0:15

Pushkin. I

0:24

love Jeff Goldblum.

0:26

Over a fifty year acting career, He's played

0:29

unforgettable roles like the snarky

0:31

scientist in Jurassic Park, he saved

0:33

the world from an alien invasion with Will Smith

0:35

in Independence Day, and most recently,

0:37

he was Incredible and Thor Ragnarok.

0:40

Next year he'll being the newest installment of Jurassic

0:43

Park. And Jeff even has his own show

0:45

on Disney Plus. But the one place

0:47

I didn't expect him to show up was in jazz.

0:50

Jeff Goldblum is a surprisingly dedicated

0:53

jazz pianist. He played a weekly

0:55

gig in La with his band, The Mildred

0:57

Snitzer Orchestra until the pandemic,

1:00

and he still practices every morning.

1:17

He's released two albums with this band. Their

1:19

latest is I Shouldn't Be telling You This, featuring

1:22

vocals from Gregory Porter, Fiona Apple,

1:25

Miley Cyrus and Moore. And

1:27

before you start thinking this is just a celebrity vanity

1:30

project, it's not justin

1:32

playing around for thirty years and clubs and

1:34

bars. Broken record producer

1:36

Leah Rose and I talked to Jeff on Zoom

1:38

about his career as a musician. He

1:40

told us about how we started playing piano in

1:43

Pittsburgh. Cocktail lounges at fifteen

1:45

about his morning practice routine, and

1:48

he tells us about meeting two of his heroes,

1:51

Stevie Wonder and Muhammad Ali. This

1:57

is broken record liner notes for the Digital

2:00

Age. I'm justin Richmondson. Here's

2:06

Leah Rose and me in conversation with

2:09

Jeff Goldblum. Hi Justin,

2:11

Hey Hilia Rose, thanks for doing this.

2:14

Oh my pleasure, your kidding. I'm

2:16

honored and thrilled. Hey, I saw. I just

2:18

was listening to a little bit of your podcast

2:20

with Esperanza Spalding. Yeah,

2:23

isn't she incredible? So incredible?

2:26

And I met her. I was invited

2:28

because I know a little bit Wayne Shorter and

2:31

his wife, so I so I was invited

2:33

to their house, to his house and

2:36

saw a little bit of a presentation

2:38

of what they're working on now that their

2:40

opera. Yeah, their opera, and she

2:42

it just it was great. Yeah.

2:45

And she wears those life Force suits.

2:47

She has like ten of them, and she wears it every

2:49

single day. So she gets that out of the way. She

2:52

doesn't have to worry about how she looks, what

2:54

she puts on. Just like, I think

2:56

Einstein did that, and my character in

2:58

The Fly did that. I show Gina

3:00

Davis my closet at some point I've got five

3:02

herring bone jackets and I say,

3:05

yeah, I don't want to have to think about what I'm putting on.

3:07

Yeah, that's like the Steve Jobs thing too. Yeah,

3:10

same thing. Well, oh you

3:12

know all of us, Uh

3:14

cookie, I'm not like that in real

3:17

life. I'm just kind of a regular thencome

3:19

phoop in real life. Oh come on. Well,

3:21

I don't know about that. But I

3:24

was at the Grove about twelve years ago. Um.

3:26

It must have been right before Christmas time, because they were

3:28

there was like there's a Christmas tree setting up, and

3:30

I was there and I was like, wait a second,

3:33

it is that Jeff Goldbom and you were rehearsing. I

3:35

wasn't there for the big thing, but you were rehearsing earlier

3:37

in that afternoon. I was like, holy shit,

3:40

he plays Pia and you were

3:42

like, really good. I'll be darned, that's

3:44

the I know exactly what you're talking about. That's the only time

3:46

we ever played the Grove like that, But

3:48

we played something there and you know who else was

3:50

on that bill? Was Bert backrack, Oh,

3:53

I miss Bert, Yeah, man.

3:56

They asked us to be part of this you know, tree lighting

3:58

ceremony or Christmas eve thing or I don't

4:00

know what it was where we played some

4:03

Christmas song we just took came out with

4:05

a Christmas song. Now you

4:07

know you can you can law gone

4:09

and get Winter Wonderland. We do a

4:11

nice little version you know about za.

4:15

I like that what we did? How about

4:17

that? I later saw you at

4:19

Rockwell, like when did you start performing

4:22

again? Like when did you start getting out and putting

4:24

a band together and playing? About thirty

4:26

years ago? Now it's been three decades

4:29

where my friend John Mastro and I here's

4:31

what happened. Peter Weller said, hey,

4:33

let's play out and about. We've been fooling around at

4:35

my house. He plays trump a little bit and

4:38

not nicely, very nicely, and we

4:40

did that, and then he got the

4:42

idea we should play out and about. So we had a there

4:44

was a lovely guitar player that he knew

4:47

and a place that he said they'd let

4:49

us set our stuff up and play during

4:51

brunch or something like that, and we started to

4:53

play out and about and and

4:56

then he's gone off and done other things, but we had

4:58

this band that grew, and

5:00

whenever I've not been working, I keep

5:03

doing it. And now it's

5:05

even before we did these records, it's sort of developed.

5:07

We've been playing at this place rock Well where you

5:10

saw us like for the last I don't know, six or seven

5:12

or eight years or something, whenever I'm not working

5:14

once a week, and so as much

5:16

acting as I do, I've now clocked

5:19

as many hours of so called performance,

5:21

but it always just feels like a hanging

5:23

out and playing and rehearsing publicly,

5:25

and I just kind of adore it, you know, more than anything

5:27

else. And now it's become

5:29

a show, a show that we do in theaters,

5:32

big theaters. We did the Glastonbury Festival,

5:34

and go all over and it kind of translates

5:36

itself wherever we go where

5:40

we play stuff that now we kind

5:42

of cook up and the band is really

5:45

good. And then I do spontaneous

5:48

games and talking and you

5:50

know, gold bloom stuff with people. And

5:53

why the piano, why is that your instrument

5:55

of choice? Well, I'm

5:58

not one of those guys who've ever had much of a

6:01

facility for anything else.

6:03

I like to drum on things

6:05

and I like the piano, and you know, to the extent

6:07

that it's percussive, you know, so I like

6:10

to I like tap dance, and I was always interested

6:12

in making making rhythms, but the

6:15

piano was just something that was around

6:17

our house. I grew up in Pittsburgh and

6:19

we had a piano there, and then

6:21

they gave us lessons. You know. My mom

6:23

was dutifully, you know, good about

6:26

exposing us to things that might interest

6:29

us, and she gave us all lessons. My brother

6:31

had a clarinet for a little bit, but

6:33

we had a piano, and I had some facility

6:36

for it, but we didn't know the joys of

6:38

discipline yet would dread the lessons.

6:41

And Tommy Emil coming over and I hadn't

6:43

practiced, and da da da dadada. But then he

6:45

gave me a piece of music, an arrangement

6:48

that I learned because I'd learned

6:50

how to read music of Alley Cat and

6:52

I first sort of became aware

6:55

of syncopation and day

6:59

that kind of thing and just killed me. And I was just

7:01

I'm going to sit here and play and I'm

7:03

going to practice now until

7:06

I can do this. I just love it so much. And

7:08

then I think Stairway to the Stars

7:10

and Deep Purple were

7:12

the next two things that and that they

7:14

were chords. You know. I had been playing Cherney and

7:17

you know, just some you know, scales things,

7:19

and uh, but something about those chords

7:22

just got me and I just started to get better

7:25

and play. And then we had fake books around and

7:27

uh. And then I got with his teacher, Frank con Amando

7:30

in Pittsburgh that people may know, and he

7:32

was great. I used to go over to his house. My parents

7:34

were good that way, and he taught

7:36

me about composition and harmony

7:39

and different voicings and different

7:41

modes and how to possibly improvise

7:44

to you know, what was going on, and

7:47

I just fell in love with it. Met around fifteen

7:50

years old. I thought I was I'd already

7:52

set my heart on a career in acting,

7:55

but I, just like I do now, had this side

7:57

parallel passion for piano

8:00

and music and got the talent

8:02

the Yellow Pages and started to go through them,

8:04

uh cocktail lounges and started

8:07

to call cold call people and say,

8:09

hey, I understand that you you're interested

8:11

in a pianist, and most of them would say, no, we don't

8:13

have a I don't know who this is kid. Well you're you're

8:15

you're misinformed. But a couple of them said, who's this.

8:18

Yeah, we got a piano here nobody's playing. Would

8:20

come down and play it. And I got a couple of gigs

8:22

that way and so amazing. Yeah,

8:24

I know, just for the fun of it. What were you playing?

8:26

Oh? You know? Well, I would bring the fake book with

8:28

me, like I used to do up until

8:31

recently, really until we really kind

8:33

of honed our repertoire and had something to kind

8:35

of present. And I had a show that which

8:37

I do, which has games and things

8:40

and it's kind of a neat hour three

8:42

hours actually for me. But at that time

8:45

I just brought a you know, my fake books

8:47

and would just go through them. You know.

8:50

My dad's song favorite song was Misty.

8:52

You know, he loved Errol Garner and exposed

8:55

me to it early on. I'm still crazy

8:57

about him, you know, and he brought home

8:59

that album. You know, Errol Garner plays Misty, and

9:02

i'd listen to that, so anyway, i'd play that and

9:04

other things. I think I played as

9:06

you know, Sat and Doll you know, probably

9:09

you're all from Meet Panima, probably you

9:11

know, anything else, And then I would take request,

9:13

I'd say, you know, what do you want me to play? And then I'd

9:15

look it up. I'd see if I have it because I could kind

9:17

of you know, cold rita rita lead sheet,

9:19

you know like that. Were people receptive in these

9:21

bars? I don't imagine Pittsburgh as being like

9:24

a big jazz town, even though I found out a bunch of

9:26

jazz like Are Blak and Arrol

9:28

are from there. But were they receptive when you're playing a

9:30

mad Jamal, they're different people. Well, I don't

9:32

think the places that I went were serious

9:34

jazz. I don't think they were going expecting to

9:37

see, you know, a mad Jamal

9:39

or Errol Garner there. But from

9:41

what I gathered, there were places that I should have been

9:44

going to that were serious there.

9:46

You in Pittsburgh is a hot bit of talent,

9:49

But I didn't know the places I went,

9:51

Like the guys that I got on on the

9:53

other end of the phone, I think they were just cocktail

9:55

lounges and they said, yeah, I come down. And so

9:57

I just saw the people

9:59

there wanting drinks and stuff, and they were

10:01

receptive plenty. They were receptive

10:04

enough. You know what I thought I was doing?

10:06

You weren't getting you, weren't getting booed. People

10:09

were appreciative at least listening. They

10:11

seem tickled in some way. You know, at

10:14

that point, did you act at all? Had you done any like

10:16

just little plays around it? Well, around

10:19

that time I had

10:21

my heart set on acting,

10:24

because I'd gone to Carnegie Mellon University

10:27

in the between ninth and tenth and tenth and eleventh

10:29

grades for these six weeks summer

10:31

sessions that they had the serious

10:33

professors of that good school and that good

10:36

program teach these kids do from all over

10:38

the country, and I just felt

10:41

like I was home and had felt and had

10:43

found my family somehow, and was

10:46

very excited and would write on

10:48

the steamy shower door every morning

10:50

as I took a shower before school, Please

10:52

God let me be an actor. And then

10:55

I kept it secret. I would wipe

10:57

it away so nobody saw it, because it was

10:59

just a secret of mine, but I would. I was sort

11:01

of baying at the moon about

11:04

the whole thing. But I hadn't really done anything

11:06

because even the kind of cheesy

11:09

a thing in the high school that I went to, which

11:11

was sort of provincial in some ways, you

11:13

know, they did Oklahoma or something like that, but

11:16

I kind of didn't participate.

11:18

I was stupidly not, you know, kind

11:20

of thought I was had other

11:23

other notions and this and that, and as

11:25

soon as I could get out at seventeen, I graduated,

11:28

went to New York somehow and got

11:30

to the Neighborhood Playhouse where Sandy Meisner, a great

11:32

acting teacher, was teaching, and that's when I

11:34

started to do it, but still hadn't really done

11:37

anything studied that year, and

11:39

then in between the first and second year, I

11:41

fell into, by

11:43

a fluke, a production of my

11:46

first job, and the first thing I didn't even

11:48

go up for. They called the school, in fact, said

11:50

did you have anybody tall? It could be a

11:52

guard in this thing. We're doing this musical version

11:54

of Two Gentlemen of Verona, and Galt McDermott,

11:56

who wrote Hair along

11:59

with Jerome Ragney, wrote the music to it,

12:01

is doing the music to it, and John

12:04

Guare's a great playwright, is adapting to

12:06

Shakespeare and rel Julie was in it,

12:08

and then added I got the part, and

12:10

I joined that, it was in the it was in the

12:12

chorus, and this and that and played in

12:14

the pit. I used to go down play piano.

12:16

When I was down there and in the pit was Thad

12:19

Jones. Wow, would be in the

12:21

pit. You know, all these guys take a little stints and in

12:24

Broadway or orchestra pitch sometimes.

12:26

And I had seen him because my dad the jazz

12:28

fan. We'd gone to Atlantic City from Pittsburgh.

12:30

We'd driven to Atlantic City

12:32

like we used to do several

12:34

years, and like on the steel

12:36

pier or something, there was some he said, I, Hey,

12:39

I see that Thad Jones mill Lewis are

12:41

playing. We got to go see them. So I saw them

12:43

and they're big band live. I can still remember

12:46

it. Anyway. Then I saw him. I was like, hey, I saw

12:48

you and did I did? I play a little And so I was

12:50

playing with these guys, you know, with a lot

12:52

of moxie. Was Gald McDermot down in the pit

12:54

two Gold McDermot. Do you know? No,

12:56

he would? You know? Like that was a Broadway show. Was the biggest

12:59

hit of Shakespeare Festival that ever had and because

13:01

a big story that summer at the Delacourt outside

13:04

and then we went to the Saint James Theater. I

13:06

was there for a year, understayed one of the bigger

13:08

parts, and no, the composer of it.

13:10

I think they check in on it probably,

13:13

sure, you know, even unbeknownst to us sometimes.

13:16

But no, No, my friend Tom Pearson

13:19

was conducting,

13:21

and oh do you know who

13:23

else was in that pit for a while who

13:26

played drums? Bernard Party?

13:28

Do you know Bernard Party? We were supposed

13:30

to interview him for this, Well, this is nineteen seventy

13:33

one, and he was, you

13:36

know, in his full flush

13:38

of his of his brilliant tendencies,

13:41

having played for Aretha Franklin with Aretha

13:43

Jeez, Bernard Party, how about that?

13:46

So did you talk to these guys and sort of asked

13:49

them like lean advice or you

13:51

know? I was stupid, like I've always been kind

13:53

of stupid. I kind of am like zelling

13:55

in some way. I kind of would show up and just had

13:58

a lucky, you know, intersection

14:00

with some of these types. But unlike now where

14:04

I wouldn't get really hip. I was sort

14:06

of just sort of stupid. And now go

14:09

on IMDb, you can use you know, Wikipedia. Before

14:11

I have meetings, I go and work

14:14

with people. I go, She's, oh right,

14:17

I know them. But there are all sorts of stories

14:19

that I can tell you about actors that I've worked with,

14:21

and including that Jones and Bernard Purty,

14:23

who I barely realized how

14:26

lucky I was, you know, likewise

14:28

with many actors. But now that's why

14:30

I kind of go, I hope

14:32

it's not a violation

14:34

of protocol. But I I find

14:37

out about you do some research. Yeah,

14:39

I do my research, and I say, oh,

14:41

and I'm then I asked them my question. It's

14:44

so cool so early on, So those early

14:47

performances at like Pittsburgh Bars, those are your

14:49

first public performances ever,

14:51

Yeah, you could say that. I guess.

14:54

I guess. So that's right. It's so

14:56

strange. It's so funny that that was your you.

14:58

You know, you go on to act, and acting was

15:00

really your main the main thing you were after. But

15:02

then the earliest public display of Jeff

15:05

Goldblum is is playing piano.

15:08

Yeah, that's right. As first. That's why it feels

15:10

natural now. And it was always just for fun.

15:12

I never had any kind of identity

15:14

investment in it, like or career

15:17

ism about it. I was just like, hey, I

15:19

just want to do this, this is fun. And still

15:22

that's kind of how this whole thing has

15:24

happened now and it just

15:26

changes my days in my life. Every

15:29

day, like this morning, I get up and play

15:31

for about an hour. It's one of the first things I

15:33

do before the kids get up. And around five am

15:35

or six am, I work out here

15:37

and I play piano and I work on my lines

15:40

for Jurassic World. At this point I got

15:42

a part to work on, so I get all my homework done them

15:44

very now. I know what it's like to be disciplined

15:47

and how that can bear fruit, and

15:49

so I just play and it changes

15:51

my day. It's music is as much

15:53

a meditation and a tonic for

15:56

me as anything that I do,

15:58

and I just adore it. And then playing

16:00

out and about which is kind of developed

16:02

now and making these records is

16:04

just as sweet a thing as you

16:07

know. It could have happened to a fellow here on Earth. We'll

16:10

be back with more from Jeff Goldbloom. After

16:12

a quick break. We're

16:18

back with more from Jeff Goldbloom, who's

16:20

talking about his skilled band mates in the

16:22

Mildred Snitzer Orchestra. How

16:25

is it playing with those guys because you didn't go to I

16:27

mean a lot of your band like Berkeley, and you

16:29

know they played another great players they all

16:31

went there. They're all to all those places

16:33

and their their masters and they teach

16:36

and they're they're great for me. Uh

16:38

No, it's just a great playing with all those

16:40

guys, you know. And now what I do every

16:42

morning actually is from the last album,

16:44

which is what we're gonna be playing when we do

16:47

it, I hope live again soon

16:49

is we're gonna be doing a lot of that stuff. So I put

16:52

on the album and play

16:54

along with the songs

16:56

plus several other things that we're cooking up

16:58

that we that are currently in our back

17:00

burner. But I play all of it every

17:03

day. I go through that whole album and play all of it. You go through

17:05

your most recent record and play along yep, wow,

17:08

yep yep. Every day with Miley Cyrus

17:10

and Creona Apple and Sharon van Etton

17:12

and Anna Calvia everybody and aar

17:14

George and a great reporter. Every

17:17

single day I play, you know, at least

17:19

once in the morning. You know, makes some

17:21

unhappy. I'm getting better, I tell you.

17:23

Do You almost wish you could rerecord the album. Do you feel

17:26

like you're getting it under your fingers better? Oh? Yeah.

17:28

At the time we did the album, you know, we had just

17:31

come up with these arrangements. And the first album with something

17:33

Else, we did this kind of you know, effects

17:35

simile of our rockwell date

17:37

and was very spontaneous in the songs we

17:39

played. You know. We had maybe a couple of takes,

17:41

but we was whatever came out,

17:44

you know, And so I was kind of it was however

17:46

we did it. But we arranged these

17:48

a little more complicatedly and sophisticatedly,

17:52

and I had something to learn on them, and

17:54

I was just getting my sea legs

17:56

on most of them as we recorded

17:59

them and kind of reading and turning

18:01

pages and getting them done.

18:04

But now I know all of them. I

18:06

keep investigating them every day and do different

18:08

things every day with them. But oh yeah,

18:10

they're more under my fingers for sure. How

18:13

do you go about choosing the vocalists that you work

18:15

with. Is there a type of voice that you feel

18:17

especially drawn to. Well, we

18:19

had a wish list, and we have many people

18:22

I do and the band did. I started

18:24

defer sometimes to them. They

18:27

know who they like and

18:29

I love their taste. But

18:32

I was crazy about all these people that we

18:34

worked with. Greg Reporter, you know, I

18:37

is kind of the way we got hooked

18:39

up with Decca. I was promoting

18:41

for that movie a few years

18:43

ago and I did the Graham Norton

18:46

Show in London and

18:48

Greg Reporter was the musical guest, and

18:51

he was promoting that Nat King Cole

18:53

album and he wanted to sing Mona

18:56

Lisa and he had done it

18:58

with just a piano player, and said, hey, do you want to

19:00

accompany me on the show? And

19:03

we ran through it backstage once

19:05

and I did. And it was

19:07

because Decca, Tom Lewis, Rebecca

19:09

Allen saw the show and said,

19:12

hey, maybe we should do something with Jeff that that whole

19:14

thing came about. So anyway, I

19:16

was thrilled that he was on the album and

19:18

I love his voice and we

19:20

were thinking, gee if he was even before he

19:22

agreed to do it, that I had proposed

19:24

it to him that we said what would

19:26

he sing? What could he sing? Everything

19:29

he sings? But we like this song make

19:32

someone happy, and it's

19:34

we can do it so slowly that he you know,

19:36

it could be right in his sweet spot.

19:38

I'm sure enough. I'm just crazy about

19:40

what he did with us. And then the other singers

19:43

you know we were looking for. I think we were

19:45

looking for singers who weren't ordinarily

19:48

in the jazz veins

19:50

right, and thought that they're brilliant,

19:53

unique, you

19:56

know, artistry could mash

19:58

up with us in a way that would be unexpected,

20:01

surprising, And on a lot of those songs, as

20:03

you see, as you know, we mashed up a couple

20:05

of different tunes, you know, jazz tunes

20:08

to stand jazz standards with you

20:10

know pop tunes. Yeah, the

20:12

Sidewinder with the Beat Goes On. I've

20:15

listened to the Sidewinder

20:17

so many times. I've listened to Beat Goes On a bunch

20:19

of times and they fit together so well, and never

20:22

it never occurred to me until I listened to the record.

20:24

It's so incredible. Yeah, the guys from the

20:26

band, they all, they all did that. You know, that

20:29

was the same harmonic

20:31

composition, and you know, I

20:34

love that. Yeah, the Beat goes On with Sidewinder,

20:36

that at all. We played that at gigs before that

20:39

was in our you know sometimes repertoire,

20:41

and it always drove me crazy. I love love

20:43

that song. It just drives me wild. But

20:46

how about the thrill is Gun that Miley

20:48

does with with Django my

20:51

brother. One of the records that had big influence on

20:53

me was the modern jazz quartet, the

20:56

records that he would bring home and

20:58

John Lewis and Django, so they

21:00

knew about that. They they sort of some

21:03

of the band Um Joe

21:05

Bag and John Story and Alex Frank

21:07

kind of figured out that Jang would be good

21:09

with the thrill is gun. I love that.

21:11

But how about four on six with Broken English?

21:14

How did that? How did that come together? Well, the

21:17

guys they had it was before

21:19

we got Anna Calvy to join

21:21

us. They put it together. We we they

21:24

said, let's do another mash up like that, and

21:26

the chord structure was

21:29

right for it. And so four

21:32

on six, which we'd played a bunch before West

21:35

Montgomery tune, but broken English,

21:38

uh, Mary Ann Faithful. I was not as

21:40

familiar with that, but they they figured

21:42

that it was right, and I played it every day. Now

21:44

I know that a lot better. I can't wait till we

21:46

play that again, you know, g

21:49

Minor and I get

21:51

a little solo in there for a moment. Oh,

21:54

I like that song, and

21:56

then oh how about it? If I knew then, you

21:59

know with Gina Saputo, that little we transpose

22:01

it was their idea to transpose that. Sarah

22:03

Van solo that she does that

22:06

she scats on that, and

22:08

we we played that all together just in a little

22:10

snippet. So was there a concept

22:13

before you started recording the album? Well,

22:16

just only that um that

22:18

that this mashup of not only

22:20

tunes might be interesting, but this mashup

22:23

of uh maybe not traditionally

22:26

jazz singers, what could mash up with us?

22:28

That was the That was our theme. That was it.

22:30

And then somebody said, well, maybe you should sing a song.

22:32

And I do like to sing just for my own annoyance,

22:36

you know, and pleasure and

22:38

m and uh and then

22:40

a little bit, you know, I recorded into

22:42

this into Alex Frank's iPhone

22:45

one day, a little man, you've had a busy day, which I've been

22:47

singing to the kids when they go to sleep sometimes,

22:50

And he said, yeah, do that they come up, came

22:52

up with a an arrangement

22:54

for that. Yeah. Do your boys look at

22:56

you as sort of like a music man? Are

22:59

you? Do you play the piano a lot while they're around

23:01

and sing to them? Yes, I you

23:03

know, I'm we're singing all the time. And

23:06

I played the piano all the time. I've got keyboards.

23:09

I got a nice Fender Rhodes old Fender Rhodes

23:11

that I have another Yamaha keyboard

23:13

that I use for practicing, and a nice Yamaha

23:16

Grand Acoustic Grand. And so they're

23:18

they're around and I play him all the time, and

23:21

I'm singing, and they're you

23:23

know, I think they're musical, and they're taking lessons

23:26

themselves. Wow. There. Yeah,

23:28

Emily was very good at, you

23:30

know, keeping them exposed

23:33

to all sorts of things. We got

23:35

them into suzuki, you know, the suzuki

23:38

yep. I did Suzuki method when I was younger,

23:41

you did, ye, I didn't know it so much. But now

23:43

we've got a very good teacher named sense Kevin

23:46

and h And during this period we had gone,

23:48

I drove them over to the valley and on

23:50

Ventura Boulevard there's a nice little studio and

23:52

he took some lessons there. And now he's been doing

23:54

it once a week or no, twice a week virtually,

23:58

and I play with him every

24:00

day. But believe it or not, he

24:03

and he's five. Charlie the other one, you

24:05

have to kind of force him to. He does

24:07

as little as possibly. He's really not interested in it. He's

24:10

plays Twinkle Twinkle, Little Star. But Charlie is

24:12

going through this Zuoki book and

24:15

he does what I do. I guess because

24:17

maybe I've modeled it, but he really he knows that

24:19

I play every morning. So every

24:21

morning he gets up at six thirty

24:24

and he runs through his whole repertoire.

24:27

Wow. Yeah, and he's just learning

24:29

to, you know, do

24:31

things with hands together,

24:34

you know, um in unison.

24:37

But he's just but he's learning a couple of pieces where

24:40

there's some where it separates them and there's something

24:42

coordinated you've got to do with two different hands. And

24:44

he's in he's worked on it and he's

24:46

getting them better, and he's passing through stages

24:48

and it just kind of thrills me, like a like the

24:50

average papa, you know. I looked

24:53

at it and it kind of, you know, just

24:55

just blows my blows my mind.

24:58

That's incredible. It's amazing. I'm gonna send

25:00

my kids to your house, Jeff,

25:02

you can get them disciplined. Really, how many

25:04

kids you got? What are and what are they doing? Two? I

25:06

have four year old in a almost

25:09

two year old. Hey, we're in the same boat. Well

25:11

that's it. They started around you know, four,

25:14

So it's been easy. I mean, and I look at him. One

25:16

of the things that I say to myself and oftentimes allowed

25:18

to Emily as wow, I did not I

25:20

started play taking lessons when I was I

25:23

think, I don't know, eight, nine, ten, something

25:25

like that. I was not playing like

25:27

he was at ten. And then

25:29

he says, you know, we do listening things. He

25:31

goes here, play what I just did. And

25:34

then he just likes to explore the piano, and he,

25:36

you know, he puts all over the all

25:39

over the keyboard. And then sometimes

25:41

although we say, oh don't you know, don't ruin

25:43

the piano, but he goes inside the piano.

25:45

He likes to see how it works. And you know,

25:48

started think think, think, you know, plucking

25:50

the strings. They might be an avant

25:52

garde. Uh, you know player.

25:55

One of these days, has he gone do any of your gigs

25:57

yet? Uh? You know, he was,

25:59

well, you know, the nighttime gigs

26:01

or two they go to bed at seven thirty. But

26:04

we started to gig at nine. But when

26:06

we've played a couple of these festivals, one

26:09

I'm thinking of I forget where it was.

26:12

You know, in the daytime, we all drove up

26:14

to wherever it was and it was a big outdoor

26:16

festival and he was on the side of

26:18

the in the wings as

26:20

I was playing. I don't know that it made

26:23

much impression on him, and but

26:25

it maybe I imprints on

26:27

them, you know, someplace. But you know, I don't know if

26:29

I even know if he'd remember now. But

26:32

but even now they're

26:34

not Maybe they model themselves

26:36

after me in some way, but they're not particularly

26:39

impressed. Oftentimes they'll say stop playing,

26:41

stop playing. They want to

26:43

interrupt and stop. But then he'll

26:46

say, hey, do you know,

26:48

do this stuff from my book? And I'll play stuff from

26:50

his book and they'll get kind of, you

26:53

know, frenzied and jump

26:56

on me and stuff like that. And music

26:59

is, as you know it. It has a

27:01

wild effect on the

27:04

on the on the nervous system, doesn't

27:06

it. He's going to be calling around

27:08

a cocktail out just pretty soon, watch out. I'm

27:11

sure. I'm sure we'll

27:13

have more with Jeff Goldblum. After the

27:15

break, we're

27:20

back with the rest of our interview with Jeff Goldblum,

27:23

who, when we left off, was talking about

27:25

his kid's newfound love for music.

27:28

When you were their age or a little maybe

27:30

a little older, but just in your childhood, you

27:32

weren't maybe as disciplined as they were with

27:34

the plane. But was music

27:36

an important part of your life? Were you listening a lot and

27:39

introduced to a lot? And yes,

27:41

I was listening. Like I say, my dad brought

27:43

home those Eryl Giner records and they would bring

27:45

Broadway musicals home, and the

27:48

Music Man and My Fair Lady and stuff

27:51

like that. But jazz. And then I had an

27:53

older brother, like I say, four

27:55

years older than I was, who was really into jazz,

27:57

and he would bring home Stan Getz

28:00

and Joe Barretto that album

28:02

I was. I was listening to a lot and modern

28:05

Jazz quartet and

28:07

all kind of all kinds of stuff.

28:10

So it was, yeah, it was around and it did

28:12

something to me. I was you know, I

28:14

would get jazzed up, you know, around

28:16

music early on. So would you

28:19

say, do you consider jazz to be your favorite

28:21

type of music? Well, and

28:23

can you try to articulate what

28:26

it does for you? So many things,

28:28

you know, jazz, there's so many kinds

28:30

of jazz and different songs that

28:32

hit every all manner

28:34

of chords in you. But yeah, it's very I find

28:37

it complicated, you

28:39

know sometimes and can

28:42

hit places in me that

28:45

are uniquely unreachable

28:47

otherwise, certainly,

28:49

I love early on I sort

28:51

of got the idea that musicians and even

28:54

in recording could do

28:56

something spontaneous and be inventing

28:59

something on the spot. That

29:01

has always done something to me, that

29:04

idea. I'm still enthralled

29:06

with it, and I try to bring that to my acting

29:09

and my presentations

29:12

of one kind or another. And I'm a student

29:15

of it in as it applies to jazz,

29:18

you know. I just love

29:20

that. I love to

29:23

try it myself and feel like I'm

29:25

you know, inventing right

29:28

now, and it kind of calls upon you to be it

29:30

obliges you to be present, you know, which

29:32

is sort of overlaps with another of my interests.

29:35

You know, I've exposed my had some exposure

29:37

to Kartal for instance, you

29:40

know, and be

29:42

here now from the sixties

29:45

around us and stuff. So that's that's

29:47

been part of my you know,

29:50

appetite and interest all along. So

29:52

it does all those things. But jazz.

29:54

When I saw that movie which I'll bet

29:56

you like, Around Midnight with

29:59

Herbie Hancock playing a part

30:01

in it and Dexter Gordon, of course, I

30:03

when I saw that in the theater, I just started to

30:05

cry. At one point, tears sprang

30:08

out of my eyes when they started to play

30:10

something, and there was no reason, there was no lyric. There weren't

30:12

lyrics too. It was of course an instrumental

30:14

and it was herb playing something. And it

30:17

was just the complication

30:19

and the lushness and of

30:21

the chords that just did

30:25

something to me. And of course all those practitioners,

30:27

their their devotion, lifelong devotion

30:29

to it and a sacred

30:32

you know, romance with it is

30:34

just you know, hits me

30:37

hard. Yeah. And then we had

30:39

a little forty five player, my sister and I who

30:41

was two years younger, and she and I would collect

30:43

these things. Oh boy, we had.

30:46

There were a couple that we just played over and over again. I

30:49

got the Stevie Wonder record of

30:51

for Once in My Life that I played

30:54

over and I must have played in thousands

30:56

of times. And now I've come to

30:58

meet him and know him a little bit. Believe it or

31:00

not, he stopped in to the recording one of

31:02

the recording sessions on our first

31:04

album. How frightening was that? I

31:07

know, I just or him. I've adored

31:10

him my whole life. But we all these forty five's, we

31:12

played over and over again.

31:15

We played this Peggy Lee song.

31:18

Is that all there is? Uh? We

31:20

had a little forty five of that. Uh,

31:23

you know, so it was it was all over the place.

31:25

Yeah, So what do you say to Stevie

31:27

wonder when you meet him, because people must

31:29

come up to you all the time and want you

31:31

know, it's like, this is my chance, this is Jeff Goldblum.

31:34

What do I say? Well, so

31:36

I'm sensitive to you know how

31:39

you know, he must be beleaguered um.

31:42

And you know his wife was very

31:44

nice. We've become friendly with his wife.

31:46

We were on a cruise. It was a kind of an intimate,

31:48

a semi intimate, you know, setting

31:51

where we first met. And

31:54

he couldn't have been sweeter. I was very nice.

31:56

And you know, as you can imagine, Uh, he

31:59

touches you and I touched you know, we were

32:01

holding hands a little bit and you

32:03

know, um, uh you know I

32:05

said into his ear, you know, you

32:08

know, it was a little always year around. I said, you

32:10

know how much I adored him and this and

32:12

that, and you know we talked. He couldn't

32:14

have been sweeter. He was just great. It

32:17

was one of the thrills of my life. Amazing.

32:19

It's like the time I met Muhammad Ali and

32:21

his wife. It was later. He was a little bit already

32:24

getting a little bit uh challenged

32:27

and uh and he said,

32:30

oh, Jeff, Jeff

32:32

Goldman, you scared me. You

32:35

scared me. I said, what do you

32:37

what do you mean? His wife said, oh, Jeff,

32:39

we saw the fly. We just saw the fly. He

32:43

said. I said, well, Champ, I just so I got

32:45

a little weepy. I said, I just adore you so much

32:48

and I've always, I've always You've meant

32:50

so much to me, and thank you so much. And he

32:52

said, well, where you know, I may come over

32:54

and knock on your door someday

32:57

and come over and visit you. I

32:59

said, oh, Champ, that would

33:01

be just just great anyway. You

33:04

never I never got a chance to, or he never

33:06

did. But I just, uh, you know, I'm

33:08

very easy start strike by a couple

33:10

of types, especially Stevie

33:13

Wonder and Muhammad Ali are too good

33:15

times. Oh Man, you're telling

33:17

me, you're telling me. It's funny

33:19

too, because I guess a lot of people, you

33:22

know, people probably have seen The Big Chill, And

33:25

a big part of that movie is the soundtrack and

33:27

a lot of people you know of your cohort,

33:29

it's like that's the soundtrack of their growing up.

33:31

You know, the Stones and the mo all

33:33

the Motown, which of course Steve is a part of. But it

33:35

seems like you were more jazz

33:38

geared than like, you know, Beatles

33:40

and the Who and or were you did

33:42

you also listen to a lot of rock and roll, and I was

33:44

jazz geared. I had a big thing for jazz.

33:47

But but at art when I went

33:50

to this little kind of provincial, small town

33:53

school. We were in the suburbs of Pittsburgh,

33:55

and we used to have little

33:57

dances. But right around that time, let

33:59

me see, I was born in fifty two, so when

34:01

I was like thirteen, coming

34:03

of a particular

34:05

age, it's now, why fifty

34:07

two sixty five something like that.

34:10

And look up the hits that

34:13

we had at our at our lunch time,

34:16

you know, dances and all,

34:18

and they played all motown stuff, so

34:20

you know, Diana Ross and the Supremes

34:22

and Marvin Gay and

34:24

all that stuff. Where I was really

34:27

into Ray Charles. I was into real

34:30

early. And then

34:32

the only kind of rock stuff,

34:35

you know, it would come on the radio, but

34:37

rock stuff. My brother, the same brother who was

34:39

interested in jazz, took me over

34:41

to his apartment once he'd already moved out of

34:43

the house. When I was like, I don't know, fifteen sixteen.

34:46

I looked up to him and he had a

34:49

bunch of Beatles albums and introduced me

34:52

for the first time to you know, the White

34:54

Album, Sergeant Peppers and Magical

34:56

Mystery Tour, and I loved

34:59

those, you know, they's had a big made a big

35:01

impression on me. Yeah. What an

35:03

era of music to be a young person.

35:05

I know, it was totally magical.

35:08

I know. Oh, I feel very lucky to have been

35:11

right where I was somehow and in New

35:13

York. And you know, I had

35:15

a really cool time too, for not only for acting,

35:18

but music, you know. I mean you could still go into any

35:20

jazz club and see incredible

35:22

people, or go to Glench Village and you

35:24

know insane. Yeah.

35:26

Yeah, what would you do like on off nights when

35:28

you weren't working in New York City. Well,

35:31

I wish i'd, like I said

35:33

about my you know now, you

35:35

know, encounter with some people. Sometimes

35:38

I didn't know who I was with or where

35:40

I was. I wish I'd looked around

35:42

more because I was a very focused kind of acting student,

35:45

and you know, I had things to do and I was

35:47

very good at that that point. But

35:50

my friend Tom Pearson, who was in who

35:52

was the leader of the band and a piano player,

35:55

took me to a couple of gigs and I remember

35:57

I think we saw Wayne Shorter

36:00

and saw some very kind

36:02

of you know, new stuff

36:04

that they were doing that was you know, atonal

36:07

and went on and

36:10

that was really something else were

36:13

we were there. Yeah, yeah,

36:16

I wish i'd I could have appreciated

36:18

where I was more and everything

36:20

that I might have exposed myself to more. Probably

36:23

just like now, there's probably right

36:25

in my own backyard things that if

36:27

I were fully awake, fully awakened,

36:30

I would cherish investigate

36:33

and understand more. You know,

36:35

I'm sure there are things like that. Yeah, well

36:37

that goes back to the b here. Now you're just supposed

36:40

to be happy here in the moment present,

36:43

where you are. It's all enough, I

36:45

think, so. I think so we're

36:48

getting exactly what we need right

36:51

here right now somehow. Yep. What

36:54

drove you to acting, primarily

36:56

given your sort of early leanings

36:58

towards piano and music and performing

37:00

with you know, at these bars. Yeah,

37:02

it's a little mysterious. All of this

37:05

is a little mysterious. I just was I

37:08

are my parents once again, you know, exposed

37:10

us to you know, theater. We went

37:12

to children's theater. I remember early on

37:14

when I went to at the Pittsburgh Playhouse.

37:17

Uh, some a couple

37:19

of shows, you know for

37:21

kids, I don't know, Beauty and the Beast or you

37:23

know, something like that. I

37:26

just was very excitable about

37:31

because of it. And uh and

37:33

I remember thinking, who are

37:35

those people who are doing that? What are they

37:38

doing backstage? What's how do how do

37:40

you do something like that? And that you

37:42

know, it just happened like that, and then uh, well

37:44

I took those summer classes Attornegue Million University.

37:47

I was already yearning

37:49

for some kind

37:52

of part of me that

37:54

was as yet unexplored in

37:57

this, like I say, small town kind

38:00

of school. And I think it had

38:02

something to do with listen to this. My

38:04

parents had had

38:07

parts of them unexplored, potentially

38:11

unrealized, that were theatrical.

38:13

My mom early on had some

38:15

kind of experience where a

38:18

scout of some kind said she should,

38:20

you know, leave Pittsburgh go to New York And

38:22

her mom said no, no way that I don't know. And

38:25

then my dad, at some point

38:27

in his you know, the late teens,

38:29

thought, because he was trying to get out of

38:31

poverty and make something of himself, thought

38:34

for some reason he was either going to be a doctor

38:36

or an actor. And he said he stuck

38:38

his head in the back of a class at Carnegie

38:40

Tech, which Carnegie Mellon was then called,

38:43

and he thought to himself. He reported to us

38:46

that it was out of his league. I don't know what he

38:48

meant by that. Maybe it

38:50

was that it was emotionally, because he was always

38:52

a little bit conservative emotionally, I think,

38:54

even though an authentic person of deep feeling,

38:57

you know, he was not theatrical.

39:00

He thought maybe and so he was a doctor.

39:02

He became a good doctor, h and like

39:04

that. So maybe the lost you

39:06

know, hot potatoes of unreal

39:09

used talent and interest.

39:12

It came to me somehow, and maybe that had

39:14

something to do with it. You know, who knows. Do you

39:16

think your parents saw it the same way? Like

39:18

you were living out this dream

39:21

that they had in a way, And they

39:23

never said, if I can remember rightly,

39:25

I don't ever recall a conversation where

39:27

they said, hey, you know, we

39:30

didn't do it, but you do it or

39:32

you know. And I don't think it was a conspicuous

39:34

and ever present part of their current adult

39:36

life where they were like, oh, I should have been an actor.

39:39

I don't think they thought that. So it

39:41

never came up like that. And I don't know

39:43

if it ever even accurac to them or they said to themselves.

39:46

But I'll tell you this, they were both kind

39:48

of tickled by the

39:51

idea that I

39:53

was doing some of this stuff. And like I say, music, you

39:55

know, my dad was like, you know, listen to Errol

39:57

Garner. Listen, listen, he likes the pauses,

39:59

and listen how brave he is there, and it would go

40:01

bah baha and these octaves that he

40:04

kind of knew he had a music appreciation and

40:06

a real kind of

40:08

appetite for it. And so you know that

40:10

when they drove me and I could see, you know, they

40:12

were I'm sure grinning, you know, at me playing

40:14

at these cocktail lounges. And then a couple of

40:16

years later, once I was in New York and did

40:19

one of my early plays. I did a play called City

40:21

Sugar. It was by Stephen Poliakoff,

40:23

a British writer where I was the lead character

40:26

and a kind of off Broadway theater

40:29

and it was the first big part that I'd had,

40:31

and my dad and they, my parents came

40:33

to see it. And after

40:35

the show, my dad came

40:37

back stage and

40:40

he burst into tears and

40:42

he threw his arms around me and

40:45

hugged me. And it wasn't either of those

40:48

things, the tears part and the hugging

40:50

part were. It's uncharacteristic and

40:53

it really it really got him. And

40:56

now that i'm thinking of it, when I was, when I

40:58

was going to Carnegie Melon

41:00

and coming back, he

41:03

said a very memorable

41:05

moment for me. He said, I

41:07

was there and he said to my

41:10

mom, well, look, as I was saying,

41:12

oh, this is what we learned that I was

41:15

kind of chattering up. He said, look,

41:17

the kid is stimulated. He

41:19

said, the kid is stimulated. And

41:23

I remember that. I think it. I think he

41:25

appreciated because he had said to me, he had

41:27

said, you know, I don't care what you do. You don't have to be a

41:29

doctor like me, but if you find something you

41:31

love to do, that's a compass

41:33

and a key to your uh you know, vocational

41:36

choice. So he was smart and

41:38

uh and he realized that that

41:41

that I'd sort of found something. Yeah

41:43

about that, the soulful guy, your dad was especially

41:46

for a doctor. You know, you don't think of a doctor's being so

41:48

open and disencouraging and to

41:50

hear this stuff in the music and explain it to you

41:53

and take the time. Yeah, he was actually very

41:56

lucky, you know, very grateful for the

41:58

parents that I had. You know, it's not as if I've gone

42:01

through my life without oh, you

42:03

know, dark struggles of one kind or another,

42:05

and I think healthy struggles where I'd find

42:07

my own separate identity

42:10

from theirs. But in fact, I'm

42:13

very grateful for those two parents. They were

42:15

just the right combo for

42:18

for me to have wound up right here, right

42:20

now. And uh and yeah,

42:22

he was, you know, for in any

42:24

objective way, kind of sophisticated,

42:27

soulful uh wi.

42:29

Uh wise, fella, how about

42:32

that? And very generous. Uh sweet,

42:34

sweet guy, that's amazing. Do you

42:36

are you writing at all? Do you do you ever are secretly

42:39

composing any songs or anything

42:41

unrealized? Do you want to na?

42:44

Not? Really, I don't really compose.

42:46

I don't really compose, although I

42:49

must say the other day. Uh,

42:52

Charlie. We

42:54

sat down and he brought me a couple of blank

42:57

sheets of you know, like a you know, printer

42:59

paper, and he said here right.

43:01

Uh. He didn't know how to say right or right music

43:03

right. Let's let's make up a song, uh,

43:06

he said. So I wrote a staff. I put the trouble

43:08

cleft and I wrote the staff,

43:10

and he's and he did something and I wrote it

43:12

down, and then I added something to

43:14

that, and then he added something to that, and I wrote

43:16

it all down. It's on the piano in the living room

43:19

right now, and I

43:21

like playing it. It's it's different. I wouldn't

43:23

have come up with it on my own. It's a little

43:25

I don't think we're letting a McCartney. But we came

43:27

up with something. It was fun. It's this a side project.

43:30

This is your new band. It was fun.

43:32

Well, we we like playing together. I got

43:34

a couple of drums. I got sbongo drums and

43:36

a nice kind of conga and and we

43:38

all make sounds together. We like it.

43:41

That's amazing. If you had to put together

43:43

a jazz starter kit, which

43:45

albums would it include? Well,

43:48

that's a good that's a good question.

43:50

The guy I you know, i'd i'd ask

43:52

the guy for real, for the real

43:55

good answers. I'd ask Joe Bag and Alex

43:57

Frank and John Story. But let

44:00

me see from my own personal experience.

44:02

Well, you know, because

44:05

they're still turning me onto. You know, Winton Kelly.

44:07

I'm learning a solo of Wint Kelly's right

44:09

now, and I had not

44:12

been so focused on him before.

44:14

So there's so many But you know, Oscar

44:16

Peterson, if you're interested in the piano,

44:18

I'd listened to Oscar Peterson and Bill Evans,

44:20

and I like Keith Jarrett, and I like Thelonious

44:23

Monk. Anything by any of those

44:27

guys. I like She's You

44:29

know, there's so many tributaries of that river.

44:31

You know that you can go down to kind

44:33

of personal taste, and you

44:35

know, like I say, I'm still getting turned on to so many

44:38

different things now. But though

44:40

you know, Miles Davis, you know I

44:42

do love those those piano players,

44:44

Oscar Peterson, Errold Gardner, Diloneous

44:47

Monk, all pretty different. Do

44:49

you Is there anything you think

44:51

you taken from their playing you put in yours or

44:53

anything you ever playing And you're like, oh that I

44:55

got that from Oscar Well, Arlie

44:58

Well, Oscar Peterson. You know, you have to be content to get

45:00

those chops. You know, you can't just kind of even

45:02

imitate those chops. But I do like

45:04

to do runs, and I do like a couple

45:06

of his Gospelly kind of voice

45:09

things that I've sort of tried

45:11

to study a little bit that I you

45:13

know, I I love to listen and when

45:15

I listen, I feel like I'm

45:17

immediately not that I can

45:20

reproduce it, but I'm immediately you

45:22

know, influenced and excited about it.

45:24

And then Monk, of course, you know, I like

45:27

to play a hard, masculine,

45:29

angular, unexpected fifth

45:32

down low and do something you

45:35

know that's full of ugly

45:37

beauty, you know, all over, you

45:39

know. And he's very inspirational.

45:43

Keith Jarrett, Oh the way he I

45:46

like the way he is has

45:49

a kind of religious experience

45:52

that comes deeply out of him. And

45:54

he's so sophisticated and at the same

45:56

time, you

46:00

know, spontaneous with what

46:02

with a connection seemingly between his musical

46:06

imagination and his fingers

46:08

and he hears, which

46:10

is so brilliant. You

46:12

know immediately, you know, making

46:15

music like that, it's a beautiful thing to watch,

46:17

you know, I love it. Have you have you seen

46:19

him at all? Ever? No, I'd

46:22

love to I'd love to you.

46:24

Yeah. Some of the Concert Hall in two

46:26

thousand and six when I was like sixteen, saved

46:28

a bunch of months. It was expensive, but about

46:31

a ticket went and it was it was solo and

46:33

improbably did a solo improv and it was

46:36

it was mind blowing. Oh, mind blind.

46:38

I'd love to have seen that. If I had a time machine,

46:40

maybe that's that's the reason to go back. I'd

46:43

go back with you and we'd watch it again. Cool.

46:46

I'm so curious about this. I've heard you

46:48

refer to yourself as a late bloomer. Well,

46:50

true enough, yeah, yeah, So how

46:52

does that manifest itself? What

46:55

does that mean to you? How are you blooming?

46:57

Well? You know, I mean, first of all, here

47:00

I am at the age I'm at

47:02

and I've have a five year old and three almost

47:05

a five year old and a three year old, so that's

47:07

late blooming and fertility

47:11

of some kind. And my

47:14

teacher, Sanford Meisner, was

47:16

very good. He said that it takes

47:19

a serious two decades,

47:21

twenty years of continual work before

47:24

you can even call yourself an

47:26

actor, meaning that you it

47:28

really takes that much time before

47:30

you can grow in yourself

47:33

inside the life of

47:35

an actor and how you really

47:39

live and use things and see things and can

47:41

function theatrically imaginatively

47:45

and know yourself and can use yourself, etcetera,

47:48

etcetera. And then he

47:50

said after that, it takes a life time

47:53

if you're lucky, to keep getting opportunities

47:55

of progress where

47:58

you can keep progressing. And that's the aim.

48:00

That's what I'm recommend to you and

48:02

steady, And I think I took that to heart. So

48:05

even if I wasn't made of that kind of stuff,

48:07

although I think I was a kind of slow

48:10

learner of some kind, and you know,

48:13

I took it to heart and have sort of at

48:15

least imagine that I have designed. But

48:18

there's some design that's a little bit like that

48:21

for my arc, you know, not

48:23

only acting wise, but musically

48:25

certainly. I mean, I'm at a time right now of

48:28

more flourishing and flowering

48:31

than ever with these records

48:33

and with what I'm doing. I'm playing better than ever.

48:35

I played this morning, better than I played

48:38

yesterday, and ever. I think I

48:40

look for that, and I think I'm that's

48:42

what's happening. And in life,

48:45

my gosh, here I am with these kids and learning

48:47

by leaps and bounds, and I've got this show that world,

48:50

according to Jeff Goldblum, where I'm ostensibly

48:52

to make use of my curiosity and

48:54

my you know learning, you

48:56

know, you know, exposing myself

48:59

while in the learning curve. And

49:01

so I'm I'm full of I'm a humble student

49:04

and full of eager learning.

49:07

So I am I think I'm I think

49:09

I'm blooming late. Yeah,

49:11

it's I mean, it's super inspiring because

49:13

so many people just reach a certain age

49:16

or point in life and just sort of shut

49:18

down, you know, and whether it's shutting

49:20

down to like even discovering

49:23

new music or anything. It's people

49:25

can get so rigid. Yeah,

49:28

so it's it's really nice to hear that. Oh,

49:30

thank you. Well, I was exposed to have the right

49:32

idea here and there, and I do aspire to

49:34

it, and and uh, you

49:36

know, I try to lend. I'm sure I'm

49:38

becoming brittle and

49:40

and shriveled and pretty

49:42

soon I'll be all all gone. But

49:45

but you know, in the time that I have,

49:47

however much it is, I'm trying

49:49

to supremely make the most

49:51

of the and cherish the opportunity.

49:53

You know, cool, incredible. Thanks

49:56

for the time. I really appreciate it, Jeff, Thank you, Jeff,

49:58

thank you so much. It's such an honor to be

50:00

on this great show. I'm thrilled. Thank

50:02

you so much. Thanks

50:06

to Jeff Goldbloom for chatting with Lee yet night.

50:09

Jeff Goldblan's new album I Shouldn't Be

50:11

telling you this is out now. You

50:13

can hear it along with tracks from the artists you mentioned

50:16

in the interview in the playlist for this episode

50:18

at broken Record podcast dot com.

50:21

Be sure to subscribe to our YouTube channel at

50:23

YouTube dot com slash broken Record

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Podcast, where you can find all our

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50:32

Record is produced with help from Lea Rose, Jason

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51:09

Musics by Kenny Beats, I'm justin Richmond,

51:15

h