Pianist Les McCann In Conversation

[00:00:00] Speaker A: So, Les, let's start from the beginning. [00:00:04] Speaker B: The beginning? What is the beginning? The beginning is tonight. Right now is the beginning. [00:00:11] Speaker A: Where are you from? [00:00:12] Speaker B: Where am I from? [00:00:13] Speaker A: Yeah. [00:00:14] Speaker B: Oh, Kentucky, Lexington, Kentucky. [00:00:16] Speaker A: And that's where you got your start? [00:00:19] Speaker B: Yeah. And I don't like to talk about it. No, I've said it too many times. I'll take it from now. I've been born in Calexia, Kentucky, joined the Navy, went in the Navy. I heard Earl Garner play the piano, excited about him, so I decided I wanted to play. Lived in Northern California until I got out of the Navy, went to school in Los Angeles, went to college in Los Angeles, started forming groups around Los Angeles and that was the beginning, basically. Mr. [00:00:49] Speaker A: Piano was your first instrument? [00:00:50] Speaker B: No, when I was in high school, I played the drums and the sousaphone, tuba, trumpet, melophone. I tried all kinds of things, but basically I was into the tuba and the drums. [00:01:01] Speaker A: Mr. Did you come from a musical family? [00:01:04] Speaker B: No, no, but all my friends we sung in the street. Music was part of our life, you know, Airway goes, listening to music. Didn't have boomboxes in those days. [00:01:17] Speaker A: When you were hanging out on the west coast, who were the, the people they were playing with? [00:01:22] Speaker B: Well, everybody. I was fortunate enough to be in a position where I was in charge of most of the jam sessions around Los Angeles. I was like the emcee. I played with certain guys. But one place we played, everybody came through there and Arnold Coleman, Don Cherry, Charlie Hayden was my first bass player, Art Blakey. People would come through town, whether they played or not, they would stop by where I played because we had a happy thing going. It was like a party coming to hear us play. But the jam sessions, that was all early. When I was going to college, I didn't really know how to play very much. I was learning how to play and I was in awe of all the people I was listening to. But also in the Navy. When I was in the Navy, I was stationed near San Francisco, so I would go up to the city and I became friends with the owners of the Black Hawk, was with the main club in town at that time, and they allowed me to change my clothes and work on the door as a ticket person as long as I could come see the show, you know. So I saw Miles, Stan Getz, Dave Brubeck, Hank Jones, Earl Garner, I mean, so many I can't even think of. It was just like being in a playground with every tour being your favorite, you know. [00:02:56] Speaker A: Now my favorite tenor Sox player happens to be Dexter Gordon and You playing on the West Coast, Dexter? [00:03:05] Speaker B: I only got to play with him once, and that was just before he died. [00:03:09] Speaker A: Oh, really? [00:03:11] Speaker B: Yeah. Had a big party in San Francisco and I forgot what the situation was, but I don't know if it was a holiday or what, but he was there. This was before his movie came out, but I wasn't really aware how great he was until after that. But there were so many great players. One was greater than the other one, the next one just as great. Some were great on whatever night you caught him on. Denise Williams. Is that her name? Yeah, Vanessa. Vanessa. [00:03:50] Speaker A: Vanessa Williams. Denise is a singer? [00:03:52] Speaker B: Both. She's a singer. I love that. She comes to see us all the time. Great basketball player, too. Michael Warren. [00:04:00] Speaker A: No. [00:04:00] Speaker B: You split Jabbar at ucla? Oh, yeah, yeah. I've never seen the show. I don't know what station it's in that I was into it. It was basically all black cast, HBO or anything. Oh, I don't know. [00:04:16] Speaker A: But Hampton Hawes was another one. [00:04:20] Speaker B: Hampton Hawes, Carl Perkins. I mean, I named people you've never even heard of, but they were all good. They were great. You never heard of Carl Crow? [00:04:28] Speaker A: Oh, yeah. [00:04:29] Speaker B: Very few people have ever heard of him. [00:04:30] Speaker A: Yeah, he was part of the Leeward Vinegar. [00:04:32] Speaker B: You're right. Exactly right. Wow. I mentioned the names of many musicians. They never heard him. [00:04:39] Speaker A: Oh, yeah, he recorded for contemporary, I think. [00:04:43] Speaker B: Well, that was his later record, but before that he was on a label called Du Tone. You ever see him play? [00:04:52] Speaker A: No. [00:04:53] Speaker B: He played with his elbow. [00:04:54] Speaker A: Did he have a hat? Did he walk? [00:04:56] Speaker B: Oh, I don't know. But when he played, he sat at the piano sideways like this and played like this. He used his whole arm and his elbow to play notes. And you would think he was paralyzed until he got up and walked. He said he was a young kid and that's the only way he could hit some of the notes. [00:05:11] Speaker A: Did you like horse prowling? [00:05:12] Speaker B: A little bit. Parks. Parliament was paralyzed, though, I think. But horsepower's another great one. [00:05:19] Speaker A: Well, someone else again that was part of that set that's going to be coming to the Ottawa Jazz Festival was Teddy Edwards. [00:05:26] Speaker B: Teddy Edwards. He's a good friend of mine. I see him all the time. He lives in la. [00:05:30] Speaker A: Yeah. And he's a great man. [00:05:32] Speaker B: Ottawa has a jazz festival. [00:05:33] Speaker A: Oh, two weeks. Two weeks from now. [00:05:34] Speaker B: When are they going to invite me there? [00:05:36] Speaker A: Oh, you got to come up last. [00:05:37] Speaker B: Is that where you live? [00:05:38] Speaker A: Yeah. [00:05:38] Speaker B: Is that where your wife lives? [00:05:39] Speaker A: Oh, yeah, yeah. And it's free. [00:05:46] Speaker B: Free? The whole festival? Yeah. That's beautiful. How about this? Most of this is free. Not most, but all the street scenes. [00:05:56] Speaker A: It's a big city here, you know. [00:05:57] Speaker B: It's a beautiful city. [00:06:00] Speaker A: One thing I noticed tonight when I was seeing Ray Bryant was the gospel influence playing. And I immediately thought of you having one of those albums that I told you about the other day. [00:06:11] Speaker B: Ray Bryant was in Grave. [00:06:12] Speaker A: Yeah. [00:06:13] Speaker B: Was that song he had. I don't remember that exactly, but it was a great song. He was one of my favorites too. To me nowadays, even including all the young musicians that are out there, there are so many great ones. Some you may not like at the time, but as they grow, they develop. Some have technique but no feeling yet. Not that they don't have feeling, but they haven't learned to project it through the music or through the records. [00:06:59] Speaker A: That's what I want to ask you. I've been doing an ongoing Commodore series of the Commodore Jazz label. And one of the things that I've discovered is that the older musicians played with a lot of feeling that I find is missing now is that because of the schools. [00:07:16] Speaker B: I think that the focus seems to go in cycles. You know, when I came up I didn't go to school and so I learned how to play in a very primitive way, kind of crude way, which was very much accepted in a sense because it was raw. But after enough of that and stuff that went around, there's people, let's take it to another level. They develop the technique. People like Oscar Peterson can do anything on the piano. But sometimes when your focus is on technique, you may not be able to focus on this or maybe you're not aware of your ability to do that until you reach a certain level in your music to where now you want to add the most important element, which is how it feels. There are many musicians who have great technique. [00:08:07] Speaker A: Well, one of the most beautiful pianists in my book was Sonny Clark. And that's a guy that never really got his due, you know. [00:08:18] Speaker B: Never heard of him. [00:08:20] Speaker A: You never heard of Sonny Clark? [00:08:21] Speaker B: Sonny Clark played the piano? [00:08:23] Speaker A: Yeah, back in the 40s, 50s. [00:08:27] Speaker B: Well, you know, I didn't start till late. [00:08:28] Speaker A: Shorty Rogers, 60s. [00:08:33] Speaker B: Never heard of Sonny Clark? No, I may have probably forgot. [00:08:38] Speaker A: Played with Dexter and everyone died young. Uh huh. Right. [00:08:43] Speaker B: Well again, there's a lot of Cravens out there that maybe I just heard about them a little while, but the kids are now learning great things. I think probably one of the. I don't like to use the word problem. The levels of where people are in their experience as Far as where they're going, younger people, many have learned jazz just on records. They haven't been to see a group, they haven't heard the real thing, so they don't know what it means. I mean, I heard Earl Garner's record and I thought it was a great feeling. But to go see him in person is like, whoa. Damn. Same Oscar Peterson. For years, everybody said he was just technique. Boy, this man had music. Phineas Newborn. [00:09:32] Speaker A: Oh, yeah. [00:09:33] Speaker B: Phineas Thelonious Monk, Richard Dwarczyk. Yeah, he was a monk, like strange person from New Mexico, and he only lived a short time. [00:09:45] Speaker A: Tristano, Lenny Tristano, different concepts that these pianists introduced. [00:09:52] Speaker B: Well, that's the whole idea that you don't. Each person is unique in themselves, aren't they? Yeah, but I don't want to sound like someone else. That wouldn't be me. [00:10:00] Speaker A: Oh, no. Well, the nice thing about your music is that you've got this element of fine in your rhythm patterns and this homey sort of feeling. [00:10:08] Speaker B: Well, I grew up in the garbage can, see. [00:10:12] Speaker A: That goes back to the church, though, doesn't it? [00:10:14] Speaker B: Yes, yes, it does. [00:10:16] Speaker A: The whole gospel. [00:10:17] Speaker B: Well, that's the kind of roots of jazz anyway, as I've known at my level. And now it's gone on to other things now, which is also the beauty of the music, the fact that these people coming in now can take it to other levels. I don't really care for people who want to go back and say, I want to play it like it was. Well, that goes against the very purpose of what it is. And it bothers me when I hear a lot of records now that there are no mistakes on the records, which says to me nobody's really searching. They've already figured out what they're going to play. So that's not creative. That's just playing. [00:10:51] Speaker A: Mr. One of the nice things about I like about listening is that when you do hear a mistake, it adds a certain element to the piece. And like Art Blakey said, if you're going to make a mistake, make it loud. [00:11:03] Speaker B: That's right. Go for it. [00:11:04] Speaker A: So everyone hears it. [00:11:06] Speaker B: Well, it's not a matter really if I'm trying to say something and I don't have a script, and I mean every word I say. I might grabble and scuffle for words to get this point across. Many, you know, that doesn't really mean I make a mistake. I'm looking for something. I had my stumble along the way, but I'm still on that road toward where I'm Trying to go. So it's just amazing to me that guys and so many of them sound alike, which is saying they learned what they taught them in school, which to me is unbelievable. I don't see how you can teach jazz in school. [00:11:45] Speaker A: Well, you look at someone like little Jimmy Scott, who's playing in Montreal. There is a guy. There's no one that sounds like him. [00:11:52] Speaker B: Well, but see, he allowed himself as strange as everybody thought he was. They thought he was gay. They called him, ooh, this little strange person. And the people that didn't know him or didn't know who he was, who heard his records, didn't know man or woman, whatever, but they knew that when they heard his music, they cried, they laughed, they felt like being in love. I mean, he touched people deeply. That was the first time I ever saw him, last night. Oh, was it ever. [00:12:20] Speaker A: Wow. [00:12:21] Speaker B: My friend knows him very well, talks about him all the time. I've had his records. I listened to him when I was a kid. But to meet him in person, I didn't know. I don't think he's strange to me. And certainly he ain't gay. So I'm not saying there's anything malleable, but that was the rap on him all these years. But. But I was coming home, I was out in the crowd, I was having a great time. I even had two ladies with me, but kept burning in my eyes. I gotta go see this guy. Yeah, but you gotta get in the cab. You gotta walk through this crowd. You don't know where it is. Okay, I remember named Place. I went to one place, bought a shirt, went to another place, bought postcards and kept go. You got to go. Is this something you wanted still? So if I say, if I could get. [00:13:08] Speaker A: Didn't you find, you know the Neville Brothers? [00:13:10] Speaker B: Yeah, I don't know them, but I know I know who they are. [00:13:12] Speaker A: Don't you find that Aaron Neville has probably listened to Jimmy Scott? I've. I've wanted to ask him that. [00:13:18] Speaker B: The guy that sings. Yeah, that was the High boy. [00:13:20] Speaker A: Yeah. [00:13:21] Speaker B: No, no, I don't think so at all. No, no, I'm sure he's heard him and likes it, but he don't sound like another male. He's totally himself. Again, unique, that commercial he does. Commercial cotton. It's the greatest giving of time. Oh, what a beautiful. And him and Linda Ronstadt together. Oh, that's beautiful music. That's feeling. What a combination too. [00:13:48] Speaker A: So, what's up with you this year? [00:13:50] Speaker B: What do you mean? [00:13:51] Speaker A: Music wise, Everything. Yeah. Going on tour. [00:13:55] Speaker B: I have three bands. I worked solo. I've never done that, really. I'm writing, I'm painting and writing my book. Everything is going on. I have my Swiss movement band, which is co leadership with Eddie Harris. So when I leave here tonight, I go work a few gigs with him. Two weeks from now, go back with Herbie Mann again for his Deep Pockets band. And then I have my own band, which is total bliss. It's called Les McCann's Magic Band now. [00:14:28] Speaker A: You know, I think I told you last night, the first time that I ever heard you was this album that I picked up in a record store called Fish this Week. [00:14:36] Speaker B: You told me you fish this Week, but you didn't tell me it was the first time. [00:14:38] Speaker A: That's the first time. [00:14:39] Speaker B: You just said Fish this Week. Yeah, yeah, yeah, Fish this Week. But next Sunday, chitlins. Wait, stop it for a second. I'll leave it on. [00:15:02] Speaker A: Do you still enjoy touring? [00:15:03] Speaker B: Of course. [00:15:05] Speaker A: Yeah. [00:15:07] Speaker B: I know a lot of musicians. I. Maybe I'll get to that stage where I have to travel just to make a living. You don't get rich as a jazz musician. You have major hit records. George Benson, Niles. But this is something I truly love doing. [00:15:26] Speaker A: It's a vocation. [00:15:27] Speaker B: What does that mean? [00:15:29] Speaker A: It's a calling. [00:15:30] Speaker B: It is. Oh, definitely. But I have many callings, so I don't limit myself to one thing. [00:15:36] Speaker A: But I mean, it's not the pop. [00:15:39] Speaker B: Startup that we see today that's a calling to it. [00:15:42] Speaker A: It's a calling, but it's. [00:15:44] Speaker B: Everything is valid. Everything. Everything is of God. Everything has its place. Rock musicians have just as much of it as anybody else, whether you like it or not. It's personal taste, that's okay. But they're doing what they want to do, whatever it is, and it certainly attracts a crowd. So how can we say it doesn't work? [00:16:05] Speaker A: Oh, yeah, I'm not doubting that. But I was just thinking of someone like Andre Segovia, a classical musician whose whole life is perfecting the art of playing. [00:16:17] Speaker B: But who gives a shit unless you like what he does? I don't think many musicians can appreciate that kind of thing. Unless you go to the level of what jazz musicians go through, which is the great jazz musicians of taken their technique to a level, but they've also shown all the other musicians that if you want to be a complete musician in a way that says, I can create music myself, I can make up my own music, I can sit here and play all night long and never do the same thing. Ever. But that's not what everybody wants to do. When I talk, I don't want to have a script in front of me. There are some people who cannot talk without a script in front. So all. All these things are valid personal taste. [00:17:00] Speaker A: Okay. I want to ask you something now. [00:17:02] Speaker B: You want to ask me something now? [00:17:03] Speaker A: This might be a dumb question. [00:17:04] Speaker B: Oh, if it's dumb, I'm not going to answer. [00:17:06] Speaker A: Is there a particular piano you like to play? [00:17:10] Speaker B: Of course. [00:17:12] Speaker A: One with 88 keys, right? [00:17:15] Speaker B: Actually, one I like to play. It doesn't have 88 keys. It's at my house now. [00:17:22] Speaker A: Bozendorfer. [00:17:23] Speaker B: It's Kurzweil. Bozendorfer is one of my favorites. I just finished a tour of Europe, and we did about 20 concerts. I don't remember how many. 23 concerts. And at least 10 of those had a Bose and Dauphin. So I was in perfect heaven. [00:17:44] Speaker A: Mr. Had the extra octave in the low end there. [00:17:46] Speaker B: And I just did a duo piano concert in Los Angeles with a friend of mine, and we were able to rehearse in a piano store, and he had two post offices right next to it. But Steinway is what you get in Japan. Yamaha, they have their moments. They have great pianos in all the makes, I'm sure. But it's like the name is there, but until you get into that instrument and it becomes what it is. I played on it. The finest piano I played on that I really fell in love with was called a Grotrian Steinway. It's a family within the Steinway family, but German. And I'm sure Steinway is German, too, but another version of Steinway. It's called Steinweb, the German word. I don't know what it is, but Grotrin and a friend of mine had it in Seattle, and I went and played it. Same thing like going to see little Jimmy Scott. I played it. I said, whew, I have to go back. I have to go back. I think I need to record on that piano. Yeah. But my band is not here. Oh, later. Call up the guy, say, after a call, and just go play. And that's what I did. [00:19:08] Speaker A: I want to ask you from a fan perspective, okay? Not Les McCann the musician, but the fan. What was the greatest show that you ever saw? [00:19:17] Speaker B: The greatest show I've ever seen? Michael Jackson. [00:19:20] Speaker A: Oh, yeah, yeah, yeah. Where was that? In the States? [00:19:25] Speaker B: Yes. Well, I saw him on television when he was 10 years old. I was like, that's the greatest performer I have ever seen. And to think that now he's still doing this. I couldn't believe it. The greatest jazz performance I ever seen was Earl Barnard, Oscar Peterson, Les McCain. I met so many of these guys. I mean, see, you catch a guy, a musician on the right night, you know, there's those magic moments that happen. Eddie Harris, Stanley Tarantin, Grover, all these guys, they can play, man. And so, you know, I'm just. I feel like I'm wading in golden water, you know. [00:20:07] Speaker A: Mr. Is Eddie still playing? Wasn't he playing like electronic sax or something? [00:20:12] Speaker B: Not anymore. See, people don't know about Eddie Harris. They just don't know. When I go places now where I haven't been, people say to me, either we thought you were dead or he still got the trio. Which means they didn't like me or they did like me then, only I never heard Nothing. I have 81 albums out, but people heard three. So I can go to Europe and work every day just because they think I'm new in a sense. They know they heard the name. But that's you. Where'd you get these guys? So. [00:20:50] Speaker A: That special that Billy Taylor did on you, I was impressed with your house. [00:20:55] Speaker B: That wasn't at my house. [00:20:56] Speaker A: That wasn't your house with that little keyboard you had in there? [00:21:00] Speaker B: No, it was my friend's house. I live in a very small apartment, about as big as this room right here where I keep my clothes, my keyboards, my paintings. But everybody says it's almost like my house. I spend a lot of time there and I have a key to that place. My friend's house has a swimming pool, but it's kind of far from where I live. But they needed a place they could move around and you set up their lighting. So I just used that place. [00:21:28] Speaker A: Mr. Doing a lot of writing? [00:21:31] Speaker B: Yes, writing book wise for all the years I was a musician and I wrote a song every day, every day. And I can still do that, but I don't do it anymore. I had to prove to myself that I could put things on paper. So now I just. I'm writing my book. I'm writing the book called I hear the music. [00:21:58] Speaker A: Mr. Did you ever play with Dizzy? [00:22:02] Speaker B: I don't think so. I spend a lot of time with Dizzy because Dizzy said I was the funkiest person he'd ever heard in his book. If you read his book, I forgot the exact line, but if you really want to go to church, go to Les McCann. That's where he put it, something like that. But Dizzy was. He loved goodness, making people happy. Dizz was a person that he wasn't always my favorite musician either. Miles was my favorite trumpet player. Diz was one of my favorite people as a person. I didn't know Diz well, any of these guys. You know, we were all on the road all the time. But every time I saw Diz, it was a joy, you know, to hear his bands, the different bands he had. I liked his big band band. And he had a real big band that spent a lot of time with him where they played together a long. It was in the early years, but back again through Ray Bryant, him playing busy songs, Tunisia and all that. [00:23:08] Speaker A: He played one tonight, Con Elmo. [00:23:10] Speaker B: Yeah. What a beautiful song that. [00:23:13] Speaker A: Isn't it beautiful? [00:23:24] Speaker B: Beautiful, yes. There's nothing like music. I told someone today, the water, jazz and music. It doesn't have to be jazz, but music is the only pure water left in the world right now. And as soon as the rest of the waters come healthy again, we'll all be okay. But for now, we have to breathe music because everything is polluted with things of negativity. Seems like everybody's so afraid right now, and that's why we have all the trouble we're having in the world. The fear creates the negativity. The negativity avoids the truth. Thus comes disease and ill health to ourselves, you know, whether it be in the body or in the way we think. And this is how I look at things. I like to see us heal, those negative thoughts within us. And you have to focus on yourself. I have to take care of you less because I have that, too. Things that I need to work out, fears that I have tonight. You know, I love these guys, Stanley, Tarantin and Grover. And we were all teasing each other downstairs. They said, oh, by the way, we're coming here to play tonight. Now, when I'm playing with them, it ain't no problem. I've made many records with Stanley, but I'm coming to hear you tonight. But I caught myself, you know, I'm not what I used to be. I'm not afraid anymore. I can play. I like what I do. And why would they come if they didn't want. Want to hear? [00:25:03] Speaker A: When I was, you know, Horace Silver, when he's. [00:25:07] Speaker B: He's very sick right now. Is he? Yeah. Horace Silver's sick. Richard T. Is sick. Barry Harris just got back, but I don't know. I know Horace Silver very well, but I called him up, I said, hey, you. He said, I'm on my way out to the hospital right now. So, you know, we all got to Go. So that's. Yeah, whatever. [00:25:27] Speaker A: Yeah. Clifford Jordan is Past spring. Was that. [00:25:30] Speaker B: He's a great musician. He died. [00:25:33] Speaker A: Yeah, he did. [00:25:34] Speaker B: I didn't know that. [00:25:36] Speaker A: The shocker for me was George Adams. Yeah, that guy. Him and John Pullen. [00:25:42] Speaker B: He died too. [00:25:43] Speaker A: No. [00:25:43] Speaker B: Oh, no. Don. Colin played. I mean, I heard George. Harriet, what's his name? George Adams. I met him in Japan. He killed the crowd. He walked out there and played Take Me out to the Ball Game. And the people went out. And in the middle of it, he stopped, took a camera out of his pocket and took a picture of the crowd. They went out of their minds. Out of their minds. So, you know, what the hell. [00:26:19] Speaker A: Of course, one thing about George Adams that I liked was when he was playing, he was always looking upward, you know, And I thought that that was so neat. Last time I saw him in Montreal, here with Don Pullen, Duo recital. The thing that struck me about his. [00:26:34] Speaker B: Playing was, you think Donald Poland can play? I never seen a guy bang on a piano so much. People go crazy. I couldn't believe. [00:26:43] Speaker A: So you must be a fan of Cecil Taylor. [00:26:46] Speaker B: Yeah. He was the only musician I ever totally put down when I was a beginner. In life, in music. And I said some things. I don't know if I regret it, but it's the way I felt then. But I see him in Paris when I go. Not Paris, up early in there. We hug, we kiss. He grabs my jaw in occasionally. It's okay, Cecil. I go play that. But he, uh. Oh, something happened. This lady's involved with the Caucasian man. [00:27:24] Speaker A: He's definitely different, though. [00:27:27] Speaker B: He. He. I didn't see him the last time. I don't know if he was working or what. But you got two weirdos. You got people that do strange things. Randy Weston was always unique. [00:27:37] Speaker A: He'll be in the suite. [00:27:39] Speaker B: Every musician is different. Why is jazz what it is? Because each musician is up to himself. [00:27:47] Speaker A: You've got the pot of stew and you're stirring that. [00:27:49] Speaker B: You got a choice. Even if you don't like this one. I promise you, you like something to go over here. The music I play with, Herbert Mann, you know, it's not heavy jazz, but. [00:27:59] Speaker A: There'S an audience for that. [00:28:01] Speaker B: What? Girls, there's an audience for that. People don't think he's a jazz musician. The musician, Kenny G. Well. But see, once again, how can all those people like this guy unless he had something going. I played a concert with Kenny G, Kirby and I, we were on before opening act, and he went on Mexico. There was 9,000 standing, screaming people. When he played the band was incredible, but very hip to be jealous, you know, Once again, let's speak. Let's put everybody else down who went through what we did. We forgot. We didn't do that. We didn't suffer. We didn't. I mean suffer. I don't mean suffer. We didn't struggle. We didn't have to work hard at it. And here's a guy doing it and everybody's saying, oh, man. Well, I think they missed the point. Because when we're all gone and the name's on that long list that goes across the window there, they won't say who liked him or his name will be there, like Louis Armstrong and everybody else who went before him. Bach and all these people. You know, Bach's going down. [00:29:02] Speaker A: Don't you just play with Hendrix, the decomposer? I can.