But I can't say it's
always bothered me, because
for some reason, I'm not being jazz influence,
I was always able to point to the fact that
there was no relation between the audience and
the musician they were playing for themselves
or for the guy standing next to me, just as
they were. Miles used to do it.
He turned his back on the audience to play a
solo. You know, um,
there's a possibility of that happening, but
not the wide
range of pop music as
opposed to the
intimate range of jazz.
Uh, I think we'll cancel
that out, because
for every one person that does that, there'll
be three or four that aren't doing it.
And the exposure is so grand
and great.
Uh, you don't have one
jazz new jazz album.
Yeah, I mean, you do you know, you have five
hundred new albums in pop, you know,
so it's too competitive.
You I don't think the
artist will stand for
going back.
Since you've been listening to such a long
time, I wonder if you might point out to me, in
your opinion, some of the people who feel the
major figures in the evolution of this music
say, starting in 1950?
Well, then me start with Presley, Fats Domino,
Jimmy Reed and John Lee Hooker, as of late have
been picked up.
And a lot of the blues artists who I can't even
name for you. And certainly they're becoming
influences now, um,
the people that we in the business
think about Buddy Holly,
the Everly Brothers, certainly Sam
Cooke.
Uh, Little Richard.
Probably more than the right.
Those are the ones I think of that had great
influence, not,
of course, the Beatles, you know,
counting them in today's
people.
Um,
I think that
prior to the 60s, the actual production,
the business end of the business was mainly
in the hands of older people.
Right. Then they started I think it must have
been around for the early nine when they
started bringing in some of the music houses
and people to write songs that were teen
oriented. And this was the thing.
And then we saw a shift where the youth
has really taken control.
Young men such as yourself, you know, who who
actually dictate in a sense
the trends.
Do you see that continuing?
Do you feel that the youth movement is here to
stay on the music, that it is going to be a
youth oriented?
Yeah, probably is.
I would hope that those of us
that are going to start getting old now will
not be like
the old people of the other music
business who
didn't stay attuned to what was happening.
I would like to see myself at the
age of 50 as young
in mind and knowing what was going on so that a
guy, 20, wouldn't have to come in and take over
like I did
for many reasons.
Self-satisfaction. Yeah,
but I think that I think, um,
we're a lot open, but they may have thought
they were trying to, you know, I think
we're more open minded and able to
ride with the changes in music.
I can't somehow I can't picture
McCartney and
somebody saying, boy, he doesn't know what's
happening.
It seems like he always will.
There seems to be a greater generation gap,
though, now, even even more so than there.
Well, I don't know, maybe that's not true, but
they're definitely in the past five or six
years, with the advent of rock and roll,
preceded by pop music, became strictly
I think that the younger people wanted
something adult scampering for the LP list.
Right. Until they were kind of chased out of
that sanctuary, too.
Yeah, I think Marshall McLuhan
has described it as a Berlin Wall in every
household or something like that.
Do you really think there's that much?
You know, there's a generation
gap
between
the the two generations
now that we're talking about the adults
and the people that were raised, as opposed to
the people that were raised on this music.
But I think the gap will close as
the people that were raised in this music
become the old people and the younger people
are coming up to different kind of old person.
You know, the guy, 40, is
as hip as guys, 20
they were were all raised in a different way.
Now, remind us of not only
the music, of course, music has crossed over
into the evolution of
our political minds and our way
of life, right?
Yeah. So I think that gap will narrow
as time goes and maybe eventually we'll
think very hip capital.
I think theoretically that 1954,
which is the of the year that we choose
the rhythm and blues explosion, really
sounded the first death knell for the
what was the big band era or at
all of its carryovers.
We know that typified our last music, that we
moved into a completely new thing.
Do you think that's a.
Well, I know that only as a consumer.
I was in high school at the time and
it's the first music I knew.
And I can go back and say I knew
Tangerine by Dorseys or something,
but I, I
wasn't a part of it.
I was brought up on this music.