, I, it was a thing for Reader’s Digest and, um – all of a sudden their name slips my mind. I work with them all the time! You’ll help me with this one, it’s uh, Marlo Thomas’s charity – St. Jude’s. I got it. Yes, it was St. Jude’s. I was able to figure it out myself (laughs). And I work with them a lot. I love what they do. So you know, it worked out really great and I got very close with these organizations – so much that I remember their names … uh, after prodding. But um, then I, you know, got involved, you know? And they said ‘We like what you do. Would you help us put together some more shows and be a consultant for us?’ And then they had me come in and work on their web site and read some of the jokes that came in and it’s – I’ve just had a very, very nice relationship with them. They’ve, you know, quoted me a lot and they’ve also printed some of the things that I’ve written as well.

There’s was a TV show that you did a guest spot on. I’ve always felt like this was one of the funniest TV shows on television and I tell people the name of the show – and a lot of times people seem to have forgotten it already – but that was Dr. Katz, Professional Therapist.

Oh god, yeah. That was really terrific. You know, as a little boy I was a cartoon guy and I loved cartoons and in my era, you know, I was a cartoon nut I guess. I don’t know, I’m sure people are that way now, maybe even with animé or whatever, but growing up I just loved all of the cartoons. And to be able to be in a cartoon was one fantastic thing but for them to make a cartoon of you and your voice it’s, you know, like a dream come true – like a little boy’s dream come true. And I did Dr. Katz and it got really great response. And I actually did a second one. Um, I was there recording the same day with a few other comedians who were getting ready for their next season, I think their third season, and the show didn’t get picked up so none of those shows went out. It would have been nice to do another one. It would have been really fun.

Another TV show that you’re currently associate with – The Late Show with David Letterman.

That’s right.
Tell us about how you became associated with Dave.
Well, you know, in this business, it’s really who you know. You know, you have to deliver once you get to place with who you know but Louis C.K. and Bill Scheft, a couple of guys who worked at the show, uh, I think Jeff Stilton who was there at the time as well, I think – and they had recommended me. They were looking for a warm-up and I had done some warm-up over the years. You know, nothing really major but just here and there and there. You know, I actually – Dana Carvey Show, I actually worked on Saved By The Bell for a very short time in it’s infancy and when I was out in L.A. So I’d done a few things. Well, they said they’re looking for a warm-up and I figured OK, I’ll give it a shot. They gave me a six-week trial period and in February of 2010 it’ll be now 13 years. And during the time I was there I got to, you know, get to know Dave and get to know the staff and the people there. And eventually I got moved up, in 2001, to be the stand-up comedy booker on the show which is a huge thrill. You know, nobody really in this industry has ever done that position and is also a stand-up comic. So, you know, because I am a stand-up and it was my dream to do the show, I know what it’s like for other comedians who want to do the show. And I think I’m equipped in a way that I can really help comedians out in a very good way, and treat them the way I would have wanted to be treated if I was, you know, dealing with a booker. And sometimes I’m very good at it and sometimes I’m not always great at it but I give it my best shot and try to be as approachable and as honest as you can be, as one can be in that position.

Tell us a little bit, a little bit more about what that job entails as talent coordinator. Do you listen to, like, tapes of comedians or how does that work?

Um, there are many, many ways. One of them is listening to DVDs or VHS tapes of comedians – and I get hundreds and hundreds in a very short period of time – and I have to tackle them all the time. And it works against me as a comedian a little bit because I hear so much comedy. You know, for me to be able do my own style, I have to really compartmentalize and just think do I think – and actually, my comedy has gotten better because I’m really just doing stuff that’s from my perspective. But back to the question, I do look at a bunch of stuff and I also, um, people will send me their links online. Then you know, as a comedian, I travel around the world doing shows in different places and in many of these places they’ll set up showcases for me to look at the local comics and that really is helpful. Plus, other comics will say ‘Hey Eddie” – people I respect, comics I respect will say ‘Hey Eddie, there’s, uh, a comedienne I worked with and she was great and, you know, you should look at her to put her on the show.’ Or this other person, a manager will call me and say ‘I don’t manage this guy but I saw him in a club and he’s so right for the show.’ So, you know, everyone knows everybody in the business, kind of, or, you know, and we keep each other informed so that the right people get into the right position.

And what exactly are you looking for? I mean, other than a funny person.

(Laughs) Yeah, that’s a big one! You know, laughter is good for a comedian. That’s probably number one. And, um, but no, really, honestly it’s about – we’re looking for the real artist, the real one-of-a-kinds. You know, the ‘Ray Charles’ of comedy. The soulful comics. You know, the people who really have, artists – you know, you know that there’s no other comics like that in the world. And there are, there are a smaller percentage of those kind of comedians You know – the Pryors, the Carlins, the Cosbys – those kind of guys. The Seinfelds, you know, through history the Ray Romanos, and you know, of course I’ve skipped ten thousand billion brilliant comics. The one-of-a-kinds. The ones that you remember, not because they’re famous but because they’re really great comedians. And that’s who we put on the show. We look for that. We look for that spark, that one-of-a-kind-ness you know that. But it’s gotta be smart and it’s gotta be silly. It’s gotta be a combination like that. It’s, uh, a nice you know, and – it’s not the same ‘style’ we’re looking for. We’re looking for the same kind of uniqueness and most of the time we get it right.

What do you think about David Letterman’s comedic delivery?

Oh, he’s you know, I mean, he’s just one – you know, I would consider him one of the best ever at what he does. And, you know, he’s really who he is and there’s that one-of-a-kind guy who just, you know, stood out from everybody else during that time, and he’s only gotten better and better. And you know, the only way to ever get better is to go out there and do it. Well, he’s done over 5,000 shows, you know, in late night television and in the morning. Altogether, you know, that’s a, that’s a nice little catalog of work so he’s really good at what he does, you know? He’s brilliant. And he’s a great interviewer as well and he’s a very compassionate man, and it’s, uh, you know, silly and fun and it all comes across, I believe. You know, in this business all the comedians, the real pure comedians, respect Dave the most. Not that they disrespect anybody else. I mean, there are some incredible people out there that are doing the same thing but Dave is the guy everyone looks up to. I mean, even Conan O’Brien has said it out loud ‘He is the man. He is my hero.’ And that’s what they do. And, of course, all of us including Dave’s hero, was Johnny Carson. You know, and all of those guys – the Johnny Carsons – they looked up to the Jack Paars and the Steve Allens and the Ernie Kovacs’s (laughs). And you know, it all goes – it’s generational, from one to the next. Dave is the guy of this era.

Our special guest is Eddie Brill, the warm-up comedian for The Late Show with David Letterman. I was hoping you could tell us, through your association with The Late Show, do you have a favorite memory?

You know, there are so many. There’s some of the biggest thrills of my life. I mean, again, I feel like a little boy going, you know ‘and then I got fire truck and then I got a toy boat.’ (laughs) You know, I got to meet Sophia Loren. When I was a kid, you know in my era – I’m 51 – all of the kids had Farrah Fawcett posters. I had Sophia Loren. Not … I didn’t ‘have’ her, but in my mind I did (laughter)– you know but every night I was there falling asleep with that poster. But, um, I got to meet her and be, you know, I was charmed by her. And I got to sit at the piano with Burt Bacharach and chat with him. And I got to, you know, hang out with George Carlin or Elvis Costello or talk – you know, I mean it’s, again it’s ‘I got a big truck!’ (laughs) and that’s just what I feel like – that kind of a guy. And I got to hang out with the President and I got to talk to Paul McCartney and it’s just, I mean it’s just too much fun. It’s too great and I’m just, I’m just very, very blessed.

What’s the best thing about being Eddie Brill?

(Laughs) That’s a weird, interesting question because if I thought … ‘Oh, what do I want to say about me?’ I don’t know. I mean, I’m not ashamed to say good things about myself. I know I’m very passionate about what I do. I’m a workaholic. I do so many different kinds of things. I’m involved with a lot of things. Like, I’m very involved with this comedy festival called The Great American Comedy Festival in Nebraska, in Johnny Carson’s hometown of Norfolk, Nebraska. I’m involved in both sides of the business – in front of the camera and behind the camera. You know, so that’s a big part of who I am. And I guess, I’m, you know I grew up with very, very humble beginnings and I appreciate the really cool things that have happened for me. And it’s all happened for me because I worked my tail off because I love what I do. So it’s, you know, I don’t know. I’m proud of my life. I’m really happy with the way it’s turned out, you know? Any mistakes I made along the way I don’t regret. You know, I just have to move on and learn from them and, you know, try to get better and better. And you know, I just have to make sure that I’m always true to my, you know, values and beliefs. And as long as I can do that, and get the respect and integrity of my friends, um, and peers then I’m doing OK. So those are the good things, you know. It’s a hard question to answer – but I just talked about it for an hour, I guess.

Well I have two final questions. I asked Alan Kalter this one. New York City has absolutely some of the best places you can eat.

Right.
Where do you like to eat in New York City and what do you get when you go there?
Well you know, there again, it’s like, you know ‘do you have two hours?’ We could do a whole show on this, you know. But there’s a place in the East Village that no one knows about – maybe now everyone will know, hopefully – called Café Orlin. And it’s open 24 hours on the weekend and during the week it’s open ‘til midnight, and they have breakfast ‘til 4, and it’s the most nondescript place. You gotta really find the name, which is on a glass window – it’s very hard to find. But it’s a little place that’s so humble and so unique, and the food is fantastic. There’s not one thing on the menu that’s not terrific. And it’s hardwood floors and exposed brick and always great music playing in the background and it’s very, very delicious and it’s great. But famous places that are great – I love Mesa Grill, the Bobby Flay restaurant. I did his show – you know, we didn’t get paid in cash but we got paid in a much nicer way (laughs). We got paid with dinner for two at Bobby Flay’s Mesa Grill and I’ve been going there ever since. Southwestern food, really great. And also, I love the Red Eye Grill which is almost in a very touristy part of town but they have some of the best seafood in New York. And there’s so many great – like I said, we can go for hours, you know? But if a tourist comes to New York City, they should ask other New Yorkers which restaurants to go to, not read out of the books and go to the tourist places because most of the tourist places are mediocre, you know, run-of-the-mill. In fact, in Times Square in New York where all the tourists are, there are no original restaurants with, you know, any flair or one-of-a-kind-ness or a uniqueness that is really New York. It’s more like Disneyworld there where there’s, you know, all these famous chain restaurants, selling processed food that, you know, all frozen stuff that comes off a truck. You know, probably every restaurant in Times Square gets the same delivery and they just put a different name on it, you know? That’s not what New York is about. If you’re gonna eat in New York, stay away from Times Square. You know, if you want to see New York, stay away – if you really want to see what New York is – stay away from Times Square (laughs).

Wow. Well, my final question for Eddie Brill. This broadcast goes out all over the world so what would you like to say to all the people who are listening in?

Hmm, OK, uh, you know – hmm. I would just say do not take life very seriously, it’s very short. And, you know, you should take risks in this world because if you do you’re going either go really high or you’re going to go really low. And you know what? If you go up and down and up and down – if you look at it like a graph, like an EKG machine – that means you’re alive. But if you don’t live life and you just take the safe way out all through the rest of your life, you might as well be dead ‘cause you’re just flat-lining, you know? So that’s my one message – to live life. And also, don’t care what it looks like when you, when you make a mistake or don’t care how it looks when you fall because, in reality, at least you’re in the game. You’re not on the sidelines pointing and judging other people. You’re in there giving it a shot. And that, I guess that would be sort of the biggest philosophy I live my life by.

Very well put. Thank you so much, Mr. Brill. It’s been a pleasure to speak to you.

It’s my pleasure Paul and good luck to you, Have a wonderful holiday.

You too. Godspeed.


TRANSCRIBED BY GAYLE BRAZDA.

Anton Fig: Instrumentalist

ANTON FIG has been the drummer for the CBS Orchestra on The Late Show with David Letterman since the band’s inception and before that the drummer on Late Night with David Letterman’s World Most Dangerous Band.  In 2002, Anton Fig released his debut album “Figments.”  He was kind enough to give us this great interview.

A big thank and welcome to Mr. Anton Fig for being our special guest today.

My pleasure. Thanks for having me.

Mr. Fig, one of the things that someone would first notice when they listen to your album, Figments, is just the variety of the music – so many different styles on one album – and I was wondering especially about the world music influence. I know you grew up in South Africa and I was wondering if your growing up there had an influence on your songwriting?

Yeah, well for sure. When I was growing up in South Africa, I mean it was quite a while ago, and our link to the outside world was via shortwave radio. We used to tune into Lourenço Marques, which is Mozambique now, and we would hear stuff that was coming from overseas – from Europe basically – via that radio. And that’s where I kind of got my rock education but there was also the African music that was, you know, indigenous to South Africa. That music is much like what you hear on the Graceland record, by Paul Simon, if you take away the vocals and just listen to the instrumentals. So I heard a lot of that kind of music growing up. And then my mom played classical piano and my dad was, like, really into jazz, so I got, like, a pretty wide variety of influences. You know, growing up for a bit in South Africa, you know, you’ve got a completely different flavor to, say, growing up, you know, somewhere in America, music-wise and culturally.

One of the songs I really, really liked and I was wondering about the influence behind it, was 3:4 Folk.

It’s sort of inspired by, like a, like a kind of West African style rhythms where the song – it’s like, it was like a folk song but the song could be heard in, like, either in 3:4 time or 4:4time. And a lot of that music, you know, you have instruments playing in the two different times at the same time. And just depending on how you listen to it, you can hear it both ways. So I was trying to kind of create that aspect. And also, when I came to America I was very into Weather Report, and one of the ways that they used to write songs was, it wasn’t necessarily like ‘verse, chorus, verse, chorus, bridge, chorus’ like a typical pop song. They would write songs in a linear fashion so there may be like an A section, you know, a B section, and then it would go on to a C section. And it would, kind of, the form wouldn’t really repeat, it would just move in, in sort of one direction. And so that song kind of does that as well. It just kind of, I think I do repeat the verse and the chorus but after that it just kind of moves into new sections. So, the form of the song was inspired by that but the rhythms definitely came from sort of an African style or device of hearing 3 and 4 at the same time.

The album has a lot of great musicians on it – some of them from The Late Night Show – but also people like Brian Wilson, Ivan Neville, Ace Frehley. I was wondering if you thought if anyone in particular really shines on the album?

Well, I think they all do. I’ve been lucky enough in that I’ve played with lots of different people and in lots of different circumstances so I mostly called on my friends and people that I’ve played with to kind of help me out on the record. And I try to sort of place combinations of people. It wasn’t just, like, let’s see who we can get. I try to kind of get the right combinations for the right band. So, for example, the song with Ace I got Richie Scarlet – we used to play in Frehley’s Comet together – and Sebastian Bach from Skid Row. I thought, like, that would be a good combination for that particular song. Now, the Brian Wilson song that Brian’s on, I have Blondie Chaplin singing vocals. And Blondie’s an old friend of mine from South Africa and I’ve played with him a lot. And he’s currently singing with the Stones – he’s been with the Stones for the last 10 years. But he sang Sail On Sailor with the Beach Boys – he used to be in the Beach Boys. So I had Blondie singing and Brian doing the background vocal, so it kind of made sense from that point of view. Actually, you know there’s a really great moment if you go past all the songs and let the record just play a little bit, the CD, there’s a little hidden track, and I took Brian’s vocal harmonies and took the music away so you just hear the vocals by themselves. That’s an incredible moment.

A lot of people on the album are from the CBS Late Night orchestra and I was just wondering, how you started with the show?

Well, you know, there’s not a lot, there’s some. I mean, there are about 40 people on the record and, you know, the Letterman – I maybe used four people from the band or five, you know. But, uh, what happened was I was playing around New York City and, uh, I had done a record – I had played with Will and Paul and Hiram on a few different projects – and towards, in the mid ‘80s I actually did a record of Paul Butterfield’s, a blues player from Chicago, and Paul was on the record. Steve Jordan was the regular drummer on the show and, you know, when he couldn’t make it they would have various substitute drummers and one day they called me. I mean, it took a while but I guess everyone was out of town and eventually they called me and I substituted for a few weeks. Then Steve came back and then he had to leave again. You know, about a month later Paul called me up and said ‘It looks like Steve is leaving the show.’ And, you know, I don’t know what happened there – there was whatever mutual reasons – and, um, he said, uh, ‘We liked the way you substituted and you can have the gig if you want it.’ I thought about it for about a split second (laughs) and, uh, I said ‘fine.’

I saw the episode where there was a performance from Figment. I thought it was interesting. Do you think, overall, that Dave Letterman is supportive of, like the Will Lee solo effort, various solo projects from the members of the orchestra?

Yeah, well he likes the band, he likes the music, very supportive of the music. You know, he’s always commenting on how great the band sounds. And I gave him a copy of the record and, you know, one night they called and said ‘Dave really loves this. You know, he’d like to book you on the show, which I thought was really very, very supportive of him and really, really great. You know just, basically, we picked a song and it was Ivan Neville on Inside Out. I got Blondie to sing background on it and Randy Brecker, the jazz trumpet player, you know, plays a solo on the record so I got him to play the solo. It was very generous of Dave and it was a fantastic experience to play the song on the show.

Is there anyone in the, uh, orchestra that you feel exceptionally close to? I know you probably get along with everyone, of course.

Yeah, well you know I feel very close to everyone there because, I mean I’m, like, I’m very thankful to Paul for hiring me. You know, he’s the leader. Will is a fantastic musician, Felicia, Sid and – they all are fantastic musicians. I mean I see the guys every day and I feel close to all of them. I can’t single anyone out, it’s just great to be with that whole combination.

Do you envision a second Anton Fig album?

Yeah, I’d like to do that. And at the moment I’ve been, uh, doing some film music and I’ve been playing on records, and also have been doing, like, recording drum files and sending it to people across the country. And I do foresee another record but I don’t know when that’ll be because I’ve sort of – it’s a lot of work. It took me a long time to do. When you do a project yourself, you know, if you don’t feel like working that day the whole project stops. It’s a lot to take on. You’ve got to make sure you’ve got the right material in place. And then, you know, once you’ve done the record – which is the really fun part – you’ve got to try and get it out there which is, you know, the difficulty. The way the business is now, even thought there’s the internet – and that helps a lot – it’s prohibitive to get it into the advertising and on the radio. It’s so expensive. So, you know, those are all things to consider before embarking on a huge project but I definitely will be doing something, you know? Whether it’s a second record or maybe a smaller thing, an EP of some kind, or – there definitely will be more stuff coming from me.

I saw, uh, Jordan Zevon a couple of weeks ago on The Late Show. I know Warren Zevon had such a relationship with the show. I was looking at one of my absolute favorite Warren Zevon songs and I noticed that you played on Genius. I was wondering what it was like working with Warren Zevon.

Well, it was great. You know, I worked with him a lot on the show because when Paul couldn’t make the show, they got Warren as the keyboard player and then they made me the band leader. So I was sort of behind conducting the band and kind of doing the cues for the day, and figuring out what to play, and then we did, you know, Warren’s songs, obviously. I conducted the band and then Warren, you know, played keyboards and spoke to Dave now and then. And, you know, he’s very funny and an incredible songwriter. It was fantastic, like, learning all his material. And then he called me up and said ‘You know, would you like to play? I’m doing an album. My ride’s here, would you like to play on the record?’ So of course, I jumped at the chance. And we went into a little studio – he flew to New York – and basically, it was just me and him in the studio. He had some stuff already down on, on pro, on tape – you know, ProTools – and so I, just over the course of a weekend or two, just put all my drum tracks down and percussion overdubs. It was a great experience and, basically, it was just me and him and an engineer in the studio. And then he went back to L.A. and he just, I think he put a little bass on them and just finished it.

What was it like working with Ace Frehley?

Yeah, well you know I worked with Ace since he did the, um, solo record – his solo record which had New York Groove and Rip It Out on it – and some of the records that he did with his band. When he came and played on my record he was actually in the middle of a tour. He just ran up to my apartment, put a few solos on and then we just kind of, you know, edited it around. If you’re interested in checking out the record you can get it on Amazon, CDBaby, iTunes, and AntonFig.com. You know, he’s always been a good friend. He’s a great player. We’ve always had a good vibe and a good friendship and it’s really fun to work with him. He’s great, you know, what can I say? He means a lot to a lot of people and he means a lot to me, too.

Was there anything on the album that you found, in particular, was a favorite of yours?

Not really. I mean, I, you know, I listen to the songs and, you know, certain things sort of resonate more with me at a certain time than others but I really kind of, you know, like the whole record. There was one thing, if I had a regret – at the end of January / February / March I had a drum solo which I decided to leave off the final version of the song on the record and, you know, I was maybe sorry that I did that. Beyond that, I mean I like all of it. They’re all very different songs. They sort of keep your interest going. I tried to make it so that if you decided to follow any instrument right through the song it would, like, kind of be interesting and take your ear, or you could just listen to the song as a whole. So, I really kind of worked hard to make each song like a little journey that you could kind of work your way through. Even though it was completed a year or two ago, it still sounds pretty current to me. It’s not – I didn’t use any, like, fancy tricks or fads or anything like that, so it feels like a good, solid record that should hold up for a while.

I was wondering, in your course of time with The Late Show you certainly played with, uh, just a lot of amazing artists and I know it would be hard to pinpoint just a couple. Were there any in particular that were – it was especially memorable for you?

You know, playing with Miles Davis was really memorable because I’ve been a huge Miles Davis fan and to get a chance to play under him was great. You know, to play with James Brown was unbelievable. Springsteen was unbelievable. Stevie Winwood, Willie Nelson. I think, you know, just to have the chance to play with my favorites was pretty profound for me. And we actually got to play with James Brown a few times. You know, when you play with a really, really great guy, you know, you’re sort of playing away there and you’re thinking ‘Man, these guys sound exactly like the real guys.’ And, youknow, and of course it is them. You’re not playing in, like, a cover band, you’re playing with the actual guys themselves. That really raises the energy level up. It makes you really concentrate and play harder and I’m very thankful for having the opportunity to have the experience.

When someone listens to your music, is there anything in particular that you hope they got out of it?

I hope that it takes them somewhere, takes them on some kind of a journey. Maybe some of the words resonate with them but it’s, you know, the music kind of takes them to a place. I’ve gotten a lot of people that have written back to me and told me that they’ve really gotten a lot out of my CD. I didn’t try and do anything. I just sort of did it the way that I heard it and when I’d kind of heard everything, the music was done kind of thing. Like, for some of us it’s hard to know just when to stop but it’s, like – I don’t know how to describe it. I just did it to the best of my ability. I don’t know, you know, how that’ll hit people but I hope that it hits them, you know, in a positive and fulfilling way.

My last question. Given that this program goes out all over the world, I was wondering what Anton Fig would like to say to the world.

We could always use a bit of peace. I don’t understand why there’s all this fighting going on. I know humans have been fighting ever since we’ve been on the world, in the world. You know, I know there’s lots of differences between people. Everyone’s entitled to their differences but it’s not worth killing someone over. Hopefully, we can all get along a little better.

Well Mr. Fig, I do thank you for your time.

Well, thank you for having me and I really enjoyed talking to you.

TRANSCRIBED BY GAYLE BRAZDA

Alan Chez: Instrumentalist

This is an interview with trumpet and flugelhorn player Alan Chez. He was a member of Paul Shaffer’s CBS Orchestra starting in 1997. Recently he has started his own band: Al Chez and the Brothers of Funk Big Band. He has also toured with Bon Jovi, Robert Cray, Tower of Power, Young Rascals, Rolling Stones, David Bowie, Maynard Ferguson, Eric Clapton, Dave Edmunds Band, Ben E. King, Sam & Dave as well as other artists and bands.

Ladies and gentlemen, it is with great pleasure we welcome Mr. Alan Chez, trumpet and flugelhorn player with the CBS Orchestra for The Late Show with David Letterman. He also has his own project: Al Chez and The Brothers of Funk Big Band. How are you doing Mr. Chez?

I’m hanging in there. How are you this evening?

It’s great to do this and I’m having a good evening. So, my first question: who is Alan Chez?

Alan Chez – who am I? I’m my mother’s son. Trumpet player, New York City, born and raised in New Jersey, son of Peter Chez who was a country and western singer – called himself Chet Peters. My father was always going around the house playing the guitar and, you know, and singing and doing gigs, uh, with my mom, you know, being a background singer in New Jersey – in Jersey City and Newark area way back when. And then, uh, they started – when I was like nine years old, they had started a, uh, drum and bugle corps in our area. And my two older brothers got involved in that and, of course, when I grew up I wanted to be just like my older brothers which, when I turned nine, got involved and uh, basically got most of, I’d say my chops and musicianship and, from that activity.

Can you remember your earliest musical loves, your favorite musicians?

I’m a Louis Armstrong fan, OK? Only because the one thing about Louis that was so cool – there’s nobody has ever sounded like him since, you know what I mean? Who did Louis Armstrong sound like? Louis Armstrong sounded just like Louis Armstrong. He didn’t copy anybody and there’s nobody, really, who has gotten that individualistic sound down. And that’s what I think is very important in music. We have so many clones today, you know? The kids that are going to college for music and learning X’s and O’s. You know, there is no X’s and O’s, there is no right or wrong, there’s only good and bad, you know, in my book. I have students and kids that come up to me and, you know, ‘Mr. Chez what kind of horn do you use?’ ‘What kind of mouthpiece do you use?’ It really doesn’t matter. There’s no right and wrong, there’s no X’s and O’s, it’s just good and bad. And Louis was great – he wasn’t even ‘good’ but his individualism of approaching music is something that I try to take with my playing whenever I play. I don’t want to sound like anybody except for myself.

Very interesting. Well, with what you said about Louis Armstrong, I have to ask what do you think about Chuck Mangione?

I love Chuck Mangione. I’m a huge Chuck Mangione fan (laughs). I’ve seen him play a couple of times and I have all of his music on, uh, on albums – I’m dating myself here – I have albums and eight-tracks and cassettes and the whole thing. I don’t think he got the props. He’s a great player, a great soloist. And, you know, guys listen to him, yeah ‘Does Chuck Mangione have the hard chops of Maynard Ferguson and, you know, some of these other, you know, guys?’ No, but who cares? There’s so much more to playing a horn than playing high notes, you know what I mean? He had so – he could so – and some of the most beautiful music to come out of a horn that I’ve ever heard.

Definitely a great writer of music as well.

Oh, you know Bellavia and Chase the Clouds Away – oh my goodness! (Laughs) You know? I listen to him and the beauty of his tunes – and the beauty of any great tune – you could be in your car and you put on that CD or that song comes on the radio, and then it just, it takes you back to a time – it takes you back to a smell, to a, to a memory, to a, you know, a period of your life. And just in, in eight bars you’re back there, you know what I mean? Chuck does that to me all the time. I’ll be driving and all of a sudden I’ll hear the beginning of Children of Sanchez (makes rhythmic sounds) and I’ll sound like ‘Oh my god, it’s 1979 again. Here we go.’ You know? And I’m, I’m remembering the people I hung out with, and the smells – that’s what it’s about for me.

When somebody listens to your music, what do you hope that the people that are listening – whether it’s on a recording or whether you’re with the CBS Orchestra or with your own project – what do you want the listener to get out of the experience of listening?

I want them to have fun. You know, music basically came from celebration. My life, I’m walking around – I’ve got my family crazy – I’m whistling and, you know, I’m a whistler so I’m always going around, you know, whistling around my house. I’ll go to the supermarket and my daughter will be “Dad – stop.’ You know? ‘Stop whistling.’ you know? (Laughs) And I’m basically a pretty upbeat, happy person and when I have somebody hear me play I want them to feel the celebratory part of me. I want them to feel good about themselves. I want my music to go through their body and hit their soul and make their soul shine.

What a great answer. Now, I understand you were born in Jersey City, New Jersey.

Yes, sir.

And you continue to live in New Jersey.

I’ve always played in New York City and I’ve always lived in Jersey so, to me, I always have to come into the city. I always have to commute in, do my gigs and then, at the end of the night, drive home. I’ve done it since I was, you know, since I was 16 years old. Actually, when I was 15 years old I went the other way. I lived in central Jersey. I started a band with Jon Bon Jovi when I was 15 years old called the Atlantic City Expressway. And we, we had become the house band down at the Stone Pony and the Fast Lane in Asbury Park. And whenever Edgar Winter would come out or Rick Derringer or the Southside Johnny or Bruce Springsteen – we were the warm-up band for them but we were only 15 or 16 year-old kids. But we would get rides down there from somebody’s mom and dad, ‘cause we weren’t old enough to drive, never mind, you know, being in the club playing, but we always had to commute.

Now tell us a little bit about your project, Al Chez and the Brothers of Funk Big Band.

I don’t want this to come off the wrong way, OK? Because, you know, when you get to a certain – I’m not going to say ‘level’ because I don’t like to use levels, and I don’t like to use ‘different players’, ‘this player is better than this one’ but when, when you do certain gigs, when you do a lot of gigs and you meet a lot of different musicians – let’s put it that way – everybody’s good. Everybody can play. The guys I like to play with, I don’t care how good they are, I want guys that can hang. I want guys that I’m gonna laugh with. I want guys that I’m gonna have fun with, that I’m gonna sit next to ‘em and I’m gonna look across the stage and I’m gonna say ‘Man, this guy is having a great time’ and, because he’s having a great time, he’s making me have a great time. Well, that’s what the Brothers of Funk are. They are a bunch of my buddies from Syracuse, New York. We go out and do these big band gigs and play Maynard Ferguson and Stan Kenton charts. We have a blast. I get to sing a couple of songs in it, too, which is nice. I get to express myself, vocally which, uh, is a lot of fun. You know, playing out there with your friends and trying to get people’s souls to shine – for me, you can’t buy anything better.

Just hearing you talk, it’s very obvious you’re very passionate about music.

Well, how can you not be? You know, anything that could, that could change your emotions in eight bars, of hearing something for eight bars – you could be in a terrible mood and listen to a piece of music for 15 minutes, not even 15, 15 seconds and it could change your whole day. That’s powerful. To me, that’s more powerful than any drug or alcoholic product that I’ve ever heard about.

Well, with that said, if you could put it into words, what is it you like about music?

First of all, I don’t like music – I love music. I love music, and it’s not the notes and the rhythms and how hard a lick is or how high the note is or the level of the player – it’s a feeling. It’s just a powerful change of emotion. One of the only things in this world that I believe that can really reach in and touch your soul – that’s what music is to me.

Wow. Well, you know, I was reading about one of the gigs that you had in 1999, the Rock and Roll Hall of Fame Induction Ceremonies. And that just seems like a mind-blowing kind of event: Paul McCartney, Bruce Springsteen, Billy Joel, Eric Clapton and Elton John.

That was a good one.

(Laughs) Yeah! So, I mean, you can’t get much better than that. I hope you can at least tell us a few of your recollections about that event.

We’ve done the Rock and Roll Hall of Fame with, uh, Paul Shaffer and the CBS Orchestra for – boy, we must have done the last 24 or 25 of them. We do them every year. That one was a really good one because, being a Jersey boy – come on. Bruce Springsteen. Playing in New York. Billy Joel. They’re all my guys. They’re all the guys, when I went to high school that’s what I was listening to. And to say that Bruce Springsteen and Billy Joel are influences of mine, which they are, is kind of strange because I’m a trumpet player. And you don’t – you wouldn’t really think of Bruce Springsteen or Billy Joel as an influence to a trumpet player but they’re in there. They both created music that has touched me in ways that when I create music and when I play music, I come back to that. You know, that gig was really good. Bruce Springsteen played a couple of songs. I don’t know what song it was we played – it was 1999. We played one song with them and then we weren’t playing anymore with them. And he played a couple of songs with just his band, and all of a sudden he went into Tenth Avenue Freeze-Out. And the horns looked at each other, we’re like you know, come on. We played this song a thousand times in cover bands growing up. Let’s go. And we just played it with Springsteen, and he turned around when the horns came in with a look of ‘I love you guys.’ (Laughs) You know? So that was – it was great. It was great.

It sounds it. Take all the listeners back to the time that you met Paul Shaffer and Will Lee. That was 1986. What was your impression of these gentlemen when you met them?

Well, those are the guys – those are the cats. You know, Paul Shaffer – Paul Shaffer is a genius. He has an encyclopedia in his head of music that is second to none. And Will, Will is just a bass machine. Just knowing them from and seeing them on TV and knowing their reputation – I, I really didn’t know them, either of them, personally – me and Bruce Kapler, the saxophone player on The Letterman Show – we were playing in a club and Will and Paul were going to the club. They had heard about us from another friend of theirs and they were going out – when the Letterman show does reruns, which is about 10 weeks a year, they do reruns – the band was going to do gigs, like jazz festivals, and they wanted to hire a horn section. I think they wanted to hire the Tower of Power horns and then they heard me and Bruce play and they said that us two, the two of us, are – I’m trying not to compare us to the Tower of Power horns ‘cause I did that gig too and that was a heck of a lot of fun – but the two of us sounded like five horn players and that’s why they hired us to get involved with that.

Now, just being in this band, the CBS Orchestra, you guys get to play with some of the best musicians in the world, and there has to be so many surreal experiences there, but if you had to name one – if it’s possible to name one – tell us about the one artist you played with where you had to pinch yourself and say ‘Tell me this is real.’ (Laughs)

I have two and being a trumpet player, the first one – Maynard Ferguson. I was out on the road doing the Bon Jovi/Aerosmith rock and roll tour. I was 23 years old. I had a pair of tight leather pants. I had a big long perm (laughs) and I’m going into my car and I’m listening to Maynard Ferguson records (laughs), CDs. And to get to play with Maynard after all that time was, you know, for a trumpet player, come on. That was great. Another trumpet player, Arturo Sandoval, who came on the show – you know, Arturo, he’s the man – to me, that’s the greatest trumpet player, uh, living today. You know, he’s, that guy can do it all. And he’s coming on the show. We’re playing Night in Tunisia and we’re, you know, Sandunga, and all these different tunes of his. And I go home and I know that, a couple of days before, I know he’s going to be on the show, and I find out what tunes he’s going to play and I get the CDs and I get the chart and, you know, and I go in my studio and I practice and I practice, and I get it down. And, of course, I’m learning the second trumpet part because it’s Arturo Sandoval. Well, I get to the Letterman show and I get my charts and I put them up there, and I get them on my stand and he walks up there, as nice as can be, and he says ‘How are you doing? How are you?’ And he looks at my charts and he goes, uh ‘You have second trumpet part there.’ I say “Yes, yes, yes. You know, I’ve gone over them, you know. I’ve practiced, you know, and I hope I’m going to do you justice.’ He goes ‘Oh no. Oh no.’ He goes ‘You young man, me old man. You play first trumpet part.’ (Laughs)

Oh, wow.

And I did. I was, like, oh boy, here we go! (Laughs) And absolutely had a blast with him. What a nice man, what a great gentleman, and what an ambassador to music he is.

I’ve had the chance to interview a couple of your fellow band-mates on the show – Anton Fig, Bruce Kapler, and uh, there’s a couple more that have expressed interest. So I’d like to know, is there someone in the band that you feel closer to?

Probably Bruce Kapler. Me and Bruce have played together – oh boy, we started in a band, La Bamba and the Hubcaps – I think it was 1982? So I’ve been playing in different projects with Bruce. My first Letterman show in 1986, backing up Toni Childs was me and Bruce Kapler. The Jon Bon Jovi Slippery When Wet tour was, you know, it was four horns. Bruce was on that with me. Uh, we’ve just done a lot of stuff together. He’s like my older brother. I love him.

Here’s the mushy part of the show. When we asked Bruce that question, he said ‘Alan Chez.’

(Laughs) Wait ‘til I see him.

Well, you know, there’s an album project that you have planned for the summer of 2010 and so, tell all the listeners out there about the album project. And also, there’s a fan page where they can keep up with you – I just joined the fan page on Facebook page – so tell everyone about that, how they can, uh, find out more about the world of Alan Chez.

We’re starting to go in the studio with the Al Chez and Brothers of Funk Big Band, trying to get material together, you know, some cover tunes, some original material, trying to put something together and just get it out there. There’s different kinds of big bands, you know, there’s the high-powered big bands, there’s the swing big bands, there’s the Michael Bublé big bands. I want a big band like I’ve been saying, you know – that reaches into your heart, touches your soul, massages it and then lets you on your way. And that, through my music and the music that we create with the Brothers of Funk, makes you feel like you’re a better person. That’s my goal. Now, how do we do that? We’re working on it (laughs) but that’s my goal. That’s my goal. It’s not to just to have somebody say ‘Hey, I like that tune.’ I want it to affect you. You know the tune, you know. You hear (sings) ‘I can see clearly now the rain has gone …’ You listen to a certain song like that, if you don’t feel great when that song is over, you’ve got to listen harder (laughs), if that’s the case. I want to create that type of music. Like I said, it’s not a million notes, it’s not the hardest, it’s just a feeling. You know what I’m talking about?

Yeah, absolutely.

That’s what we’re going for with the Brothers of Funk. On Facebook, there’s a Brothers of Funk fan page. Come on on, you know, get on there. Come and say hello, drop me a note. Some people made us these really, really great T-shirts that we have for sale on that site also. They’re black T-shirts. On the front is says ‘Al Chez and the Brothers of funk Big Band’ and on the back it just simply says ‘We want to’ and then in big letters it says ‘FUNK YOU’ (laughs). I know you want one. I’ll send you one (laughs).

(Laughs) Yeah, yeah I do. You’re a mind-reader. (Laughs) I have two final questions before we go. What is your all-time favorite meal?

I’ve got to go with a big bucket of crawfish. That would be me. A big Cajun meal. Crawfish etouffee or live crawfish and some red beans and rice and some bread on the side. Right there, that’s my guy.

I’m going down to New Orleans in a couple of weeks so you’re getting me psyched for it.

(Laughs) Go to Mother’s right there on Bourbon Street and just go nuts – go nuts for me.

All right (laughs). Well, my last question: this broadcast goes out all over the world. What would you like to say to all the people that are listening in?

I would like to say life is an easy thing if you let it. Just relax and let life come to you, you know? There’s a lot of uptight peoplein this world and one of these things we do as musicians, which I think we should do as musicians – kind of living for the sake of living. It’s a beautiful world out there, man, and most days are really beautiful if you let them. There’s a thing called a ‘10/90’ program, OK? It’s not a program, it’s just a belief, and it is that 10% of the things that happen to you, there’s nothing that you can do about those 10% of things. They’re going to happen to you. You’re going to hit a red light. You’re going to run into somebody you really don’t care for, you know? But the 90%, it’s what you do with that 10% that’s been given to you, you know, that you can’t change. Yeah, you hit a red light. So put on the radio and groove, you know what I mean? You see somebody that you don’t like? Well, drop it, you know? And go up to them and say ‘Hey, what’s happening?’ You know what I mean? I’m all for the positive of everything. Have a great day. Have the most awesome day that you could possibly have. You know why? Because tomorrow, that day is gone. You only get one day at a time. You only get one day a day. And everybody should try their best to make that the best day that they can.

That’s very well put. Well, Mr. Chez, thank you so much for this interview. On behalf of all of our listeners, it’s been great.

TRANSCRIBED BY GAYLE BRAZDA