The Questlove Show - QLS Classic: Jon Batiste

Episode Date: August 4, 2025

Musician Jon Batiste joins Team Supreme to rehash his journey from small-town Louisiana to Musical Director of The Late Show with Stephen Colbert. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

This is an I-heart podcast. Guaranteed Human. 2%. That's the number of people who take the stairs when there is also an escalator available. I'm Michael Easter. And on my podcast, 2%. I break down the science of mental toughness, fitness, and building resilience in our strange, modern world. Put yourself through some hardships and you will come out on the other side a happier, more fulfilled, healthier person.

Listen to 2%. That's TWO percent on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me, Clifford Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Clifers Show.

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From 1979, that was a big moment for me. 84's big to me. I'm Sam J. And I'm Alex English. Each episode, we pick a year, unpack what went down, and try to make sense of how we survived it. With our friends, fellow comedians, and favorite authors.

Like Mark Lamont Hill on the 80s. It was a wild year. I don't think there's a more important year for black people. Listen to look back at it on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves.

We always say that. to your girlfriends. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. Questlove Supreme is a production

of IHeart Radio. This classic episode was produced by the team at Pandora. Musician John Batiste joins Team Supreme to rehash his journey from small town Louisiana to musical director

of the late show with Stephen Colbert. Originally released March 14th, Just follow along. You'll get it. Suprema, Subrema, Role Call.

Suprema, Subrema, Subrema, Subrema, Role Call. Suprema, Suprema, Role Call. Suprema,

Subrema Role Call. QLS all day. Yeah. Fall, winter, spring, and summer. Yeah. Two band leaders of late night. Yeah. Both started out as drummers.

Rocall. Supraima, Suc, Supraima, Suprema roll call. God, who's back? Suprema, S, S, Srema, Roll Call. You're both real talented.

Yeah. Yeah. And the best band leader is, Doc Severance. Right. Suprema, Srema, Srema, Srema, Roll Call. I fell in my second line after the show.

So you're not. Supremma. Yes, I will. I'm on pay bill. Yeah. And time's a whack. Yeah. But have no fear.

Yeah. I'm there. Roll call. Suprema roll call. Suprema, roll call. My name is Boss Bill. Yeah. Bright as a halogen.

Yeah. You're with Bill and Sugar Steve. Yeah. And some Hollywood Africans. Roll call. Supremia. Supremia. Role call.

Suprema. Subrema. Superma role call. It's Laeam. Yeah. And it's going down. Yeah. Thompson Batiste.

Yeah. All right now. Yeah. Roll call. Suprema, sub, sub, sub, sub, subprima roll call. Supremia, roll call. It's John Batiste, yeah. And I'm in the house.

Yeah. We're about to get down. Yeah. That's what we about. Roe call. Suprema, sub, sub, sub, subprima, roll call. Suprema, sub, sub, sub, sub, sub, Supremea, Ro call.

Suprema, sub, sub, sub, sub, sub, Supremma, roll call. Suprima, sub, sub, Suprema Roll Call Ladies and gentlemen Welcome to another episode Of course, Love Supreme The Late Night Edition

The late night of guy Wait, he's starting already He's starting already Yeah My big kid It's all right now Yes My stepmother is Jamaica

Hey Yeah I have Shout out to Fonte I've not heard that in a minute And that shit is a major I knew I was going to have to play it eventually. Oh, so good.

Thank you. So random. But these, if you stay around long enough, we make you a theme song, too. I love that. I was going to say, I mean, I was going to introduce our guest, but... No, let's introduce me. Unpaid deal. All right, well, let's just keep a tradition so we don't, you know, scare off our viewers.

Our guest today actually needs no introduction, ladies and gentlemen. And there's not late-night war is happening in this building. Late-night war is happening. You say yet. No, our guest today is, I will say he's band leader supreme. He is multi-instrumentalist. You are a Juilliard graduate. And I'll say that most of America currently now knows you as the band leader for the number one show.

In late night, shots fire! No facts! Okay. No, no fake news over there's. No fake news. No fake news. No fake news. No facts, yo.

No, no snark, nothing. Of course, it's late. Wait, technically, what is the show called? It's late night with Stephen Corbair? Yeah, late show. The late show was it. There's like late night, late show. Later tonight.

Yes, the late show with Stephen Colbert. Ladies and gentlemen, please welcome to Questlove Supreme, the one and only, John Pettis. Hey. Yes, love. Oh, man. So, Bill, what's going on? I'm having to see John Patice. I have not seen John Patice since the salon.

The food salon of your house. Wait a minute. Have you ever had him on Sesame Street? Fuck. I just asked him that. He got very upset because I grilled him about it. Why hasn't he been on Sesame Street? He's like tailor made for.

I know this. I have talked to him about this and I'm working on it. Everybody simmer down. I haven't been here in a long time. Back the fuck up. Everybody's requested shit. I've been here for 10 minutes. Just check it.

Wait, can I ask you something, John? This is the one, this is the question I always wanted to know. Are you silently? Because I know you have history way before I knew of you. Yeah. Like Lenny Kravitz put me on to you long ago. And you, you've actually inspired some ideas I've had about. about how to put show presentations on and everything.

So I've known about you way before Colbert. Yeah. I mean, you got hired by Colbert because of the reputation that you were building. Yes. Are you, do you get annoyed when people come up to you and just like, hey, Stephen Colbert's guy, like, without knowing the history, like, you just came out of nowhere to. Yeah. Does that happen to you a lot?

It does. You know, like, I'll be going somewhere and I'll run into somebody and it'll be like, hey, you're the guy from Colbert. What's your name? And then after a while they were like, oh, yeah, that's John Battiste, but it's still from the Lake Shore. Right. I mean, you could be from Colbert, technically.

You're from there. But it's almost like, you know, I'm Jimmy Fallon's drummer. Yes. And you're Colbert's piano player. Amir, don't you have the same issue too sometimes? Yeah. That's why he's asking. I'm just clarifying.

In this ping pong match, we're about to watch. It's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's It's cool to, as you do, when you have other things that you do, that kind of paints a full picture. I actually, all right, now that we're saying this, I believe that's probably the real reason I stick to 19 jobs. Because it's almost like, hey, what am I? My chef, my cook guy today and my, you know, music teacher today.

I always wanted to know is that slightly irksome when people don't do that. the research and know your history. Yeah, it's something that I think over time, people, and people still have been digging back into the catalog or seeing things that we've done. But I think over time, the more you do and the more you just keep doing your thing and not letting any one thing define you, the more that you can continue to kind of bring people into what you do is your art or your creativity, you know? But what about the flip side?

Well, I was going to say on the other side. give you the megaphones that neither of you had ever had prior to. Right. I'm going to go out when I saw the last episode of Colbert Report when you guys did the line outside. That was the first time I ever saw you. And I was like, oh, shit. And then I just did the research. And I was like, okay.

Yeah. It's a way to bring new people in. Absolutely. It's amazing. I mean, just being on a show that's kind of like this fraternity. And it's hard to have any sort of malice or disrespect to it. Even the people just know you for that right now. But I feel like I've always just been somebody who likes to create and explore different things and evolve and grow.

And I'm always pushing myself to try to find something else that's going to challenge me. So the consistency of the show is one thing, but I have to balance it out, even just for me, not even for the sake of people knowing that there's more that I have to offer, but just for my own well-being as an artist, I've got to keep pushing and creating. So it gives me a chance to share it with a lot more people. How easy is it to do? Because I know that there's many sides to John Pantis as far as like you're like you'll do traditional jazz records. You'll do stuff with stay human. You'll do different projects. What I primarily knew you for were these sort of kind of musicals, speak easy, so to speak.

where I'll say, you know, years before he was on the show, he would, word would get around that there's going to be a secret John Patice show at some nondescript random warehouse in Harlem or in Brooklyn or in the Bronx somewhere. And it's almost like it's the musical version of, well, only New Yorkers will get this reference, of like Sleep No More. Sleep No More is kind of like a play where the fourth wall is is sort of exposed and you're part of the play. You as the spectator. So you go to this like big wide open space and then John and State Human basically perform.

There's no traditional stage. So there's almost like four setups. They, you know, they'll pick one side of the corner where their music's set up. And then they'll march to the other side of the room. where there's other instruments set up. Like, everyone gets a chance to be the front row seat, and it's immersive. And they have, like, stuff hanging around.

You could play instruments and all that other stuff and join in. It's like I've never seen a show in which the artist, the audience is actually immersed in with the show. Are you able to still do those secret smurf shows at all, Or is it like, eh? It's hard, I mean, I'm sure, as you know, to keep the energy level up after doing the show. I had to take the first six months when I started doing Colbert

just to figure out how to do it. And figuring out how to balance everything else that I have been doing with now this, my job on the show. But then after I figured that out, I started to focus more on recording things and being in the studio. I was mostly playing live during that time and exploring how to really present

a real immersive experience that brought people together. It worked. I saw it live in Philly when you did it in the lobby of the Kimmel Center. Yeah. I hosted that show. It was an amazing show. That was fun. For free.

I was like, what? You giving them all of this? And then you literally jumped in the crowd, went around. Yeah, I was wondering like, how do y'all get paid? Everyone was all the guest list. Well, the Kimmel Cimble Cainte. You know. Okay, okay, okay.

Well, sometimes, like, when we're going to roll, we'd do them after the show. So it would be, we'd take the guarantee from the show and use that. So you would do a regular show. Right. And then that's, like, your Prince Afterparty thing? Yeah. I never knew that. I thought that was your bread and butter.

Well, at one point, it was when we were in New York. Right. But then we started to get known for that. And then we got an agent, and then we went on the road. And then we went on the road. We didn't want to stop doing that. because every venue doesn't accommodate that kind of performance. So it was kind of like, okay, well, we can just do two shows.

Right, right. It's cool to see how people react to the music when you put it in a different context. Because if we play jazz, for instance, and it's in a jazz club, it's much different than if somebody's sitting next to you on the piano or somebody sitting behind the drums and they can really, see the interaction with the rhythm section and stuff like that does that does that plan sometimes backfire because you do present this whole speak easy thing like it it's like you know like sometimes it's almost like you're you're walking into a set of an old like 50s burlesque show whoever like

designs the stuff and you know sometimes i'll see like people trying to sit on your piano bench with Yeah. As you're drinking. Like, so how, you know, some drunk guy suddenly wants to sit in on drums or, you know, like, how do you guys control that situation? It's a casualty of the situation. Like, you got to go into it expecting some people to get super free. That's the movie like, oh, this cat's about to get super free.

And then when that happens, you almost plan the show, like the set, more. from whatever it was going to be to accommodate whatever happens. So if that guy comes and grabs drumsticks or something, then, okay, well, let's go into the drum circle that we had planned for the next three songs down and put that right now. Here's a question, because I haven't seen one of these, but they sound amazing, and I'm wondering,

have you ever done these at schools? Oh, yeah. Not in New York, actually, but we've done them in schools. we went to in Amsterdam. We actually, we did a show at the concert give-out, which is like a concert hall there,

and that was just like a traditional show. And then we went into schools and did basically kind of like this kind of curated thing, but in their auditorium. But that was one thing we did. And we also went into one of the, their equivalent of like the hood.

And I got them to put a piano in the middle of the show. street which I always loved that visual just having like instruments on the block which I mean I know you you play and that's kind of how we started this whole kind of concept of immersion which is when we started playing on the streets and we're playing the subways in New York and we would see how people react when you see see the band come into a cart and just set up for like 30 minutes and play it's like wow these y'all not asking for money right y'all not buskers Right, right.

Because at the end, you get to the next car so they don't ask. Right. That's how you get to. Let me go. I'm going to be honest. It's always with the wary look when somebody sets up on the trains. It's like, wait. It's like, you better be good.

I know, exactly. Like the first five minutes are the hardest. Have you done New York trains yet? Oh, yeah. Yeah. Really? Don't you love the vibe when you walk in? Everybody's like, fuck.

I always wanted to do that. Yes. Everyone's like, I'm going to get up and get up. We should do that one day. Oh, yeah. Oh, yeah. Oh, sure. Hop a train and just, um.

I guess nothing shocking in New York City nowadays. That would be shocking. Yeah, no, that would be crazy. Wait, wait, no, who was it? That was at, like, who are those two guys? Somebody was at Penn Station or something like that. He did that recently. And like nobody knew, like, nobody noticed it that they were there.

It was Eric did it once. Eric did it. The violinist. Oh, yeah, yeah, I saw. That's a, yeah. Just like shredding the violin and like Bleaker Street. And people were like, actually, come to think of it. So I tried to once get Jay-Z to come to one of your events.

Has he seen it yet? not that not the uh he saw a traditional one right ah damn because the thing was uh i got him the halfway agreed to it i i had seen the first time i saw you was i guess during the time in which uh jay was doing something at carnegie hall oh wow that's right so i said okay this is what i want to do i said what i want to do this is actually after reasonable doubt slightly this is like when american gangster was out Exactly. Yeah. And I told him, I said, this is what we're going to do.

You're going to do something on stage, right? And then we're going to march into the, the foyer, the reception hall. And then when you're done, you and Just Blaze are going to do the encore and the nosebleed. And he looked at me like, I'm not doing that shit. Yeah. I convinced him at least to do, he did his encore in the nosebleed. And unfortunately, what I didn't really. realize with Carnegie Hall was that the way that the balconies are built, if you're like under,

if you're sitting on the floor row, you can't see what's happening up there. And of course, they're like, no, you guys can't stand. And, you know, like, who stands at Carnegie Hall. It was rather frustrating for the people on the, who weren't in the news. Right, right. Yeah. I bet they have a close-up view for once. Exactly.

Exactly. I was like, no, just give it, give them to one there. It's good. So we're amazing. 2%. That is the number of people who take the stairs when there is also an escalator available. I'm Michael Easter. And on my podcast, 2%, I break down the science of mental toughness, fitness, and building resilience in our strange modern world. I'll be speaking with writers, researchers, and other health and fitness experts, and more to look past the impractical, and way too complex pseudoscience that dominates the wellness industry. We really believe that seed oils were inherently inflammatory. We got it wrong.

Many of the problems that we are freaked out about in the world are the result of stress. Put yourself through some hardships, and you will come out on the other side a happier, more fulfilled, healthier person. Listen to 2%. That's T-W-O-Persent on the I-Heart Radio app, Apple Podcasts, or wherever you get your podcasts. Do you remember when Diana Ross double-tap Little Kim's boobs at the VMAs?

Or when Kanye said that George Bush didn't like black people. I know what you're thinking. What the hell does George Bush got to do with Little Kim? Well, you can find out on the Look Back at it podcast. I'm Sam Jek. And I'm Alex English. Each episode, we pick a here, unpack what went down, and try to make sense of how we survived it.

Including a recent episode with Mark Lamont Hill, waxing all about crack in the 80s. To be clear, 84 is big to me, not just because of crack. I'm down to talk about crack all day, but just so you all know. I mean, at this point, Mark, this is the second episode where we've discussed crack. So I'm starting to see that there's a through line. We also have AIDS on the table right now. Thank you finishing that sentence.

I don't think there's a more important year for black people. Really? Yeah. For me, it's one of the most important years for black people in American history. Listen to look back at it on the IHeart Radio app, Apple Pie. or wherever you get your podcasts. A win is a win. A win is a win.

I don't care what you're saying. Yep, that's me, Clivert Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement

to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators and voices that not only deserve to be heard, but celebrated. One week I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger.

So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or we're at wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok.

In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story.

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As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped Podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I want to know your story. Like, where were you born and how was music brought to your life? Oh, wow.

So I was born in, actually, Metery, Louisiana. And I was raised in Kenner, Louisiana, between Kenner and New Orleans. I was like, there are other places besides New Orleans? These are like literally 10 minutes outside of New Orleans. They're like suburbs of New Orleans. But basically, even though the airport is in Kenner, it's called New Orleans International. Oh, okay.

So it's like the New Orleans area. And my dad, he's a great bassist. My mother's not a musician, but she has a really good ear. And my dad had six brothers, and they all played in a band together. And from the six brothers, there are like 30 cousins. And at the time when I was growing up, I was the youngest of the cousins. Of all that brood?

Yeah. Of all of them. When I was growing up, I was the youngest, and there were two that were closer to my age, and we started the junior band together. And the three of us were drummers when we started the band, but you can't have three drummers in the band. And I'm the youngest, so obviously I'm going to be the one that switches instrument, and the second youngest, he had to switch an instrument

because everybody wanted to play the drums. So I switched to piano then. It's around the time it was like 10 or 11. How easy was that adjustment? It was, I was already kind of like, we would pick out songs from video games and play them. All of us would kind of dabble.

What? What y'all do? What y'all do? Yep. Mark, oh. Mario, when Sega came out, Sonic, oh, Sonic soundtrack is amazing. Maybe or maybe not created by Michael Jackson, by the way. I know.

Maybe or maybe not. We don't know. Soundtrack is incredible. And Street Fighter soundtracks from Street Fighter 2, all of its Street Fighter Alpha, Final Fantasy 7. What? We would play, we would legit transcribe the soundtrack and play it on piano. So I kind of had a little bit of piano chops

And then I was also kind of You know taking classical piano lessons But not really taking them seriously So I had a little bit of a foundation But when I switched to a piano I didn't really get serious about it until I was like 13 Did y'all play for other kids? Because it seems like that would have been dope

For other kids to like enter the world of jazz And instrumentation and stuff It was cool when we did a gig every year At the Children's Museum That was our first regular gig. The band was called the Batiste Kids, and we printed these shirts. It said purple and white shirts, Batiste Kids, and it had us on the shirt, cartoon versions. I remember, and we played our only gig for a while was the Children's Museum in New Orleans every year.

And we played for kids at the museum. The video game songs. Played the video game songs, and we played Mardi Gras songs, Saints Go March, and then. you know how uh i won't even say how important but how and i know that you're from louisiana so you got to trade like how burdensome is the idea of the tradition of new orleans music like i almost feel like if you come out the wound it's like you have to know every solo from Satchamow you have to know

it's true and is it Winton right well I mean the thing is is that you're I mean I've I've grew up and I mean I've seen

jazz Nazis all my life and you know That's a technical term jazz Nazis for all those listening that's a real Oh my goodness

No I mean but it's real I look to Steve like Steve's just realized that might have been offensive Steve is looking at me right now even as I asked the question We'll play you down. I'm fine, try,

John. But I mean, there's, I mean, the reputation of New Orleans, I had to deal with Ellis Marcellus when I was a kid. He told me, give up. Like, you know.

That was a nice. He just straight up told me, give up. Like, and I think that's what really pushed me to not following, because I went to school, with Christian McBride Joey D. Francisco,

all these guys. So I was striving to be a young lion. Yeah, yeah. And I did this master class with Ellis, and he just like, it was past embarrassment

and humiliation. Like, you know, I was good. Yeah. You know what I mean? But it was just like, you know, he liked the tone of it.

He liked the shirt I was wearing. Like, you're not a real jazz cat. Yeah. And like, I just, I gave up. I didn't give up. I just like, well, you're right.

Yeah. Let me go to what I really love, which is hip hop. Did he ever circle back? I just, I just need to know. You ever circle back? No, Bramford and I laugh at her all the time. He's like, don't mind that. Right.

So, but I'm asking you, was your, being the youngest of it, was your family the same way? It was just like, you don't get any respect from us until you learn, like, everything from Maple Leaf Rat to all these old scrolls,

of rat time. It was like it was an interesting mix of different flavors of that. So like my family was coming from

the meters and it's like the funk tradition. So my uncle was one of the first keyboardists in the meters. And then my cousin, and Russell, he took over in the meters after Zigaboo,

who was the original drummer. Yeah. So that was like my immediate family. And that's kind of like what, that's what I got from being around them was kind of that tradition and just almost vicariously, because it was never like, John, play this. This is how this beat goes. These are how these chords.

I would just be on stage as a kid, and I would be watching and kind of absorbing that. And that was fun because that kind of influenced a lot of how I look at performing for people and stage presence and also just the communal aspect of music. Because they would be playing and sometimes, you know, you'd have musicians just coming up on stage unannounced and, you know, it would turn into this massive tribal groove. And that was one side of it. And then as I got older and started getting into jazz around 13 and 14, there was a camp that we all went to called the Lewis Satchamore Armstrong summer jazz camp. Right.

And that's when I started getting exposed to what you're talking about. And I was lucky because there were a few of the, I call them like the village elders that were just like so open-minded. But they also came from the generation where it was like, you know, people were hard on them. But they were so open-minded with us, like Alvin Batiste, he would just. just he would teach us how to play stuff that was way beyond our level but he would do it in these little baby increments like we'd be playing giant steps and he would teach us like two notes at a time and then after we got the melody he would just show us the harmony and then it would take like a month but then after a month we'd be like 12 13 playing giant steps but we wouldn't know

that we were playing giant steps right and that if I didn't have him and and a few others who were kind of more just like, okay, I'm not going to come at it from a critical place. I'm going to come at it from a place of, okay, everybody has a voice. Learn this, and then once we got older, I played in his band the Jastronauts. And that was a band where it was like,

if it's not different and weird, then it's not right. You'd always say, you can be correct, but that don't make it right. I actually believe it. He would say... Because I like unorthodox... Oh, yeah. It's the best.

I mean, he had a sit-tar player on one of the gigs when we're playing a jazz club. And I was 15 at the time. I was like, wow, you can do that? Okay. It just opened. So because of people like him, I kind of lucked out. I didn't get caught in the dogma that can kind of grapple you. Who were your age peers at the time that are notable now?

Like who were you, who was in your circle? So at the camp, we were both, we started a band together, and that became the band that's still his band. Now, same members, 80% of the band, Tramon Shorty. Okay. So Troy and now we're like, he's a little older, but we were basically camp at the same time. Christian Scott, he was also at the camp,

and also we went to high school together. It's a real interesting thing because we had the same teachers, but we all came out. In different routes, yeah. It's a whole other, you know, each person doing their own thing. How important is, as far as New Orleans as a city. Well, not how important is it, but how, explain to us or our viewers or our listeners. Sorry.

You're not on TV right now. I know. I'm so used to it. Explain. Explain to our listeners the frequency of, well, it's odd now to have music in nightclubs. And when you're in New Orleans, every block still has bands in it. Oh, yeah. We were moving to a New York.

We copped two houses in August, July 2005. Oh, snap. July 2005. And then Katrina happened. And then that was out the window. Like we were going to go down and record game theory. Wow. In New Orleans.

Because the thing is New Orleans has, they still, they're the last city left with like three very distinctive jazz, traditional jazz. You know, the Zidigo. You have to explain Zidigo music to me and how that separates. And then bounce music. Oh, my goodness. You know, so they, we were like, okay, this is a city with three. three very distinctive styles to it. And we're going to move down there and figure our way into this mess.

And then boom, like, it got ruined. But do you guys even mix with each other? Like, first of all, were you even allowed to listen to pop music as a kid? Oh, yeah. It wasn't frowned upon? No, no. I was always listening to cash money. That's right.

New one. I mean, there was a point where when you were walking down the street, out of every car, you were hearing either cash money or no limit, like bumping. That's the fourth element of New Orleans that people forget about musically, right? Well, no, bounce music. Yeah. That's what I mean. Do you count?

Is that really, is that bounce? It's in the same strain. The Drake and My Feelings beat is New Orleans bounce. Rita and, okay, I get you. Yeah. So first of all, is cash money and no limit, is that sort of like, are you the one side or the other? Is that like the Beatles and Rolling Stones?

At the time. At the time, not anymore. But at the time, it was like, oh, yeah. You got to choose what side you want? You got to choose what side, you know. And cash money was a little younger, right? Yeah. Yeah.

I mean, I always, because I'm looking at it from a musical perspective, I was one of them to make something together. I thought it would be crazy if they came together. It never did. It never did. I thought it would, it just would be so powerful because it was just such an embodiment of music in the city up into that point. There's so much in the sound that came from all of the different elements. Even like the Zodico and the second line tradition, you could hear it in the rhythm of what they were doing. So can you break down for us be different between the, the various music styles in New Orleans as far as... Oh, in the lines.

Yeah, yeah. So there's what we call the second line, which comes basically from marching traditions. So you have like the marching band tradition, which was a big thing in early American culture. And then in New Orleans, that tradition was changed because you had the influence of the African rhythmic culture.

And Congo Square was doing slavery, which on Sunday, all of the different rhythms and traditions that they did in Africa, they would carry on in New Orleans. That was the only place in America where that was continued. So then that rhythmic culture seeped its way into the marching tradition.

And that became second line. So the base rhythm of second line is the, it's like a bambollah rhythm. And that rhythm, you can hear it in Zidico music. You can hear it in Cash Money's music, even like if you think of a

mhm um mm mm mm mm okay use a font

right right right I mean that rhythm I feel like is the thing that ties all of the

styles together wait now I'm thinking about it what we what rockers were traditionally

called the bo-ditly rhythm to boom so that's basically that's where the basis of that rhythm comes from.

Is Bo Diddly? Does he beat Louisiana? No, but Bo Diddley, that, uh, the, uh, that's the same. That's the same. And, and to me, when you start hearing that, that's how you can tell, oh, that's kind of like, uh, New Orleans influence music. But the things that change it are the instrumentation and the different, different ways that people sing are like the instrumentation of Zodico with the accordion versus like second line is with tuba and marching instrumentation.

And then you have bounce music, which is made. Actually, you could do it on the MPC. So it's a range of different sounds that you can get, but the same DNA. But what's the first line? The first line is the church. Okay. So second line is basically in the funeral, some people call jazz funeral, the first line is the family that goes into the church, and that's a slow mournful song.

And then the second line is when you're coming out. and you leave and it's a celebration oh thank you john like the whole world didn't know straight up i never knew why i was second line i didn't know i didn't know that we just faked it i i'm telling you i ain't gonna take it no mom i've seen a few uh second line marches for funerals yeah and those are some extravagant productions like i've seen them damn near like hip hip hip parade throw the casket in the air, whatever. What? Is that what I? Like, they'll take the casket and start.

Oh, my goodness. Our listeners can't see what I'm doing. Yeah, they're fist pumping. All of our viewers. They will fist pump it up. You know, like, when you get married and you sit in the chair and, like, they toss you up in the air like a pizza? Yeah. Rava Nigel. Yeah.

That's a Jews viewing. Now you know what I'm talking about. Damn, Steve, you're sleeping. You let him build. Bill is. His first time back in a minute, I'm letting him, you know. Steve's giving me space. Some Jew space.

I appreciate you. No. No. I never knew. How easy is it? I found out that anybody can get a permit to have a parade in New Orleans. It's a lounge for her wedding. Like anybody.

Yeah, I didn't know it was that easy. Oh, yeah. Yeah. I mean, it's encouraged. You just go to city hall and just. You can hire her. a band for 300 bucks. You ever heard Hannibal Burris' thing when he went to New Orleans? He's like, he

bought a band for 300 bucks. They followed him around all night. Really? Yeah. So can I ask a real dumb... I'm saying. A real dumbna, a real dumbna, Eve, New Orleans question then, because I'm just going to ask him since we didn't know what the line was. What is Mardi Gras really about? Oh, my goodness. So that's a little more complex.

Not getting drunk. Right. I know it's more, it's a historical component. Yeah. Because you see people in some traditional dress and, you know, and stuff. So I was always wondering. See, see, the thing is, Mardi Gras goes into the Trinidad tradition and Brazilian tradition.

Like an Afro-Caribbean tradition. And people think it's just, oh, we go to Bourbon Street and we just get drunk. And... Throw some beans. Yeah. Show me something. And throw some other things too.

Exactly. I thought you said D's. I'm sorry. But no, no. It's a very beautiful tradition that's about people coming together and family and, and keeping traditions that have been centuries old alive. And that's just the party is something that has morphed into.

And, you know, it's fine the party, but it's not only just a party. It's nice to know where it comes from. That's why I was, yeah. So how much Caribbean influence is in all the types of music that you just told us about? Oh, it's like a line. You come from West Africa, go through the Caribbean, New Orleans almost like the northern tip of the Caribbean to me.

In my mind, I think of it as the same. So that rhythm and even the stories that you hear about reggae and how they would be listening to New Orleans music and it would be a bootleg signal and they couldn't hear all of the full rhythm. And they took certain parts of it thinking that that was the rhythm and that influenced the reggae and then it's kind of, it's like a feedback, Wow, I never thought of it.

Yeah. That's amazing. So New Orleans music influenced reggae, not the other way around? No, it influences each other because the New Orleans music came from that line of the culture moving across. And basically, sitting in New Orleans and Congo Square being the hub where it kind of was fermenting. and then, you know, at the end of slavery, when you kind of have this release, it's okay to have people making their music

and sharing it with the world. You get people like Louis Armstrong who come up, Buddy Bold, all these geniuses. It's like you let the lid off. Speaking of which, I just recently discovered our listeners owe it to themselves to discover the music of Lord Kitchener, who

who add that to the mix as well he's he's king of sort of Trinidady he's part if any Lord Kishner I would say that maybe the

origins of disco is in the music because with the sock symbol like it's traditional Trinidadian music which is more like dinsin tis tis

tis So it's part New Orleans rhythm and the sock symbol thing with the, but lyrically, and now this music's coming from the 40s and 50s. So he's in the tradition of kind of, who's the humorous 40s jazz guy, Lou Jordan? Lou Jordan. He's in the tradition of Louis Jordan or almost like the beginning of what Luke and two live crew were about. Like his songs are quasi-risque. And wait, can I play one song of this?

Okay, it's, this is Lord Kitchener's. Is it Kitchener or Kitchener? Maybe like Kitchener. Yeah, it's a mirror talking, so possibly I could be saying it. Oh, okay. Wait. Rural jury. Got it. Yes.

This is another rural jury. Yes, yes. I have a question. Yes. John Patis, how old are you? Because in my head, you're like Yoda and you're like 95 years old because you have that vibe, but I don't think you're that old. Oh, no.

31. No, still? Really? See, I thought that was a worthy question. He's an old soul, man. It's different. Yo, you must have a, it must be a lot of ageism for you because I know them jazz cats be like, man, you don't know nothing.

Mm. Yeah. I mean, you talk wise, though, so I would think, I mean, you, you speak wise. so and you seem to know your history. But the number is the number though, right? Like sometimes they just like, but you're 31 now. What could you know?

Age ain't nothing but a number. It ain't nothing but a number. Okay. All right, you got two choices. My favorite is my wife's nighty in which Yeah, it is. In which he kind of

inadvertently gets with her girlfriend who steals his wife's clothes. Oh, bitch. Or Muriel in the Bug, which is a story about a bed bug that happens to make its home in the most unsavory place of this woman. Oh, we're definitely doing, Miriam. Yeah. I feel like the choice has been made.

Yes. I'm putting both of those in the Quest Love Mixed Supreme with this week. But I love it when you intro tune and give like the lyrical. Which one is this? Bedbugs. Now I'm going to have to do both because this is less. New Orleans tradition than the other song. What a screen, mural made.

Obviously. First of all, that was an amazing rhyme. Secondly, where'd you find this? Yeah. How old is this? Who's like the person that nips you to this? That says a lot about them. I don't know.

Like, oh, I was looking at Calypso because I knew there was more than Harry Belafonte. Yeah. So. That's in your Google history? The beautiful thing about streaming is that's, That's one of the best Louis Faircon. Rabbit. He has a traditional.

He was Calypso. Yeah. Well, I didn't know if he had albums out. With lyrics? Or he just got... Better as good as this? He got one coming out with Kenny Gamble. Oh, snap.

Really? They've been working on it for like a decade. He's going out. Yeah. Anyway, wait. I got to play... What's the other one called? My wife...

This one is Muriel and the Bedbug. No, that is... Yeah, what's the next one? My wife's nighty. Oh, yeah. Because I might have to charge you with Larsonie. All right. He's known as the King of Calypso.

Oh, this is nice. But the lyrics are funny. She came for one night with Kitchener. She seems of a decent character. But when I woke up in the morning, my wife pretty knight he was missing. Come back with me, white knightee. Cynthia, you know it's dishonesty. Come back with me, white, nighty.

This is like. You can S&L skin. This feels like a late night. I know. I know. I know. So basically, Kitch's wife is away and he's laying her girlfriend spend the night on the couch. And oh, by the way, here's my wife's night clothes.

Don't take him out of the house. Well, he also sexes her down on the third and fourth and fifth verse. And fifth. Oh, dude, I was like seven verses. Wow. No, I am an immense fan of Kitch. Yeah, Lord Kitch. You're on a first name basis.

I'm wondering what the song Negro by Injection is about. Dog. Nego by a lot. It's exactly what you think. He goes there. I mean, he injects a lot of humor in politics. Yeah. Yeah.

That's sexy. But, yeah, a lot of, you know, coming from a, Trinidad, a lot of his music, the clips of music, I can hear sort of origins of New Orleans music and in there and disco and other things. Like this was in the 50s. So, yeah, for our listeners, get lost in, yeah, Lord Kittner. I didn't know, right? I know, right?

In 90s. Can I say all the ladies know they don't need to fear they really don't go past your knees, the bed bugs? So I don't want that thing that can really have it. Really? Yeah, yeah, yeah. You kept track record? No, I had bed bugs once.

It was awful. They go to your elbows and to your knees. This explains all the things. Wow. So your bed bucks weren't that clever to find that area? No. The treasure. Not in this lady.

Not like you. It was a treasure. Wow. That was a great lyrical choice. That was a great lyrical choice. And Lassini and Nitee are really rhyming today. No, he's the best man. He's got that Louis Jules.

Jordan energy too. Yeah. Yes, absolutely. The humor and all that stuff. 2%. That is the number of people who take the stairs when there is also an escalator available.

I'm Michael Easter. And on my podcast, 2%. I break down the science of mental toughness, fitness, and building resilience in our strange modern world. I'll be speaking with writers, researchers, and other health and fitness experts, and more to look past

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Listen to Love Trapped Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. You recorded your first album when you were 17, correct? Yes, yes. What did you know? How much information did you gather in those five years that you learned traditional jazz to make a record? Like, did you know what you wanted? How did it come to be? I had been playing at a club in New Orleans called Snug Harbor, which is like our jazz club.

It's like you had the balcony where you can look down at the bandstand and then you had the bottom level, which is like 40 people down there. And I've been leading bands there from the time I was 15 and I kind of figured out what I wanted in the sound and I was composing music and things like that. So by the time I was 17, I wanted to document the stuff I had figured out by playing at Snug. Okay. And also just document the different musicians that I've been playing with at that time. So that was really, for me, a documentation of something that I wanted to look back on because I was about to move to New York. I moved to New York when I was 17 in 2004. and that's when the record was finished.

You moved to New York when you was 17. Yes. For Julia? Yeah. Yikes. Wow. And your parents were just... Something I never got to do, man.

What was that like for you today? Was that the first time you been to New York when you was 17? Well, I was listening to... Yeah. Well, I've been to New York one time before then. In 2002, we played summer stage with Troy and I, Tramon Short. and we played the Apollo.

But you weren't 17. You was like 15, 14. 14 when we did that. That was a summer, yep. And we played summer stage and we played the Apollo. Now, the first time I ever been in New York. And then a couple years after that, I moved to New York. But I had been listening to, actually,

I've been listening to a lot of records that you made. And that was one of the reasons I wanted to go to New York. Really? I went, oh, for sure. I went to... I did not pay him to say this ladies and show me. I went to Berkeley the summer after I've been to New York for, there's like a summer. I went to that.

Summer program. Yeah. It's like a five-week thing. I got rejected from that. Because Ellis Marcellus was on the comedian. That's why I. I didn't make it to the summer program. I went to some.

I made it to Juilliard. Couldn't afford. to go. What year did you go to the summer program? I was the 03. Okay. A long time. I'm older than here.

Yeah. Wow. That's cool. You went to you. Yeah. But like six years before that. Yeah. Oh, you went there.

Yeah. No, I didn't go to Berkeley. Wait, I forget that you actually had a childhood and a teenage. I also play music, too. He's kind of talented. I was going to say, what instrument did you play? I know, but you're forever like my science teacher.

He still plays. I like your science teacher. Most of the time I'm like your CPA. Now I'm like your science teacher. No, I forgot. I'm sorry. Wait, the joke, John, every time he sees me, if I comb my hair, he never recognizes me. Listen.

So, like, this is true. On three or four occasions, this is, on the past. You're doing it wrong. You're doing it wrong. But this is true. This is wrong. Listen. He introduces himself to me every time.

Listen, he and I really met when we worked on Hamilton. Yeah. So during the Hamilton mixing process and the recording process, he had like long-ass hippie hair. He was like, what's his name with the laugh? the comedian, not the comedian, the actor. He was supposed to do this show. Seth Rogen.

Why am I playing $25,000 pyramid right now? Seth Rogen? I see it there. He had a Seth Rogen vibe about him. Wow. I can see that. And then when Hamilton was finally finished and we all took like the master photo together.

Like my accountant came up. He had this nice haircut and a suit. And I shook his hand. Oh, nice to meet you. Amir. And he was looking me like, Motherfuck, it's me. So that's funny.

But that was like two and a half years ago. So six months ago, I was at a six months ago. Six months ago. Yeah. We've been doing this for years. Like we've been to Minneapolis, LA. We've got all these places together. He's been on Sesame Street.

So six months ago, we're at a wedding. I was wearing glasses. Like that makes me a whole different fucking person. I was wearing a suit and glasses. I walked up to him. I was like, like yo and he was like a mirror nice to meet you on my mirror

I like it actually made sense in the conversation it's true his stepmom is Jamaican by the way is your stepmom Jamaican man really weird no oh you didn't know that she wasn't here for that show that was an angelic kidjo show how did I haven't been here for six months

like a black woman or an Indian American woman Like a... Like a... Well, you know, both cultures are in Jamaica. You know his mom's black. What? Black. What?

The stepmother is like black. She's black? Yeah. She can rake rice and peas? Yeah. Oh, shit. I gotta get some. Yeah.

Can you cook John? I love cooking a few things. You can make new ones? Food. Red beans and rice. Yes. With the undoet sauce. Without part.

Oh. Yeah. Some. Wait, are you going to this house right now? Wait, I'm sorry. She's inviting herself over. Can you pronounce that word again because nobody does that right. Undoie.

Act like you knew how to say that. First sausage. First line. First line. And sausage. And do it. Yeah. Wait, I was going to say,

who's my man that always cooks outside of his gigs? All Carmen Ruffin and the barbecue swingers. What? Where do they do shows? Kermit? Kermit. He played, he did a thing at a club called Vaughn's. And he'd have every Monday night in the gig a big old pot of red beans and rice sitting there.

And you just go self-serve. Dude, I love Kermit Ruffin's music, but I really love Kermit Ruffin's cooking. It's amazing. It's, yeah, when, like, I, he, and he cooks out front. Yeah. Like not even in the back where it's just like for the musician. He cooks the food. Yeah.

In the front. In the front. I'll be our back. Stir this pot where I go play the solo real quick. Like that type. Like Goodfellas. Like you guys did stir the pop. I want to go.

Yes. From New Orleans? Yes. Yes. Kermit Ruffin's Rebirth Alum. So, okay, why did you choose Juilliard? So I was, I wanted to come to New York. I went to Berkeley before and I had gotten a scholarship to go there.

I thought I was going to go to, okay, I got that out the way. Got one more year of high school. Then I figured out what I want to do. I wasn't even sure if I wanted to go to college. But I was like, if I can get to New York, because actually, I was listening to those records that you made. And I was reading the line of notes. What I used to do. I used to go to Blockbuster video in our records.

And in Blockbuster, they had a used CD bin. And I used to get, sorry. All the CDs you made were in the used CD. Go ahead. Sorry. Continue, Mr. Batiste. I used to get all of the U-S. CDs and listen to them down, whatever it was, just to get some different sounds happening.

Oh, damn. I'm sorry. John, tell him his wasn't in that bin. Tell him his wasn't in that bin. No, no, he made. It's okay. I'm kidding. The ones that I bought, some of them I bought at Tower Records.

So actually, no, it was a U-CD. I mean, my ill-dove Halflight came from DMG Music Club, and I didn't pay for that one. Thanks, Bill. Anyone else want to confess? Yeah, mine came from my roommate. Thank you, Steve. I haven't ever. I worked at Def Jam when Game Theory came outside and paid for that one either.

No, no, things fall apart I bought. Okay. Like water for chocolate is the one. Okay. So I bought Dangerous Michael Jackson and, like, water for chocolate at the same time. Wow. Wow, that's random. That was a weird day.

No, it was a range of stuff that was happening. The bend is just, it's the gift that keeps on giving. I see. Well, most people I know, I know that Christian McBride chose Juilliard because Miles Davis went to Juilliard. So usually like jazz cats that go to Juilliard, which is, it's not weird of itself because an education is an education. But I do know that Miles Davis going to Juilliard is a big reason.

and why most jazz cats mess with Juilliard. Because otherwise, they will all just go to the new school. But Julia's got a vibe, right? It's like one of the hoity or toydier music schools. It's a classical. Right? I mean, it comes from that tradition. So it has that like Lincoln Center.

Right. It's like ties and elders. You know? Did you enjoy it? You got your masses from that. That means you'd serve six years there? Yes. Serves.

Oh, man. I was doing stuff that. that I wasn't supposed to do, which made me take time off in the middle. But then I went back basically because my mom was like, you have one year left at the time, finished the degree. Just go and finish it.

But I was doing all types of touring, and basically I kind of developed my work ethic by going to Juilliard and then playing all night and then touring on the weekends and then coming back and then on the breaks doing all kinds of stuff, putting it together. So it was a really great experience to kind of figure out how to do a bunch of stuff at the same time. And pretty much, when did you finally get your degree?

It was 2011. So I started in 2004. Yikes. So did you slide in some acting glasses while you were there? Yeah. I was, I love that school because there's so much that you can do to kind of cross-pacons. pollinate, acting and dancing, there's an orchestra, there's the drama division that you can kind of put these, all these different things together, that I was always interested in that.

That's one of the reasons that why I went, I read Miles' autobiography. See? Quincy Troupe. Right. It's just something about Juilliard and also being in New York and checking out a lot of the people who are on lining those that I liked their music, lived in New York, at the the time or played in New York a lot. It just all seemed to make sense.

All arrows pointed, well, go to Juilliard. If you make it through school, that's great. If not, you'll be in New York where everything that you like is happening. So can I naturally assume that perhaps Juilliard's where you met the other band members of Stay Human? Yeah, yeah. Yeah, I figured as much. So, okay, how did you guys for him?

Well, the drummer and bassist, Joe Seller, you see him on the, yeah, Joe with the hat. Yeah, Joe with the hat. Joe with the hat. We met in high school. He was visiting New Orleans at the Jazz Fest, actually. And I was cutting my theory class, I think it was. And I was walking around town in the French Quarter because our school was in Noka was near the French Quarter, and he was walking around, and he had a stick bag, and he recognized me

and came up and said, hey, man, do you want to play? And I was like, yeah, let's go. So, hey, how you doing? How you doing? Let's play. Almost no words, we walked and didn't really speak after that. And we walked to my class that I was cutting. And I was like, hey, I have a guest, and we played a song for the class. And then the next year, he moved to New York to go to the Manhattan School of Music. I moved to go to Manhattan School of Music. I moved to go to to Juilliard, and that's when the band came together. That's one experience that I regret really never having.

I've never been, like, a jammy guy. You don't like the jam? What do you mean? It's called the Roots Jam. And he hated every one of that. You think I love Roots shit? Used to. I avoid them shit. Well, yeah, now it's work.

I get it. No, it's like, it's expected, you know, because my legacy's on jamming. But I don't know. You created albums off of that, like, for chronology. It's just like, well, for me, I don't like Jam Sessions because someone has to be the bad guy. Definitely. And say it's time for you to go.

All right, that's enough of you? Or no, you can't come on. Yeah, because there's, again, I have two microphones. So I'm the guy that's like, you know, trying to tell the saxophone player, don't solo over Tariq. Like, play a riff. Like, it's, it's, it becomes. Like you think I'm a pain in the ass here. I believe.

Imagine me on a job that I'm, you know, like. Sometimes we see you back there. Ah! Yeah. Right. Exactly. So maybe it's like I have to be the bad guy. But more than that, it's just like I, like Kirk does that easily.

Like Kirk goes up to the whoever the guest band is on the show and they talk about their guitars. And is this a, you know, 63 strat? and then they start doing, you know, riffs together. And I don't know. I never, like, and sometimes that happens. Like, I feel, oh, God, I feel horrible because Chris Dave has been calling me, like, all week. He's been doing this presidency and Robert Glasper. No, well, technically I was out of town, so no disrespect, Chris, of course.

But I just, I don't know why I don't have musician friends. Have you ever jammed without being the boss? Maybe that's the problem. Let somebody else lead. John. It's not even that. Like, I think if it comes to like

music collectors, like record collectors, like that's my zone. But I've never been the, like, the thing is one, I don't, I'm not one of those. Like, do you know like the, oh, this Steinway was 1939? Like, I don't know what my drums are.

Like, oh, this is made of wood or mahogany wood. Or, yeah. Yeah. Yeah, that's not me. I don't know how to talk. You're not a gear head. No. I don't think he is either.

You know what else? I'm really not a vinyl head. Even though I have all those records. Yes, you are. What are you talking about? No, he means like the material, the vinyl. No, no, no. I just meant like, you know.

You're not Steve. Yeah, like, Steve thinks. Everyone thinks like it sounds better on vinyl. Oh, that. Oh, you're not one of those? Good for you, Amir, for coming out because, you know, people would be scared to say that. I love vinyl

because that's the thing that me and my dad bonded on as when I was a kid. Like the rest of us do. I like record shopping, but I was never like, I don't know which turn. People, uh, around October, November, like, can you recommend? For Christmas.

Yeah, can you recommend what turntable I should get? And I'm like, yeah, an iPhone. Ah! So you guys just basically within five minutes you were like, hey, you played that or no. But didn't you do that earlier in the day, earlier in your life? Like you, like the roots were more of a joke. No, dude, I started, my dad threw me into his oldies act.

Mm-hmm. Like, Tariq was the first person of my age that I played with. And even then, like, my parents looked, you know, he was, you, not you, mom. Mom listens to this show and gets mad that I throw him to the bus. Mom loved Tariq. Dad, not so much. So, it's just truth coming out right now. Yeah, I love it.

It's just, you know, I wish I could enjoy it. I don't know. Yeah, I guess. I don't know. But you ain't really that press. But you say it's not having a roadmap, right? Because we kind of went over this with Bobby McFarron. Hey, I love having roadmaps.

Oh, yeah, I just. Bobby McFarron with the Juilliard, John. I know. He's everything. But would you say that when music becomes a profession, the jammy aspect of it all, the like hang out and jam with friends thing kind of comes down? I feel like that. Yeah.

I'm in music all day long. The idea of like going and like playing for the sake of playing is a little different now than it was when I was 22. I feel like when you're younger and you're jamming is almost like practice. Whereas at this point, I feel like we have to have an objective. Exactly. A roadmap. or just a concept like we're jamming in order to figure out

jamming with the purpose yeah this is the sound because I feel like Yeah but tell that to Prince Who Can't tell Prince anything Yeah like six hours You don't fuck the show

He'll give you six hour jam session Which is probably my only inspiration from Or he'd do it All right I'll come But that was for a reason They were doing that for the show Like figuring out the parts of the show

And stuff like that At least that's what they told them. But Prince, like, really enjoys jamming. He don't enjoy it. He doesn't like talking to people, so you rather jam with it. Wow. I mean, I don't like jamming or talking to people. It depends on the people.

Right. Because some people don't know how to jam. So do you, what if you're in a situation? And again, you are, you present a situation which people can randomly walk up and play. You, do you have to be the bad cop sometimes and, like, Like no more cowbell, thank you. Sometimes. There's been times where it just crosses the line and then you have to shut it down.

But I feel like a thing that I find joy in is taking something that's just like would otherwise be disastrous in making music out of it. Like, oh snap, this person is playing the piano. They're not trained. Well, let's make this into something. See, that's what Bob McFerrin said. When I asked him about hecklers, he's like the way that I distinguish it is just incorporating whatever they're doing.

Yeah. See, I hate that. Brain hurt. I'm a control freak. It's like, oh, wow, that's happening right now. Okay, let's see what we can do with that. Are these with random drunk audience? people are like musicians you might ask random drunk musicians super free a range it's a range it can be

anything because sometimes it can be a you can you can have a great musician who is is um technically there but doesn't understand the spirit of the moment or what's happening okay and then that can change what's happening and you have to go with that otherwise the band sounds disconnected 2%. That is the number of people who take the stairs when there is also an escalator available. I'm Michael Easter, and on my podcast, 2%. I break down the science of mental toughness, fitness, and building resilience in our strange modern world. I'll be speaking with writers, researchers, and other health and fitness experts, and more, to look past the impractical and way too complex pseudoscience that dominates the wellness industry.

We really believe that seed oils were inherently inflammatory. We got it wrong. Many of the problems that we are freaked out about in the world are the result of stress. Put yourself through some hardships, and you will come out on the other side a happier, more fulfilled, healthier person. Listen to 2%. That's T-W-O-Persent on the I-Hart Radio app, Apple Podcasts, or wherever you get your podcasts. Do you remember when Diana Ross double-tapped Little Kim's boobs at the VMAs? Or when Kanye said that George Bush didn't like black people. I know what you're thinking.

What the hell does George Bush got to do with Little Kim? Well, you can find out on the Look Back at it podcast. I'm Sam Jek. And I'm Alex English. Each episode, we picket here, unpack what went down, and try to make sense of how we survived it. Including a recent episode with Mark Lamont Hill, waxing all about crack in the 80s. To be clear, 84 was big to me, not just because of crime. crack.

I'm down to talk about crack on day, but just so you all know. I mean, at this point, Mark, this is the second episode where we've discussed crack. So I'm starting to see that there's a through line. We also have AIDS on the table right now. Thank you for finishing that sentence. I don't think there's a more important year for black people. Really? Yeah.

For me, it's one of the most important years for black people in American history. Listen to look back at it on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Cliver Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrate.

One week I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford. and a TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth.

You doctored this particular test twice in someone, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used. for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern.

Two more men who'd been through the same thing. Greg Alespian and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges.

This isn't over until Joe. Justice has served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. So describe to me the day that you got the phone call that you're being considered for the night show. Oh, yeah. Late night with Steve. No, it was not late night, the late show. Late show with Stephen.

I'm sorry, Stephen. I love you, man. All right. So where were you? What was the day when you got the phone call for the late show with Stephen Cobain? So I was in the studio and I got a phone call from Stephen himself saying I'm about to go on vacation for 10 days. And when I come back, I want to sit and have a conversation with you. And he didn't tell me what it was about, but I kind of figured what it was about.

Y'all knew each other already. At this point, I've been on the Colbert Report a couple times. And after the second time, we kind of had become friends in a way where we could talk and I'd call him sometime. But he was not, he wasn't at any way at the Colbert Report's offering me the job. But I've been seeing in the news. Everything was leading to him taking over for Letterman. And I didn't hear if there was a band yet. I figured, okay, well, if there's a band,

We may have heard about it or at least it's not solidified because they haven't announced it. So when he called me, I figured, okay, he wants to talk about that. So he goes off the grid for about 10 days, no phone or anything. And I have thinking about it for 10 days. Is this something that I think he called me because he knew, okay, think about this. Because when we come back, you're going to probably have to make a decision quickly, which is what happened. We sat down and he talked to me about his vision for the show. and that was like a pretty long conversation.

Then I was introduced to the staff, which was going to move from the Colbert Report to the Late Show. And I walked around the office and met everybody. And then after about two or three hours, he was like, okay, so let me know something you want to do. And we'll call you in the next few days to, you know, see where you at with it. Who else was in the running? Do you know?

Well, he told me after, this is like, after we had done a few shows, a few test shows, came to the dressing room and he says, I don't know if you knew this, but Elvis Costello was. Steve, you would have left me. He was like, Elvis Costello was basically I'd given him the gig, but this is before I met you. Wait, Steve, did you know this? I was going to go work for them I knew it Steve produced

some Elvis records Yeah Seriously? No I didn't I didn't I don't think I ever heard If you had to make the decision Steve

Yes Oh that would be Yeah that would be a tough decision I would let Steve do it I'm just kidding I think I John just Wow You would have had to split

I'd give it Steve away I mean I would understand I would understand Elvis is his idol Yeah You know, I'd tell you. Oh, man. Yeah, I'm sorry.

Yeah. So he was up for... That's being loyal to Steve. Why did you have to say like... Yeah, yeah. Like Falkord and Wade. With his band or... It's a good point.

I'm not sure, but apparently he flinched and Colbert had it in the back of his mind after we had met and that Colbert report love ride performance, he was like, I'll... I'd be cool to spend some time on stage with this guy. He wasn't aware of me before then But then... Yeah, I was not to say, did he go to any of the... No, no, he's actually one of his producers went to one of those events.

See? What's the what-or-whatever? What y'all doing? We were talking about at the beginning. Oh, okay. The little speakeasy. Yeah, right. But this also proves the point that there's Ronald McDonald's

and then there's Ray Crocks. And for every figurehead that you'd think, like, did Steve Colbert go to these shows? It doesn't matter because it only matters to the five people, the Ray Krocks, the five people there in Stephen's ear about, this is cool, you should check it out. Right. Right.

It's never the person that, the Kanye's that have the ideas. It's the 50 people in Kanye's ear that he takes it from. Anyway, so go ahead. So that was, when we've done some test shows, he said, you know, and Elvis, he flinched, he said, you know, I don't know if I want to have a boss.

And then Stephen says, okay well that's okay hangs up the phone calls me and it's like hey do you uh do you want to have this conversation coming back in 10 days we have the conversation he calls me the next day after we have this this conversation I meet the staff and he says you know I want to um you officially have been named the band leader of the late show um congratulations we start on this date and you should start rehearsing your band. Did you tell Stay Human yet? So Stay Human was basically for months,

and not only say he was a wild thing in the air where people were coming to me and telling me that I should call Stephen, telling me you should be the band. The band was like, man, we had just finished like a nine-month tour, and they were like, we'd have anything on the books. The band was like, man, you should call.

Stephen. You're cool with Stephen, right? You should call Stephen. You should get that gig, man. That would be great. We should play that gig. He's so cool. It'd be so great. And I was just like, I don't know. I just don't know if that's something that I want to do. We just finished my first real tour. And like we have some momentum. I feel like we had signed a label deal yet. We're just like all this stuff that and all this stuff was, yeah. He hadn't signed a label deal. No. I'm just putting out independent, just put it on the internet, no marketing, no anything. Let me just ask one question to both of y'all. What's the difference?

You signed on to Jimmy when? How long ago have you been with him? We agreed in April of 2008. That's 10 years. And it took about, yeah, it took about seven months to really make it real. Steve, that's like three, four? Three years. It's the fourth year now.

Did you ever think? to maybe make a call? I did. Okay. Oh, y'all, did you? You made a call. In fact, I reached out, but we met before we could even connect on the phone. The first night of the show, Alex Soros had a birthday party.

Mm-hmm. Mm-hmm. And you basically laid the whole science of the gig down at this party. Do y'all follow that? At the boom-boom room. Yeah. I, I, it was, um, it was, um, the second time that I talked to a band.

The first person I talked to was Shafer. Chevy Chase introduced me to Shafer. Oh, no. He was nice to you? Chevy Chase? Yo, that was so loaded. I was like, look. Wait, you're cool with Chevy Chase?

I wasn't cool with Chevy Chase, really, but I had dinner with him a couple times from a mutual friend. Okay. And he was like, you should, and he plays piano. So we bonded over the piano. He never knew that.

He was in Steely Dan for a minute. He plays. Like, before they got the deal. Chevy Chase? Chevy Chase plays piano. This is why you're here, because I never knew that. Bill Evans is his idol. Wow.

Wait, the Chevy Chase comedy idol, okay. Wow. So did he introduce you to Paul Schaefer? Yeah, because I didn't know Paul, but obviously I wanted to talk to him when this was kind of in the running. And I went, we went to PJ Clarks up in Lincoln, center and he and he told me his experience and then Amir we uh we met on the first night of the show at sorrows and he told us about how y'all do all of the stuff with the talkback mics and the

laptop and i mean i kind of just i saw it everybody out i called branfoot and um we linked up when he was in town doing it's like a bill withers thing at conigate it was all like right around the beginning of the season well i'm having a brain part who's who was post Bradford from Philly. Kevin. And I went to see Kevin played with Dave Holland at the Vanguard. Which, oh, we're playing the Vanguard next week, shout out. But so the vanguard with Dave Holland.

Wait, stay human? Yeah. Oh, hell yeah, I'm coming. Yeah. It might be sold out, but go ahead. No. Marissa. Look at me.

Thank you, love. Shout to Marissa. How you do? Marissa go way back. I know. Yeah. She was with us. first.

Anyway. And then she made the shut up by you. Go ahead. It's true. I'm going to the winner circle. That's not true. You're a winner.

I was playing. Go ahead. Shut up, man. Oh, man. Oh, Elvis just sent me an email. I got to go. Okay, so you're basically saying

that you went and sought out. Wow, you did it in ways that I didn't even think of. I think maybe I talked to Bramford for like one second. You ain't hit up Doc Sefferson? You know he's still around. Yeah, Doc is around. Well, he played with us, but I didn't.

The thing was, like, we literally, we weren't going to take it. And I just, doing those eight months from April to, to, what, September. I just figured, okay, I know we're not going to take this gig because the money was getting good. Leave it alone. It's just numbers. What? Your math. It's okay, though.

You said eight months, April to September. That's like five. Oh, damn. You nerd. Any words? Chevy Chase played to P.N. Chevy, James. Come on, Chevy.

I'm just saying that. I mean, I said September, but I guess we told him it's real, maybe in November. So I'm just saying that in my mind, I thought, okay, you're going to say no, but at least you're going to have a friend in late night so that when the Roots released records, you could be the musical we guess. And that's all we wanted because we were making good money at that point. And, you know,

I guess he kind of didn't take no for an answer, but in my mind, I just thought by that point, a lot of acts that we were opening for back in 94, 95, like, we're now, they're now

opening for us. Like, And no disrespect. I love it. But it, I would hate when our management would let run DMC open for us. And I'm like, they're fucking run DMC. Like they need the headline.

And even run DMC was like, nah, dog, we just do this hour, get our money, be out. And, you know, like they didn't care about like, whatever romantic things I had in my head of us being legends.

They just like, give us the money. Let's go. Not for nothing, y'all. But like, for real, have you,

y'all too soaked up this moment where we just, we just mentioned all these past band leaders, and this is great, but this is the first time, like, the two brothers have really been helping the, the band leader thing on the late night, like, at the same time. At the same time, right? At the same time, at the same time. At the same time on the two competing shows,

not on the late, lay, lay, late, and the late. Y'all wanted to say. You know what I'm saying? It's like, it's there. This ain't Steph might. Well, let me finish my point. My point was basically, and I had Bill of mine when I did this.

Let me finish my point. My point was pretty much that, I just I didn't want to be in that run DMC position I just thought like okay it's 2008 oh man what if we're not a thing in

in 2015 we'll be run we'll be run DMC opening for Drake or like we could ever do that anyway I'm just saying that that was part of my okay let's let's just go here

and get safe and we'll just go somewhere quietly to die and that's what I thought. I'm optimistic. I never once thought that it would be beneficial. So in your head, after you got all this information, what were the pros and what were the cons? Honestly, I was looking forward to touring more,

but I really, Stephen actually kind of really convinced me Because not by what he said, I just really liked him. Because I wasn't familiar with the Colbert Report before I was on the show. So I didn't know anything about him or his whole ethos or the whole kind of satire that he came from in that tradition. But when I met him and talked to him, we just had a lot of things that I felt like were in common in his objectives for the show, what he wanted to do in the world in general with everything that he had been doing. I was really compelled to do it because of that. And I also thought, well, at the time I was 26.

So I was like, why do you laugh every time he mentions the age? Because that's just amazing. It's like, what do you do after? I remember where I was at 26. And it definitely was not on late night television. No, at the band leader. Like, he's not just playing. I'm just, it's funny.

I just, I felt. Unemployment line. Right? It was, it was, it was, it was, it was, it was, it was, it was, it was, it was such a great vision that he showed us. And I mean, you know, this is before Trump, but it was just the idea that it was, let's make a show about people.

So did you draw any parallels between his concept for his show and what you've been doing in music? Absolutely. I mean, there's something we talked about in the first initial conversation about the show, calling the show the joy machine. Like it's a machine that you get into and you basically create joy

and you pump it out through the airwaves. That's my word. What is a joy machine? That's my word. I tell people all the time, joy is the ultimate level. Like happiness is cool, but joyous man.

Wait, one. What? What? That's not black. How did you two not know this? And Steve, how did you know this? I was just trying to insult her. I didn't know.

I was just calling her a joy It's like a real thing Like me and my dad We have a whole thing about joy And how it's up Really? That didn't just happen Like happiness is fleeting But joy is forever

Even when you're mad It's still this sense of This joy is just amazing You were trying to be a dick It's backfired on you Because that's actually I will be a joy bringer That was an inadvertent alley you

Wow I would love to be that person Steve Like to bring joy to people Nice work That's so good That's so good So okay I'm curious to know I'm curious to know

what your daily schedule is now. Yeah. And I want to know if it's similar to mine. First of all, how often do you guys have to, do you guys ever back up guests that come on the show? Yeah, yeah. We back up guests. Sometimes fragmented parts of the band

back up a guest. Like the last thing we did I played not but the band with Nas, Mac Miller when he, um, man. Yeah. Shit.

Wow. Last performance on TV. Damn. Yeah. Yeah. Wow. Yeah. Man.

Yeah, we do it a fair amount. In season one, we did it a lot. Okay. And we also did a lot of sit-ins. And then after about a year and a half, we kind of scaled back on that. And now we just suck. The sit-ins? Yeah.

It's hard as shit, ain't it? Yeah. Man. Let's talk about it. Now, let's talk about it. Do it, do it, do it. Questlove and John Batiste. Do it.

Do it. Like, we're hard. I'll start first. Well, okay, the thing is, it's, because I always want, my fantasy is like, yo, I want my idols to sit in with me. That's what I have. And the thing is, it's like, my idols are, I'm being generous if I say 60, they're more like 65, 70, 75. and years old

and setting their ways and the thing is to be the position that we're in right now oh trust me we're birds of a feather I believe that to be in the position

that we're in right now is a bunch of fast thinking thinking fast thinking fast man and someone that gets what man so we want

who's who's the cat that um the drama right no no no no no quiet stuff you know not names yet

we're not doing names yet we're not doing names We get caught. Well, rest and peace, God. Dead. So,

you know. Wait. We'll speak ill of the dead. Yeah. No, no, no. I got a great example. I got a great example. Go.

There's two examples. Who's the guy. Who's the guy that sings the theme to Mr. Belvedere? Oh. And the all detergent. We can all use. We can all utilize.

Yeah. I wanted to know it. I was supposed to come. Mr. Belvedere. Come on. A double will. Leon Redbone. Leon Redbone.

So Leon Redbone, he's about, was he like 78 now. How did he get the gig? Because Jimmy, that's the thing. Like oftentimes, like random ideas will come. And the unfortunate thing is like the perception of, oh, the roots can do anything. Yeah. Is that hurts us so much because I'm a dog. It's smoke and mirrors.

Not human. Yeah, with smoke and mirrors, I mean, anything can happen, but oftentimes we'll get thrown, occasionally we'll get thrown a curveball where it's like, oh, I want to hear the guy that's singing all the commercials from the 70s and the Mr. Belvedere theme. It's like, in theory, it seems like a good idea. Yeah. But it's like I'm the one that has, and usually these people are like 79, 80 years old.

So it's like, okay. He's 69. How old is he? 69. Trust me. He's more like 89. And it's like, okay. So at the count of three, we're going to start.

Dupo pro se on the China. Whatever the lyrics are to Mr. Belvedere. And it's like they might not be that quick. Right. You know what I mean? And oftentimes they'll be like, one, two, three, and they'll just look at the camera like. Oh, man. 2%.

That is the number. of people who take the stairs when there is also an escalator available. I'm Michael Easter, and on my podcast, 2%, I break down the science of mental toughness, fitness, and building resilience in our strange modern world. I'll be speaking with writers, researchers, and other health and fitness experts, and more, to look past the impractical and way too complex pseudoscience that dominates the wellness industry. We really believe that seed oils were inherently inflated.

We got it wrong. Many of the problems that we are freaked out about in the world are the result of stress. Put yourself through some hardships, and you will come out on the other side a happier, more fulfilled, healthier person. Listen to 2%. That's TWO percent on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Do you remember when Diana Ross double-tapped Little Kim's boobs at the VMAs? Or when Kanye said that George's... George Bush didn't like black people.

I know what you're thinking. What the hell does George Bush got to do a little kill? Well, you can find out on the Look Back at it podcast. I'm Sam J. And I'm Alex English. Each episode, we pick it here, unpack what went down, and try to make sense of how we survived it. Including a recent episode with Mark Lamont Hill, waxing all about crack in the 80s. To be clear, 84 is big to me, not just because of crack.

I'm down to talk about crack all day, but just so y'all know. I mean, at this point, this is the second episode where we've discussed correct. So I'm starting to see that there's a through line. We also have AIDS on the table right now. Thank you for finishing that sentence. Yes. I don't think there's a more important year for black people. Really?

Yeah. For me, it's one of the most important years for black people in American history. Listen to look back at it on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Cliver Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football,

or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment. And the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast.

It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal.

The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in so-ins, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern.

Two more men who'd been through the same thing. Greg, the lesbian, and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges.

This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Who's the guitar player and, um, uh, Ritha Brangler was singing respect to him in the Blues Brothers. Oh, oh God, what was this man. McIntyre Murphy. No, MacGitra Murphy. One time, MacIntyre Murphy. You remember how Aunt Esther and Friday when she was the Jova's witness, the way she said, fuck you to ice cream?

Fuck you. With the funniest moment in our history of that show of sit-ins, Mac Guitar Murphy, again, up there in age or whatever, didn't want to wear any ears or anything. So I'm like trying to tell him, okay, the next song. It's in G minor.

Yeah. One, two, three. And he just looked at me, and he's just like, fuck you. And he took his guitar and walked off. Oh, shit. walk off. Oh my goodness.

There's some side-eye. Man. Over to you. No. You're just talking. Over to you. No, she was just talking. We got stories at the late show.

What's your favorite sit-in story? What stories are you allowed to tell? You can speak in, in, in, in, in, in pictures. But we had jazz week. Oh, yeah. We're talking about some good oldies. Wow. It was legendary.

It was legendary. That it's only like 12 seconds of. Yes. Tudy and Jimmy Heath. Oh, my goodness. Oh, yeah. Jim, you had the Heath. Two of the Heath brothers.

What? Three brothers? That week it was the Heath brothers. Wayne Shorter. Wow. He got it, right? Roy. Roy Haynes.

Oh, boy. Haynes. Yeah. He can, no, he's good. Roy is good. Roy played over Stephen on a bumper. Yeah.

He's 85. Yeah. Roy is 85 at least, right? He's like, he's 92. Yo, he called my dad last week. We just both. If you were a music director job on late night television, he might be over the way. He played over the bumper.

It lasts, you know, like 12, 15 seconds coming in. And then you stop. And then you stop. And then the show goes on. It propels you into the next act of the show. So Roy is playing, and he's in the middle of just this fiery solo. And like, all of us on stage are like, man, this is amazing. But I'm like, how do I get him to stop?

And I'm like waving my hands. Can't they just fade the black? No. No. Oh, you were coming in. Yeah. I'm like, how do I get them to stop? You got to throw shit at them?

So what did you do? What did you do? So at one point, he realized it. Okay. But it was about 30 seconds in. And Stephen was like, did I just hallucinate? Did y'all just. just hear that.

You know, he incorporated it into a bit, but it's just, the sit-ins are very difficult. How, how, how distracting, can I ask, how distracting is noodling, oh, I hate that. To the show, noodling. Okay, so, I'm not, I'm not, I'm not, I'm not throwing Jimmy under the bus at all. Jimmy is very distracted by noodling. So, there's cooking noodles on the side of the stage. Like Kermyn Ruffins. You're an asshole.

It's like five million people asking to say that. It's just like, you know, fiddling around with your guitar. I'm not playing notes, but you're not playing a song. Like, even if the amp is off, you know, sometimes guitar players will sit there and like, Oh, yeah, yeah, yeah. Practice a little bit, but Jimmy can still hear the. Oh, my goodness. So oftentimes I have to remind people like any tuning, any tuning, or you're basically supposed to be a frozen statue.

while the show's going on. And oftentimes one little like or accidents happen, you know what I mean? But it has a potential to throw his concentration game off. It's like if you're shooting a three-point shot with five seconds left in the game and suddenly your mom's on the side, hey, hey, hey, you know, and distract you, huh?

And it could throw off the game. So I'm saying how when mistakes like that happen, is there fear in your heart like, oh, God, this is the end of my? It's, we've gotten good at moving around, because we still move around the theater and basically we'll be playing in a balcony one break or we'll be playing and, you know, we'll go to the, there's two tiers. So we'll go to the balcony on the stage side or we'll go to the balcony on the audience side or we'll go to the balcony on the audience side. go in the aisles. And we have a lot of percussion instruments. And tambourines make a lot of noise when you pick them up and put them down. Yes, yes.

So we've gotten good at it. So we don't have as many hiccups anymore, but we got a note early on, like in the first year. We got an email. I get the email. And it's like, so during the show, we'd like it if the band area could be as quiet as possible. And I was like, oh. Okay. Learning.

No more tambourine. But the energy was like during the show, I knew it was coming. Because I think somebody dropped a tambourine and Stephen looked over. He didn't say anything. But he just looked over like, it's like, hmm, okay. And then next day. Okay. What time do you have to be there normally?

Well, it's changed. Production meetings? Or is Marista the production meeting present? What time do you have to be there in the morning? So I technically don't work at the late show anymore. I worked just for John. But I worked there for three years. I actually worked the premiere of the late show and the premiere of the Tonight Show.

Wow. As an intern. She took the information and made it stronger. I'm just joking. So this is like a colliding of two worlds right now. A little bit, a little bit, yeah. But production meeting starts at 10.30, so back when I was an employee at CBS had to be in around 10. John usually gets in around.

The schedule changes depending on. how you feel with the band, how often you do you live in Manhattan? Please tell me you do. I used to. I don't anymore. No, you live in what, Brooklyn? Brooklyn. He used to live in Brooklyn.

Look at him. They belong in Brooklyn. Yes. I still maintain they want me to live at 31 Rock. Oh, yeah. Yeah. Oh, for sure. John would roll out of bed and walk to work in probably 15 seconds.

That's how close he lives. Now it's like an hour. Culture. I just wanted to get out. side of it. Yeah. And also I want, I want to put a studio, because I have so many things I want to record.

I'm putting the studio at the bottom floor, so I can kind of just roll out of bait and go to the studio and then go to work. Can I ask you just to rate your millennialism? What part of Brooklyn do you live in? So it's like Clinton Hill, Fort Green Border near Barclays. What's what you think, Bill? That's like, stage five millennial.

Yeah. Rate your millennial. Yeah. Rate your millennialism. He's living around. area where I used to live when I first moved to Brooklyn and got priced out. Oh. You gentified. You got a job and job.

Can I ask, do you ever reap any of the cons of, because we all know that Stephen is so involved in the politics side of things, does that ever come at you in any type of way? You know, it doesn't, but it's definitely a line to tread in the sense that you have your identity, but your identity is so close related to the show and the content in the show.

People watching the show probably know what they're getting into. Yeah, but I didn't know if you, that's true, but I didn't know if you get those. I'm sorry he still gets mean emails and hate stuff. I'm talking about Stephen, not John. Oh, I'm just saying. Yeah. People still don't like it. They know what he's saying and they don't like it.

I love it myself. But I feel like if you're watching Stephen Covere, you know what you're getting. Oh, you do? Mm-hmm. Not that I'm why. So anyway, what's the cafeteria like this? Yeah, yeah, yeah. There's so many things I want to ask about this show.

First of all, what's the degree level of the theater? How cold is it? Oh, man. Damn. Give me freezing. It's like, I'd say probably 58 degrees. Yeah, you can see your breath. Still letterman cold.

Yeah, they've kept it cold. They say that they keep it cold to make people. make people laugh. Right. And back in the day, they kept it cold because the lights were so hot. But now they're LED so they don't produce any. They always got a reason. They say to strip club, but...

The nipples hard is always a reason. Exactly. Exactly. You just got to know it. You got to wear a winter jacket when you're in there. We should say that the CBS theater, Letterman was there first. Yeah. And he started, normally it should be 68 degrees. Yes.

And then when the lights come on, then it's hot. But as she said, now it's LED. There's no heat emanated from it And now it's like 58 degrees That's not human That's ballpark but I think

Around there The other day it was factually Recorded at 58 Factually recorded Because That was not fake news How big is the theater though? There was a

It's about It's a 500 seater Really tall ceilings There's a big doll It's 500 seats? Is it bigger than another one Yeah, the ceiling is, that's what he asking. No, no, because in my mind, I thought you guys were playing for like 10,000 people.

No. It seems large as, like 490 something. Oh, shit. Looks big on camera because the dome is pretty massive. Okay. Yeah, seat-wise, I think it's under 500. Yeah. Oh, damn.

Okay. That's a nice. Do you guys have to warm up at the beginning? Oh, yeah. Are you tired of marching out and doing the... It's good for the band if we keep it fresh. So if we change it. How often do you change clothes?

Exactly. So you got to come out and you have to do something that you don't even know how it's going to turn out. It's almost like a way for us to warm up ourselves, not even just the house. So we recently, we've been doing Sonny Rollins St. Thomas. Oh, dude, do, do, do, do. Okay. Yeah, but sometimes we used to go out and it would just be like, here's the groove. Let's play Sky in G.

And then we'll modulate on Q to be flat. Right. So you guys have your code speak. Yeah. Okay. Since you're playing in close quarters, I will say that for the roots at least, these last nine years had brought us so close together in a way that is scary where we can. can now literally have conversations with each other musically.

Which, I mean, just our level of code speak, certain reference lines, if Mark plays something, we know, you know, third row, five seats in, polka dot shirt. Not anymore because he's married. Exactly. He can look, we can't look.

It's a new marriage. He can't look. They newlyweds. He can't. Oh, yeah. I heard that. Yeah. My fault, Mark. I mean, it was hypothetical. But the point is that there's at least, there's about 30 things we can communicate with each other. Without saying a word to each other.

I could literally play something on the tambourine or the symbol or something. If I want Kirk's attention, I know what riff to play. If I want the horns to know something, I do a rhythm on the floor. So are you guys at that Zen moment now where you guys know each other that well? Yeah, it's some wild just codes that we got happening with, especially with the band, the guys who were part of the band before the show, we brought some of that in. Because we developed a lot of codes when we would play on the subways. Because when we play on the subways, you couldn't always say something to the cat.

here comes thugs let's go right you know what i mean so it's like taking that and then also playing together every day it's it's been a lot of little things that when we play a venue now it just feels like oh we're running now we took the weights off our ankles it's like oh this is like way easier than it used to be all right one of my final questions are you tired of people asking you, how long is this going to be for? Oh, my goodness. Well, how long it's going to be for? Well, I mean, I mean.

Like me, uh, so black. That question. Hey, yeah, that is. I got to get one of those. You got to ask every man, every 30-year-old man, that question. How long you're going to be here for? Because, you know, y'all like to roll out. I mean, the, I tell you what, the, the first part of the contract is five years.

Okay. So I'm there. There you go. And the rest, we'll see. I mean, I love doing it. I don't have plans to leave. And so it's just, it's hard to know because we're actually doing a show almost every day. And it's like you've got to be thinking about that.

Because you can't, now you can't do projects like you did the season of Tremay and stuff like that? But you want to, do you want to still do things like that? There's another question I have. Wait, did you, can he? Does each band member, well, it's, this adds one to that. Does each band member. have their own backup sub just in case you get a call about

blah blah, blah, being in the hospital or someone's... You didn't think of that? I'm... I'm... I'm never subbed. I'm just... Damn, y'all love each other, too.

It was like... Shots fired a beer. I'm just trying to think of what would happen if we needed a sub. So if somebody's sick, they just... Like Joe is sick? Yeah. Nobody been sick?

What's kind of... What y'all doing, you know? What kind of health regiment you all on? I've been sick on stage before. Steven's also been sick on stage before. With y'all, it's kind of the show has to go on. Yeah. I found, I finally found a drummer that, like, when I closed my eyes, I was like,

holy shit, I'm playing drums. Who is that? Who did I just ask you about, raised drummer? Willie Jones, the third. Willie Jones, the third. I want him to be I want him to be Okay

Do you just want vacation? No, well I mean just in case you get a call or something Like that's the thing It's it's Things can happen You know when my father passed away And I had to rush to To take care of stuff in Philly

I need someone to send him for four days And I had that person But there's other things to your job Besides drumming Like his Yeah but at the end of the day It's still I know that there's a lot that revolves, but the way that the circle is now and the way that I planned it,

you know, I could, as long as those 12 seconds are straight going in and going out. My point is that your guy's jobs involve more than just musicianship. You have to be charismatic. You have to be funny. Yeah, but there's Tariq. See, there's double. You got Tarek, though, right? But John don't have it.

Who's the second most charismatic person in the group just in case? Who would you say would do that, that thing? Not like, John, you got an energy. I don't know. Like, could step in and be the front man? Yeah. I don't think we've ever. I don't mean forever.

I just mean like a show. Yeah, for a show. Who would do that? Who's in the band now? I think we're messing them up because I feel like. I feel like. I know.

I feel like we're getting that energy out there. That's not. I don't want to. And now, Quaslove has the evil grin on his face. I was thinking because even in a airborne when you leave. Even in situations where someone has missed shows, we don't get a sub. We just play with the band without, like,

like Lewis Cato plays the bass. And then when he was out, for a while, we just did shows where there was no bass. You can do it with no drums? Because we have tuba as well. Right. So, I mean, it would be interesting. Let's not do this.

I don't, I think this is dangerous. I don't know, but you should plan for it. No, no, you should plan for it, but. Yeah, I got to think about that. It's almost 700 shows we've done six. Yeah. What are you guys on now? like 2000?

No, we are No, we're about, we're coming up on 2000. We're on 800 something right now, right? Are we in the 900s? Yeah, we're 950 on the tonight show and we did like 970 on the first one. Oh shit. I forgot about it, but who's late 19?

I forgot about the first one. Hey, John, what's a Hollywood African? Oh, my goodness. Nice segue. Do you like that? Well, so in entertainment, Jean-Michel Bosquiat, who I've been researching for the last year

because I'm doing a musical it's inspired by his life for Broadway. What? I've been researching him and that's one of his paintings from 83. Oh, one of his paintings is called... Fuck, why did not...

Now I feel ignorant. See, I thought you was trying to lead into something. I thought you knew that. Well, that's the title. Yeah. No, I know. Yeah, I knew that. Yeah, I knew that.

You tell the viewers at home. So it's the title of my album that we just put an album out called Hollywood Africans, but the title is a homage to... Jean-Michel Bosca's 1983 painting where he's kind of, it's an indictment

of the entertainment industry and the way that there's a marginalization of African-American entertainers and how they have to wear a mask while they were innovating and creating all these different things. Code speaking? Yeah.

We talked about code speaking on the show last week it was the funniest thing ever. On y'all show? Because the actors that used to be in the Hunger Games and now in... Amanda Sick for you? Thug. Yeah.

Amanda Schickford for eat. I forget it. Amanda S. Amanda S. They hate you give, girl. She was trying to explain what code speaking was. All the rooms looked at each other like, someone gets it. Well, you know, are there any other?

Have we covered everything? No, we haven't covered everything. Is there something that you missed? No, it's just so ultra-interested. you know to hear about wow Steve what was that way to wrap it up Steve well done

can I can I just ask I have to do this for it just because I'm a female and somebody's gonna want to know you're single what should do hey nah all right I'm in a relationship talk about alright alright I am you're a marriage dude

wait don't put him in that no you always do that he's a beautiful man Hit me on the... Like, let him be in a relationship. They hit you? They hit you too.

When I ask you about your personal, they like that. No, when they, when you, when one guest of ours was like, damn, why she had to put me in the altar like that? Like, Quincy Jones.

That's what she does. Nobody heard that one. Hey. Wow. All right. That's enough. Thank you. You're taking.

Congratulations to her. And there you go. Thank you, John. Thank you. Thank you. The, the, the late-night Wars edition. Don't, dun, da'

Do ahead. All we need is What's his name formerly of Mac Tub? Oh. I can't think of his name. I can't think of his name. Afro.

Who's that? He's to be a MacTub. He's... Reggie something. Google. Reggie Watts. Reggie Watts. Oh, yeah.

Oh, another late-night music director. Reg. Yes. We, we, we... We need to have a late night symposium with all the... Yes. That would be so dope. That would be dope.

Love, Rich. Oh, an audio situation. And Fred Armisen. Right? Yes. Yes. Another drummer. Or we'd like to thank you for being on the show.

Yeah. Yeah. Thank you. Shout out to Marissa, too. Thank you. You can always come back to Tonight Show. Check out John's new album. On, streaming on Pandora right now.

Oh, yeah. Yes. And then go look at the, there's never look at the painting. Painting. I do have a lot of info in it. I do have a question. Of course.

Go ahead, Steve. You guys have a rehearsal room there? Yeah, yeah. Is it big? Are you trying to get it? Marissa, is it big? I can attest. I've seen both. So yeah, you know ours.

It is pretty much the same size. Yours is a little, yours is better because you have an actual mixing board in there and you can record straight into. That was my actual stuff. We don't have that. Oh, snap. I told you to get hooked up. Wait a minute. Time out.

I got to extend this show for three minutes. Wait a minute. You guys do that show and don't document any ideas that you have during rehearsal. Oh, yeah. We do voice memos on the iPhone. Gangsta. Wow. With an organized Dropbox system.

Again. Technology. I'm saying get a little recording system inside your rehearsal room. Yeah. And then you can document. See, I thought you meant in the office because I have that in the office. No. We are, our dressing room is our studio.

We made Elvis Costello's album inside of that dressing room. And other places in real studios. Yeah. Have you always kind of debunk the myth, Steve? Can you also debunk the myth that that's just one dressing room? Y'all got like five. Like, I just, y'all have, it's like, no, we got two. It's like a, it's like a gym locker.

room in there. I mean, because we have, there's the two dressing rooms and then one of them is the band, one half of it is the band rehearsal room. And then I have the office, but that's on the other side of the building. So that's where like the drums and the recording equipment

are. But in the band area, I never thought to put a recording situation in there. That way and get you a Steve, get you a Steve, and then we're And then have a computer on stage where everyone was in the ears and then remind you.

So we have that, but we just played the voice memos through it. The iPhone 8 is not bad. We record the voice memos and we play them through the laptop. You're telling me that you don't need an engineer. So just let's drop it. I'm sorry, last question. Random question. Can the roots appear on that show?

And if your album could appear on the other show, could y'all ever be on the same show at the same time? I would gladly have John Pateeast on the 10. night show whether there's no who's the new less moons of yeah we don't have one yet y'all y'all country without a president well you you have

the CO step in but we don't have no one has been brought in I definitely know that the roots aren't welcome to anything on CBS including the Grammys during the less moons period

because the the proximity of the late night wars was like a thing in his head. Oh, wow. Oh, it's a new day. Wow. For women and y'all. No, I want it. Hey, you want it.

You want it. No, I'm just saying that I have zero qualms. And, you know, Stephen and Jimmy have done. They did it back on each other shows before. Oh, so. Okay. And to me, one of the greatest things, like I would love to do it, April Fool's Day where it's like both shows

straight to something stupid. Man, that would be dope. That would be it. Remember that Charlie Brown? I think... Wait, we had the Charlie Brown battle. Yes. That was so...

We weren't allowed to post that, though, but maybe we'll take it out of the archives and put it on Instagram. The Late Night Ward situation. Les wouldn't allow that? He don't like you. I'm sorry. I thought it was on.

I thought it was on B.C. wasn't allowed us. to do it, yeah. I don't... I'm not saying about it. Steve is trying to leave. Look. Like, I'm supposed to know what's going on

on the Lauren Michaels level? Again, this is what happens when executives and lawyers and red tapes get involved. What do you want to say? Oh, we had some really... We'll take it out.

We'll take it out of the archives. We had a, like, a... Lucy and Linus battle. Oh, my God. That's... Do, do, do, do, do. All

via text message and it started out how did it started I think either James or Megan James so Megan Trainor was on the show promoting the Peanuts movie right and her and I go back Wait the look on your face pill

That was like I wish the audience could see your face right now All of our viewers John's taking a picture Long story story Like that's what your face is like I don't remember making Traynor on The Peanuts movie. She did like soundtrack.

She had a song. Yeah, she had a song on it. But long story short, we go back and she texted me and she was like, I'm at Tonight Show. And I used to intern there back in 2000, I don't know. Something. Something. So she recorded James or no, I recorded John playing the Peanuts theme song on the piano and text it over to her. Five minutes later, we get a text from James.

He's playing it back. He's in our face. And he looks like black Charlie Brown. Right. But he added a little bit of like, oh, to it. And his face to him. He was like, okay, all right, let's go. So John's like, all right, well, we got to send one back.

So we record John and he throws this like bluesy flavor all over it. And it's like. He's leveled up so I tried to level up. Level up, level up. So then James sends back one again and his is even more insane than John's. And we're like, all right, we're stepping it up. Let's go. So we go to the rehearsal room.

We're like, tell the band, all right, guys, we're going to send another video to them. We're going to reveal you when the camera pans around. So I got my iPhone. John starts with the little intro. You better direct my rest of them. And then we pan around. The band comes in and we're like, all right, we got them.

We got them. Send it back. We send it back. Probably about like two hours pass. We're like, all right, we won. Like, pretty much. They have nothing on us. Get a text message.

And it's a close up of a mirror. And they're in the studio. and they start playing the Peanuts theme song. I was like, wow, they took it to the studio. I'm pretty sure Keith filmed this or something. Yeah. The phone pans back. The studio is full with the audience and they're all doing the Charlie Brown dance.

And this was probably, this was about, I'd say, two minutes before we were supposed to go on stage. And we're like, oh, my God. I was like, what are we going to do? Then what are we going to do? So we go on stage and you got, I don't want to say who I don't want to say who I, I thought one. I mean, you guys like went around the house

and everyone was cheering and one night. Yeah, when you're marching and going through the audience, I'm not going to those damn stairs. No. I'm going to say, I think the roots, the roots kind of had it down,

though, with the Charlie Brown dance in the audience. Yeah, yeah. That was tight. But so we brought it to Stephen and we were like, we did this thing. It was so random.

It's funny how it turned out, you know, like the late night bands are friends. And he was like, oh, this is a great idea. Do you know what we should do? We should get, We should do ours over and get everyone to wear a Charlie Brown t-shirt and do something crazy like that. But then have John and the band march out of our theater and into the Tonight Show Theater, join them on stage and make it like a charity thing around Christmas.

Yeah, that would be here. So this is 2015. Oh. And three years of fast. We might bring it back out in the archives. But he's gone. Ding dong. The witch is dead. The witches dead.

The witch is dead. Holy snap. We still have the videos. We will make it happen. We will make it happen. I definitely never knew what to happen with it. I thought. Sitting on my computer. Wait, but we didn't put it on Twitter or Instagram or anything?

No, they told us we couldn't do anything with it. Maybe this Christmas, bring it back. All right, we shall bring it back. Late night wars continue. Let's do it. No, it's not. Late night friendship. That's the joke.

Late night. I was Mr. Rogers. Love continued. I was Mr. Rogers. was still here. So I could start a war between me and Mr. Rogers. Some bloods and cripship between Sesame Street and Mr. Rogers. Johnny Costa.

Yes. John Acosta, yeah. All right. Well, on behalf of our all questions asked, thank you. All right. Thank you, John Patisse. And Marissa for coming on the show. Thank you for Mr.

Thank you. On behalf of Sugar Steve and Boss Bill and Laia and Boss Bill. unpaid bill. I forgot unpaid bills here. I was like I wasn't even here. I know. And you should be called overdue bill for this week. Shit.

Yes, you are overdue bill. I'm back. What's, is Fontigolo? He's not here. Doing his basement or something? I don't know. Court or his house.

Oh, he's definitely like Matt finishing the stairway. Okay. Well, this is Questlove of course Love Supreme and we will see you on the next go round and I'm going to end it with. Kitchener.

Oh, it's better. Ah! Yes. Bed bugs, bed bugs. I would have Buh. Hey. See, all is waiting for

her. I literally purchased all of Kyoto's Crazy Cabus cat. All of his score music. There was like a Japanese CD that Adam.

He sat in with the roots. What? Really? Yeah, he sat in with us. Yeah, I forgot that. Yeah. You win, Amir, you win. And all we did was his songs.

Wow. What? My dream, I want to get Yoko Shimamura sitting with the band. Yeah, yeah, man. Anyway. Good Waltz. This is out for real. All right.

All right. We're out. We're out. We're out. What's Love Supreme is a production of Iheart Radio. This classic episode was produced by the team at Pandora. For more podcasts from IHeart Radio, visit the Iheart radio app. Apple Podcasts or wherever you listen to your favorite shows. 2%.

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