We are filming in San Diego for the Hamilton College Jazz Archive, and it's my pleasure
to have Bob Schulz, vocalist and cornetist, and cup mutist, which we'll talk about that
in a moment, with us.
Thanks for coming and joining me.
BS: Well I appreciate you asking me.
It's an honor.
MR: I just saw a great set of music backed up by great people, and these jazz parties
are a phenomenon that I wasn't even aware of.
When did you first start doing these?
BS: Well I haven't been on it that long, but I've been, I think the Atlanta Jazz Party
was the first one, and that was in '91 I think it was, '91, '92.
And a lot of the same guys that we have here were paying that.
However there is a few that I'd never played with before, because this is kind of the L.A.
area and there's some people that come up from there and some people that came out from
New York that I've heard of and I've heard people talk about, and I finally experienced
it, and they're great.
Boy the last group we just played with, John Bunch and Bucky Pizzarelli, man, make everybody
look good.
MR: That's the cream right there, huh?
Especially that ballad that you sang.
BS: Well I just told - I stopped on the way up here, in the bar and I said to Bucky and
to John, I said man I've never been accompanied by anyone whose as sensitive as you two are.
They've done a lot of it, you know, and so they - talk about a support group, they were
great.
So it was easy to sing.
MR: Do you think that has anything to do with - not only that they've been doing it for
a long time, but knowing the role of your instrument?
BS: Oh yeah.
That's important in any field, especially in jazz.
You have to know where you belong, in an ensemble or whether you're accompanying someone else
who's soloing, or whether you're just being on stage, the showmanship.
I mean you have to know what you're supposed to do, and all these guys do, so it's an honor.
MR: Especially when you've got all those horns up there on some of these sets, and two trumpets
for instance.
BS: How about three trumpets?
MR: How about three.
I didn't see that one.
You had three up there?
BS: Oh, it was three last night.
Talk about a - but it worked out fine, it worked out just fine.
The two trumpets isn't quite as bad, because- MR: Because there's a tradition of that.
BS: Yeah.
There's a tradition and the Eddie Condon band has done that in the past and we did it last
night with Dan Barrett running the show, and he had an A line and a B line.
So much the same as Eddie Condon used to do.
And with Billy Butterfield and Wild Bill Davison.
And it worked out great.
And then at the end all hell breaks loose and everyone plays, so it's one of those.
MR: Well before the cameras were rolling you were telling me that you come from a big metropolis
in Wisconsin was it?
BS: Oh, yeah, sure, you betcha.
It's Wonewoc, Wisconsin.
It's 731 people, and like 48 people in my graduating class, you know it's one of those.
But it was very nice and I grew up, you know you grow up in a safe- everybody knows each
other, so it was a good way to grow up, it was a very nice upbringing.
MR: Did the small town atmosphere have anything to do with the music you heard as a kid?
BS: Well when I grew up, I always loved music, my father played a cornet and then it passed
down through the family, my brother and my sister, and I was the last one to get it,
and I was the only one who went on in it.
I went on to college at La Crosse, at that time La Crosse State Teacher's College.
And I taught music for seventeen years in a couple of schools in Wisconsin, and played
in the city band, in the town band, and used to play trumpet trios, some of those typical
Herbert L. Clarke things with the band, and loved it.
It was part of my life, as was sports, I enjoyed that, and hunting and fishing, you have to
do that in Wisconsin, it's one of those things.
MR: Well, kind of a well-rounded bunch of things to do, in education and performing.
Did you teach elementary up to high school, or the whole thing?
BS: Yeah.
I started out teaching everything from first grade through twelfth grade, because it was
very small schools, and then I was in junior high and then I ended up for the last eleven
years just teaching in high school.
The typical, you know, marching band, jazz ensembles, solos and ensembles, concerts,
that kind of thing.
MR: Well did you give that up to play more?
BS: Well I gave it up not on purpose, I probably would have still been teaching if it wouldn't
have been for the fact that I got divorced.
I got married in '63, which was kind of interesting because my wife and I at that time went to
New Orleans on our honeymoon, and I saw Jack Teagarden just before he died, because he
died I think in January of '64, And a bunch of other musicians down there, it was great.
But she was not that crazy about the music.
She liked the music but I was gone a lot.
And it didn't mix.
So we parted our ways.
I have three great kids from there that have grown up, two girls and a boy, and then I
came out and joined a gentleman by the name of Turk Murphy in San Francisco.
So I moved away, I quit teaching, I asked for a sabbatical but they wouldn't give it
to me because teaching jobs were hard to get, at least music teaching.
So I moved out to San Francisco and started playing out there.
And re-married and have a twelve year old boy right now.
MR: So San Francisco is your home now?
BS: Yes.
Well I shouldn't say, it's the area.
I live in Marin County, I live in San Anselmo which is about fifteen miles away.
MR: Did you have the gig before you moved.
BS: Yes.
MR: Yeah, you did.
BS: I had the gig but it was also iffy.
If you cut it you got the gig.
I mean if I didn't cut it I would have been out.
So then I would have probably moved back to Wisconsin.
I couldn't have taught where I was, but I would have gone somewhere else.
MR: Can you explain the term "trad jazz" for us?
BS: Kind of.
I think the word "trad" was invented if you would, by I think Turk Murphy might have actually
invented the word, but it was talked about with Turk and Lu Watters, Bob Helm, Wally
Rose, those guys, in the early 1940s.
The jazz swing era was going pretty strong, and Bebop was starting to come in.
And there was a group of guys in the San Francisco area who wanted to do something different
because they enjoyed the early King Oliver, Louis Armstrong and the early New Orleans
days.
And so they formed a band, a two trumpet band, with Lu Watters on one trumpet and Bob Scobey
on another, Turk, Bob Helm, and Wally Rose, Clancy Hayes and Bill Dart and Dick Lammi.
Those guys were playing.
And it was just a hell bent for leather strong sound, like I mean everyone just blew strong.
From what I understand there was very little dynamics but it was exciting, it was much
like a rock band today.
So they started playing the old chestnuts that had long been passed over by all the
Swing Era people.
MR: Basically songs from the twenties?
BS: Actually earlier.
Yeah, twenties.
And so they started playing those, and bringing some of the earlier Louis Armstrong and King
Oliver things out, and Spencer Williams tunes, and pretty soon it was catching on.
And pretty soon, they didn't know what they started, and after - I'm not sure how long
they were going, but '41 'till '44, '45, the war years broke them up and some of them had
to go in the service.
And after that they didn't really go on again.
Some of them split and went their separate ways.
Turk went his separate way and Bob Scobey went his way, and Clancy Hayes went along
with him, and they formed their own little bands.
And Turk, I played with Turk, he had a club in San Francisco called Earthquake Magoons,
which I think went for about 25 years.
And it's a funny story about it because the name was derived from L'il Abner, so Al Capp
was one of the characters in L'il Abner.
So Al Capp, they wanted to get permission from Al to use the name.
And so they wrote him a letter and it wasn't long after they got a letter back it says
as long as you keep your nose clean and play good music you can have it.
MR: Gee I hope they had that in a frame on a wall somewhere.
BS: I think it's somewheres in some of those books.
But the word "trad" was kind of, they called it traditional jazz because it was going back
to the roots, the early Armstrong, Oliver, Bunk Johnson and the early New Orleans type
people, which is a lot different than the music of George Lewis and some of those other
black musicians that started performing in the 40s.
It was a little more complicated in the early days.
They played some arrangements and things if you listen to Louis Armstrong's "Hot Five"
and "Hot Sevens" and some of those early things that King Oliver did, the New Orleans musicians
in the 40s, 50s, 60s, they don't touch him.
So they play the nice "When I Grow Too Old To Dream" songs and good Gospel type things,
and I'll probably get in Dutch for saying this, but it's a little different.
People nowadays would think when they think New Orleans, they think of the music that
you hear down there now, or you used to hear in the 50s and 60s, down at Preservation Hall
and Dixieland Hall when it was there.
But in reality, "trad" what they tried to coin as "trad" was re-creating the music from
the King Oliver and Louis Armstrong period.
MR: And is it the Chicago days?
Is it associated with the city?
BS: Yeah, it would have been the Chicago days.
MR: Now those bands, I don't know how many of them actually read music that much.
If you're saying that their music was pretty complicated, do you think it was worked out
in rehearsals?
BS: Well yeah.
There are some things that were worked out.
But I mean you had "Buddy's Habits" and you had - the mind goes blank -
MR: Well Jelly Roll Morton.
BS: And Jelly Roll Morton, yeah.
In fact Turk loved Jelly Roll Morton.
He tried to bring out as much of the old Morton stuff as possible, and play as much of that
as they could.
And that music was going on back then.
And that was the kind of music they wanted to re-create.
A lot of the current New Orleans groups, although there's some young guys down there now that
are doing that, but in the 40s, 50s and 60s and 70s they were just playing things that
were eight bars long, sixteen bars long, and just playing it.
But that was the music in those days, in the 20s.
I mean that jazz was, the big name writers, I mean the Jelly Roll Mortons.
Now they were writing and they were putting out some great stuff.
So there was good music being played.
And that's what he wanted to re-create.
MR: Is it curious to you that - correct me if I'm wrong - there doesn't seem to be that
many black musicians playing either trad or if you go to these festivals for instance,
that they're not playing this era of music.
BS: Yeah, that's true.
I don't know why.
Maybe it's passed them by as far as their interest.
Or maybe it's not in.
A lot of music and people who play music are governed by whether it's the ethnic group
or whether it's their peers or whoever, that seem to go with the flow.
So if the traditional jazz or old time jazz were in, there would be a lot of them playing.
But I guess that's the reason.
It's not hip so you can't find them.
And boy if they'd ever come out and start playing it and really re-creating some of
the old stuff that they did before, they would be in demand.
They could play anywhere they wanted to.
Right now the New Orleans, the Preservation Hall Jazz Band plays all over, but it's a
little different than what the very early music was.
And there's not even that many blacks down there playing in New Orleans in that band.
I guess they like the modern jazz feel.
Thank goodness for - the trumpet player that's- MR: Wynton.
BS: Yeah.
Wynton Marsalis.
Thank goodness for him.
He's come along and brought this back and re-introduced it to everyone again, and I
think the African-Americans are looking at it as cool, but that's not for me.
Let him do it.
MR: Yeah.
That's true.
And you wonder sometimes if Buddy Bolden for instance could envision that music that he
played on the stage of Lincoln Center, would it be like woah - because the music came from
such a - the word escapes me - a down home source, that it was really pop music, that
it was created sometimes by not schooled musicians, and now it's been elevated to an art form.
BS: Yeah, it's gotten better but the basis of it all is still blues.
No matter what you do everything you play is blues.
And I always felt that you've got to feel for blues period, you can almost play anything.
I mean it's very simple but it's so important for feeling.
You've got to have that.
I know a lot of people who technically are just monsters, but don't have it right there.
MR: And how do you get that you know?
BS: I don't know.
It's like the Germans.
The Germans don't seem to have that.
They've got to loosen up a little bit.
I don't know.
Maybe it's the upbringing, the schooling, I have no idea.
But sometimes the simpler the musician, the better.
I mean if they have lived the blues, if they've lived through some problems and things, they
seem to be able to relay that through their voice or instrument.
MR: Yeah.
So all you listeners out there you have to suffer a little bit.
BS: Well sometimes they suffer more than- MR: Did you ever envision when you were let's
say in your early teens, did you get into rock & roll at all?
Were you into the pop music of the day?
BS: No I wasn't.
I grew up in the 50s and I went to college in '56 through '60.
And I never liked it then.
There were some tunes, there were some things I liked, some of the simple things.
But for whatever reason, there was too much other going on I was listening to: Bing Crosby,
Frank Sinatra and oh the Condon group was going, and Nat King Cole I loved and Doris
Day.
And I mean there were so many singers out there, and so many great groups, and so much
other stuff happening with the big bands were still going a little bit, whether it was Billy
May, or whether it was Elgart's or whether it was Stan Kenton or you know, all those
guys back there, Woody Herman, and they were all great.
I loved that.
I just didn't get into the Rock 'n Roll.
MR: I'm picturing your college roommates maybe.
Did they get into what you were - or were able to find some compatriots?
BS: Well you know I don't even know.
I don't remember that.
I don't think there's any problem.
I mean they had their own things they were doing and it didn't bother me.
I would play once a week in a little bar in La Crosse for nothing and all the beer you
can drink type thing, but it was fun and that was my first experience of just playing.
Well actually it wasn't playing this kind of music.
My first experience was playing when I graduated from high school.
My band director had a little orchestra that he played in a bar in Mauston, Wisconsin.
MR: A little bit bigger?
BS: Yeah, probably about two thousand.
And we played at The Crystal Bar I remember and he wrote the lead sheets out for me, so
it was a guy that played tenor sax and clarinet, and this guy, my old band director was the
piano player and we had a string bass and drummer and myself.
And that's when I started playing all the old standards, the pop tunes, a lot of the
things they do here you know in these jazz festivals, which they never die, they always
can be drawn on, to use them.
And that was my first experience.
Then I played in college and graduated, and in '61 I got called up to active duty.
I was in the National Guard at the time, in fact the 32nd Division Band in Wisconsin.
And it was one of those six month programs at that time that they had that you could
go into before - and you'd go to meetings every week.
Well they had the Berlin crisis when they were going to put up the Berlin wall, and
so they called everybody up that was in Wisconsin, some ten thousand troops went out to Ft. Louis,
Washington.
I started playing in some of the old Top Five Grader clubs and NCO clubs and things like
that.
Somebody knew something about the old jazz, a guy by the name of Charlie Marshall had
all kinds of records and stuff, so we started to put together a little band called the Riverboat
Ramblers, which it's still going in Wisconsin, that started in '61.
And I sort of cut my teeth on that, playing everything.
We didn't play the west coast style, which is the traditional, which is banjo, tuba and
Chuck Murphy stuff, but we played you name it.
Eddie Condon, we played the New York style, we played the Chicago style, we played New
Orleans, everything.
And it was just fun.
A lot of dances and stuff.
MR: For the servicemen and their wives and families and all that.
BS: Yeah.
MR: The names still fascinate me you know.
Like if you're going to play a tune by Jelly Roll Morton, then is there something that
people do differently to play the Chicago style than if you're going to do an Eddie
Condon tune, and is that the New York style.
Is it something that you can put into words?
BS: No.
MR: Short answer to a long question.
BS: Well yeah.
MR: But I kind of expected it.
BS: Yeah, you know the Condon style, as I know it, or the New York style was pretty
free and easy going, and I loved it.
I mean you had great musicians playing out there: Billy Butterfield and Max Kaminsky
and Wild Bill Davison and Bob Wilber I remember him when he was out there.
And I mean there was a lot of guys who are still playing today.
And it just was - I don't know, this is my opinion, but it seems like it was just this
far from the Swing Era.
And they just sort of got together and started playing.
This may be all wrong - but they got together in a small group and started playing in this
club.
And the music, they just swung.
They had the traditional Dixieland or front line sometimes with a reed, a trombone and
a horn, and drums, string bass, piano and guitar, sometimes not.
But the people out there had a different view on how they played the music.
It was just that they did it differently.
And I can't give a legit answer to that question.
MR: Well I know it's like how do you improvise - which was my next question.
BS: Well that's a good one.
I tell you, at work I've been doing some adult jazz camps.
And they want to know, "How do you do that?"
And I say, "I can't tell you."
The best thing is you have to know the melody number one.
You've got to be able to play the melody and feel really comfortable with it, and then
go out and listen to some records would ya?
You've got to listen to the people.
Because I emulate people that I heard over the years, because I'm lucky, there were so
many great cornet and trumpet players that came along, whether it was Bunny Berrigan
or Wild Bill Davison or I love Bob Scobey, I have a band that's emulating him.
And Bobby Hackett and geez, Harry James, I mean there's so many, Charlie Spivak.
So you can always draw a little bit from everybody.
Muggsy Spanier is another guy I love.
MR: I can see these people coming to this camp and going, wait a minute I came to this
camp and now you tell me you can't tell me how to do this?
BS: Well after they leave they understand.
Because most of the people that come to the camp are at least 60 and over, and they made
a choice early in life, they were going to go out and make their fortune, instead of
being musicians.
But they used to play before that.
And now they say, gee there's more to life than that, I'm retired now and I'd like to
be able to play some of that stuff that I used to.
So they come in knowing full well that they may not ever take off.
But they're having fun.
So I just work with them.
I tell them you've got to listen to all the people.
And if it's here, for improvisation, you can do it.
If it isn't, you can't, I can't teach it.
You can teach people to go up and down on scales and arpeggios and things like that,
but that again is different.
What I was saying before about you've got to have the blues, you've got to have the
feeling.
And if it's there then you can make use of all the scales and all the study.
But if you don't have that then it's going to sound real mechanical.
MR: Do you ever have them scat or anything like that?
BS: Yeah, I used to.
In fact I used to sing like Louis, because I always loved Louis Armstrong.
And you can hear the gravel in my voice here.
And that gravel is there because I used to do that too much and I was hemorrhaging my
vocal chords and the doctor, you know he says, "What are you doing."
I says, "I'm doing this."
And he says, "Don't do that."
I said okay.
So I didn't do that anymore.
MR: Don't do it again please.
BS: Because I used to be a tenor and I could even sing falsetto.
I can't even come close to that anymore.
I can't do that at all.
So I said I want to be able to just sing plain.
MR: Isn't that interesting with his voice.
You wonder if he was twelve when he had that in his voice.
BS: I don't know.
Of course you know, the "Our Gang" the one guy in "Our Gang" did that huge voice.
MR: Oh that's right.
Oh man.
So you can make between playing with the trad festivals and these kind of festivals, you
can actually make a living as a musician - do you do other things?
BS: Are you saying that with a straight face?
MR: I'm trying.
BS: No.
The talk with other musicians is, "I'll bet my wife makes more money than yours."
MR: That's good.
BS: And my wife does make more money than I.
She's a manager, a property manager.
But she's very supportive and into it so- MR: That helps.
BS: Yeah I know.
Unless you want to maintain a family life you just can't just go out - in order to make
a good living you have to be gone all the time.
And then you can't stay married.
As it is she doesn't like me going as much as I do, neither does my twelve year old.
MR: Sure.
What's the difference when you go to a trad jazz festival?
Is there more organized bands?
BS: Yeah.
There's a lot of amateur type bands which they, like a lot of the European bands do,
they emulate a lot of the old records.
In fact they'll copy a lot of them verbatim.
They will copy the solos.
A lot of the Europeans will copy all the solos.
In fact there was some solos that I know there's a Japanese group that copied some things,
and they copied a record that had a skip in it, and they copied the skip.
So it was really crazy.
But the bands you find at these trad festivals, there's some good ones, they emulate maybe
the old Lu Watters, Yerba Buena band that one I was talking about before, two cornets,
and it just held that for leather, it was real strong.
Then there's bands that'll play a little bit of everything.
They'll play Country Western, they'll play jazz, they'll play whatever.
But you can see and I've seen over the last ten years, that years ago, some of the bands
were pretty good in the old traditional - the word traditional - the old Dixieland, I hate
to use it to say Dixieland, they were playing pretty good Dixieland and all the instruments
seemed to know how it was supposed to sound, how they would sound in it.
And they felt that, they listened to records.
But in the last ten years it seems like there's the bebop and the modern jazz guys and then
the big band guys that were schooled at North Texas State, you know there's no lab bands
and things around so they're out looking for work.
They're trying to play here and there, and there's just nothing.
Las Vegas and Reno is closed down as far as big orchestras now.
MR: They're using taped music now?
BS: Yeah.
Taped music and machines.
So they're jumping into the Dixieland circuit.
But they still sound like modern jazz players trying to do it.
And it sounds like eewww.
MR: No kidding.
BS: It just doesn't fit.
MR: Is there any let's say current, modern jazz being recorded today that you like to
listen to?
BS: Oh I don't know.
Probably not.
I mean I can't say that with an educated opinion, because I'm not drawn to it so I can't say
oh yeah, this is a group I like to listen to.
I like to listen to talk radio.
And sometimes I like to listen to, actually, strange as it seems, 50s rock & roll.
MR: I do too.
BS: So the old things, I get a kick out of that and I enjoy it.
Now that I look back at it it doesn't seem to be quite as bad as I felt at the time.
MR: Well oddly enough, I think some of that music, I like to listen to the arrangements.
They were arranged and I suspect that some of the people behind that music were actually
some of the swing band arrangers and so forth.
They had a sense of song form and where to put the horn parts and all that.
Even though it was a new kind of music there was that kind of carryover.
And that's what I like to listen for in the music anyway.
BS: Yeah, that's good.
MR: Tell me about your horn here.
BS: This is an old horn that has lot of patches on it.
MR: It's a cornet.
BS: It's a cornet.
There's bubble gum covering here - well not bubble gum just regular gum - and with some
masking tape on until I get it fixed.
But I've got patches on it all over.
It's early 30s, it's an Olds, a Los Angeles Olds and it's early 30s.
I got it for $75 and I wasn't interested in the horn at the time, I was interested in
this old button mute here.
It's a Conn- MR: It's called a button mute?
BS: Well only because it's small.
That's just a name.
I'm not sure if that's really what they would call this one, but that's what they call it
nowadays, they refer to it as buttons.
And this is one like King Oliver and Louis Armstrong used to use back in the early days
of jazz when they were playing.
Clyde McCoy used to use this.
When he played "Sugar Blues" he'd put on a little plunger over the outside and play it.
MR: So it was a muted sound to start with and then it was a waaa kind of on top of that.
BS: And then you put - I don't know if this one - this one isn't as good.
This is a brass cup.
That's a poor example right there.
MR: Well it's to emulate what he does.
BS: I generally use it with this, and that just gives it kind of a dirty, bluesy sound.
And this is a Pennsylvania Railroad cup.
MR: I suppose you could almost use anything, right?
BS: Oh yeah.
And I do.
MR: And I see you've got a handkerchief in there just to get that perfect sound.
BS: Yeah.
It also becomes a little harsh if you don't have something in there.
But you can use a six ounce styrofoam cup works wonderful too.
MR: Plus you can always just reach down the table in front of you and say, "Can I borrow
your glass?"
BS: Well sure, I've done that several times.
If I travel to a festival or a party and I don't have my mute - a coffee cup, you know,
you use whatever you can for a crutch.
MR: I think that's interesting when you related that thing about the overseas band that learned
the song and put a skip in it.
I had heard that before, that some of the overseas groups would emulate things even
down to the poor recording quality - the fact that they couldn't use the whole drumset,
that they could only use wood blocks or whatever, so that's what they would do.
It's pretty cool that overseas people have so much respect.
BS: Well they love the stuff over there.
It's more jazz musicians who aren't doing it over here go overseas and they're welcomed
with open arms.
They love them.
They love the music.
Unfortunately either we've moved ahead or backwards, I don't know what it is over here
in our society they've taken it too blase, they've taken it for granted and they just,
aah.
MR: Is it the exotic factor, that it's from somewhere else do you suppose?
BS: Well I don't know.
I can't say that I go out and play some of the stuff that I've heard from overseas.
I don't know.
MR: That's true.
That's true.
What's coming up on the schedule for you?
Are you going to be out to some more festivals?
BS: Well let's see, Monterey is coming up, the Monterey Jazz Festival coming up.
I have a band that's called Bob Schulz Frisco Jazz Band which is a band that is patterned
after Bob Scobey and Clancey Hayes.
So we play a lot of the old jazz but we swing it a little more.
And there again it's kind of a funny thing because the guys who play still play in the
old style, but we try not to play it exactly like the records of the old days.
Sometimes I'll use a string bass, sometimes I'll use tuba, sometimes I'll use banjo, sometimes
I'll use a guitar you know.
And just to mix it up and make it just more flexible.
And I can't play stuff - unless it's an old rag - I can't play the same all the time,
I just can't do it.
I had to do that with Turk, because his was all orchestrated.
His music was arranged and you could stay within the boundary of the arrangement.
You'd have to play the same notes he had written, but I mean you'd play your sixteen measures
and then someone would take four measures in a solo and another guy would take it, and
it was always the same, the intros, the outtros, they were all the same.
I enjoyed that and I learned a lot as far as presentation and what the people liked,
but I couldn't do that.
I did it eight years, and I couldn't do it the rest of my life.
I would turn into an alcoholic.
MR: Yeah.
It could happen too easily.
Can you think of the worst gig you ever found yourself on?
BS: I knew you were going to ask me that, and I didn't think of that.
I've thought of gigs where I forgot my horn where I've driven, then practicing and picked
up my horn case, took it down to a case and opened it up and-
MR: I thought I was the only one who had done that.
BS: Oh no, I've done that.
MR: You never left it on top of your car and drove away did you?
BS: Yes.
No, not on top of my car, but I've left it on top of a car in other circumstances, which
I don't even want to talk about.
MR: Man, like what did you do, you open your horn-
BS: Well that was probably what I looked like, you know, like that.
And somebody found me a horn, at some high school or some place, I think it was at Lake
Geneva, Wisconsin, and somebody knew of someone who had a horn.
And that was a chore because you're used to a mouthpiece.
And this mouthpiece is something I've had.
This is a cornet but this is a trumpet mouthpiece.
And I had the receiver to fit that, fixed to fit that.
And that's the only mouthpiece I can play on.
It's real sensitive.
MR: Well that would have been a good time to do that attitude like someone goes out
and finds you a horn and then go, "I'm not going to play that."
Really make a reputation.
BS: Yeah.
No that wouldn't have done it.
I don't know, it's like asking, which tune do you hate to play.
I really don't hate to play anything, because they've all got something.
And I've never known, I know people who just say, "I'll never play that tune, oh I hate
that tune."
I don't hate any tunes.
I mean they've all got something to offer.
And if someone especially requests it, that's a great reason to play it, because you're
going to win a fan, you're going to win somebody over.
You're there to entertain, not just to entertain yourself but to entertain the people who are
out there.
And if they're happy, I'm happy.
If they're smiling and enjoying it, I'm going to feel the same way.
And I guess that's why I keep playing.
MR: Well that sounds like a good way to wrap this up.
I mean those are good sentiments, and something that future jazzers could probably profit
from hearing.
BS: I think so.
If you're doing this just for the bucks it's going to not be any fun.
But the money is important, really important, but you also have to have some love for it.
And being able to play at these jazz parties as I'm doing here in San Diego, and rubbing
elbows with some of the great people, it elevates you to places that you didn't play before.
And I know that it's there, but if you're playing with people that aren't into that
bag, or aren't playing that way, it's really hard to get up.
And it's easy to get up when you're playing with all these great people around here.
MR: Well best of luck to you, and I hope you can cook up a good set for later on this evening.
BS: Well we'll see what we can do.
MR: Okay.
BS: Going to have to cook up some dinner pretty soon.
MR: That's right.
Thanks a lot.
BS: Thanks a lot.
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