The Morning Groove w/ John Nasshan

0:00:00
Hey everybody, this is Nashen from The Morning Groove and I've got a special guest today. His name is Greg Manning. He plays the piano and all the keyboards and he's a composer, producer. You do it all, don't you?

0:00:13
I'm trying. Hi, John. Thanks for having me. I appreciate it.

0:00:16
Yeah, no problem. It's great having you here. So let's start by talking about your background. Where are you from?

0:00:22
Originally, I'm from Switzerland, but I was actually born in Africa, in Nigeria, but at a very, very early age we moved back to Switzerland and that's where I grew up, near Zurich, the city of Zurich in Switzerland.

0:00:34
Okay, and are there other musicians in your family?

0:00:38
Not really, not really, you know, and funny enough I started very late being interested in music. For the longest time, it just didn't really talk to me. My other classmates had their favorite band, favorite singer, and I was like, yeah, music, you know.

0:00:56
Well, what were you interested in at that time?

0:01:00
I was just kind of a nerd, just reading. I was actually kind of interested in science. But then one night, and I keep telling this story, one night on the radio, a song came on that really changed my life, Isn't She Lovely by Stevie Wonder. I heard that song, I was just intrigued by everything. You know, of course, his voice. I didn't listen to the lyrics so much, but just the music, Fender Rhodes piano arrangement, just the sound of it, just that. I don't even know, the warmth. And then the harmonica solo came in, and I was like, what is this? I want to know more about it.

0:01:41
So were you playing piano before this?

0:01:44
Not really. Years before, my parents sent me to a classical piano teacher. And I did that for maybe, I don't know, three months.

0:01:55
Too many rules, right?

0:01:56
I don't know.

0:01:57
It just didn't talk to me.

0:01:59
See, I got soured on playing the piano properly. I'm a percussionist and drummer.

0:02:04
Oh, cool.

0:02:05
And I got away from playing piano when I was in about the fifth or sixth grade. Yep. And I was going to a Catholic school. Yep. And I came in for a lesson without practicing, and I got slapped by the nun over the knuckles with a ruler.

0:02:19
Oh, I know that feeling. That happened to me.

0:02:21
And I'm like, this isn't me. This is no fun.

0:02:24
Yeah. Yeah, yeah.

0:02:26
You know, and my family background is loaded with musicians and percussionists. Oh, beautiful. Especially, so I kind of grew up with that. Yeah, yeah. Because, you know, for me, I've never made a conscious choice. I always seem to be involved with music.

0:02:39
Yeah, yeah, yeah, yeah, yeah. I really think, you know, on kind of a spiritual level, I think music calls you.

0:02:46
I always tell people it's not a choice that you make, it's a choice that music makes to bring you in.

0:02:53
I think so. And really know that the love, the appreciation for music that you have, that will take you through all the hard times. If that's not there, you're in trouble.

0:03:04
Oh yeah. It's good to have a song that inspires. Yes, yeah, absolutely. And music is such a great language.

0:03:13
Oh, it's fantastic, you know, and it just never stops. It's like a language acquiring vocabulary. It just never stops, you know. There's other words you can learn, same with music, you know. Actually funny enough, I didn't have a very strong classical background growing up, but funny now, later on at my age, I'm actually going back to classical music. One of my favorite composers right now is actually Bach. Oh yeah. You know, I'm doing his...

0:03:46
Are you playing the Bach inventions and things?

0:03:49
You know, I'm starting, but it's a whole different thing. Just to keep the voices separate, it's very different from jazz, but it's a great exercise.

0:03:58
I've got a friend that's a brilliant concert pianist. His name is Michael Pretti and I met him when he was on the road conducting for the Smothers Brothers. One day we're on the road and Michael says, meet me in the showroom at one o'clock. I want to practice. I figure we're going to rehearse. No, he likes to play Bach inventions with a metronome or a drummer clicking two and four.

0:04:26
Oh, wow.

0:04:27
And he said, I want you to play jazz brushes, and I'm going to play Bach.

0:04:30
Yeah, yeah, yeah, yeah, yeah.

0:04:32
And that's when I learned that Bach swings.

0:04:36
Oh, yeah. I mean, you can definitely make him swing. But I think, you know, people are going to laugh now. But I think Bach is actually very funky. First of all, he writes everything in 16ths. And if you phrase it in a certain way, you can get funky with it.

0:04:51
Oh, absolutely.

0:04:52
But right now, I'm doing the two-part inventions. I'm going through the whole book, and it's really interesting. At my age now, I'm interested in fugues.

0:05:02
Oh, yeah.

0:05:03
I've been listening to a lot of classical music, and even going back to Haydn. I think the foundation of everything in classical music, I think music in general is actually counterpoint. Music really makes sense when you apply those rules.

0:05:20
And people often forget that Haydn and Handel, they were improvisers.

0:05:26
Very much so. They were church organists.

0:05:28
Very much so. And much of their music was improvised. Absolutely.

0:05:32
Which is amazing. Absolutely. And you know, that is so true. Right now, you know, counterpoint is based on the rules how Bach composed, but he didn't know that right he didn't buy here

0:05:43
exactly

0:05:44
And and there was a famous pianist who was very eccentric named Glenn Gould. Oh, yeah Oh, oh, yeah, and somebody once asked him They said you know Glenn with your ability and your your dexterity at the keyboard and your knowledge of theory Yeah, why don't you play jazz?" And he said, I play Bach. Who swings more than Bach? Wow, wow. Yes. Because he was crazy. His recording of the Goldberg thing, he would edit like 16th notes. He edited himself constantly. I read that about him.

0:06:23
Yes, yes. Especially later on in his life, he would just, you know, he would embrace the tape and just do crazy things.

0:06:30
So now when did you start composing?

0:06:32
That's a very interesting question. And I think I've always been a composer. You know, I think that's just how my brain works. And this is actually how I transitioned into being an artist. I've been a sideman for many years, you know, most notably with Jonathan Butler. I played with him for almost a decade. That's great. Yeah, I loved that gig. But I always did my own thing. I always had my own compositions going on. And I wrote with Jonathan as well. And at one point I was like, yeah, I really feel like I need to get my stuff out there. And then I got very lucky. You know, the Goroffs, they actually in 2014, they hooked me up with with Kalimba, Maurice White's label. And he heard my stuff and was like, yeah, I want to sign this guy. So that's how I started becoming an artist in 2014. Before then, I did mostly no-sign-man stuff.

0:07:32
And there's a different dynamic to touring as an artist than there is to touring as a

0:07:38
sight man. It's a completely different hat, absolutely.

0:07:41
Because now you've got a whole band going, Greg, where do we need to be?

0:07:44
Right, right.

0:07:45
Right, right.

0:07:47
And then Greg is going, I hope they show up on time.

0:07:50
Yes, yeah. But I've got to say, in general, I've been really blessed with great bands. When I'm in Cali or in California, I can use my own band. But when I'm traveling nationally, then it's what we call a pickup band. And I've been really blessed with great bands, great musicians. Very responsible.

0:08:11
And what listeners don't always understand is the caliber of musicians that are out there. Because I mean, if you're coming, let's say you're coming to Las Vegas without your band. You send music, and you send a recording. Yeah, exactly. And they come, then they learn, and then the day of the show, oftentimes, you're going

0:08:31
to do a rehearsal and sound check and then a show. Exactly, exactly. I mean, exactly the level of musicianship out there is crazy. And especially, you know, nowadays you go on YouTube and you see these 15-year-olds

0:08:45
just burning.

0:08:46
It's like, wow, what did they put in their water, their food. Are you filming with the European trio called Dirty Loops? Oh absolutely, they're from Sweden. I love them. I think the kid that does the singing is like channeling Stevie Wonder. Absolutely, it's insane and he's also a great piano player. Yes he is. They're great musicians. Yeah, and and people it it becomes easier as we do it more I mean I worked for many years in the showrooms. Oh playing with whoever came in that way. Oh here in Vegas Yeah, and we had and we had like a two-hour rehearsal. Yeah, and then a few hours later after dinner. It was showtime

0:09:27
Yes, yeah, and the idea was to play the show as if you had written it. Oh

0:09:33
You know that's funny. Unfortunately, he passed away. Great drummer called Ricky Lawson. Yes. He always told me, Greg, when you play something, even if it's not yours, play it like you wrote

0:09:47
it. Yes. Oh, exactly. It's all about, and I can speak strictly from a sideman point of view, although I've tried being a leader occasionally. It's all about making the artist comfortable.

0:10:00
Yes. Yes. You know, putting your needs aside at times.

0:10:01
Yeah. And just saying, okay, what does this person need to be comfortable in front of the audience? Exactly. Very much so. And you know, that's the role of a sign man,

0:10:11
and that's the role of a pianist when you're comping, when you're playing behind a soloist, behind a singer. It's not about how many voicings you know, blah, blah, blah. It's just making the soloist, the singer, comfortable. See, and there's another subject, accompanying a singer. Because as a keyboardist, Oh, that's a whole different ball of wax.

0:10:36
You have to be able to psych out when to lead them, when to follow them.

0:10:40
Yeah, time, everything is really... It's an art. It is. You know, one of my favorite musicians, unfortunately also passed away, George Duke. Of course, he was a great artist, but he was one of the greatest accompanists ever. Have you seen some stuff he did with like in Montreux, Jazz Festival, behind the Dying Reefs? Oh my God.

0:11:04
George was a brilliant musician. Absolutely. And he did some good things with Frank Zappa too.

0:11:09
Oh yeah. You know what's funny? After him, Zappa always needed to have two keyboard players.

0:11:15
Yes, I know.

0:11:16
You know, George handled everything. He probably had two brains, I don't know.

0:11:20
He might have. He might have. George was an interesting, he was a great lyric writer, he was a great music writer.

0:11:26
Yeah, singer, everything. Arranger.

0:11:28
And he had a beautiful heart.

0:11:29
Oh, absolutely. Absolutely. You know, I always, same with Herbie, I admire guys, cats, that can do funk, jazz, you know, R&B, just anything.

0:11:40
I was told very early in my music life by a percussion teacher. He said, you need to learn how to play everything. He said, a classical percussionist can only play classical music. A lot of country musicians will only play country music. Same with the rock and roll players. But if you learn the vocabulary of jazz, you can play anything. Which is interesting. And I've kind of figured out along the way that the key to me playing music in general, especially jazz, is to not listen to me but to listen to you.

0:12:23
Oh man, I was just going to say this, this is so deep. A lot of people assume that making music is really about playing, facilities, not your instrument, but all that I get, it's actually about listening. And especially in a jazz context, what does the drummer do? What does the bass player do? Harmonically, I mean, harmonically, the bass controls actually everything. And when you have the ability to play and listen to the environment, then I think great music can happen.

0:12:54
And I think part of the problem when we're younger is that we don't trust ourselves enough. You know, you get to a point as a musician where it could take 10 years, could take 20 years, could take your whole life. But sooner or later you go, you know what, I trust me.

0:13:11
So now I can listen to them instead of me. Yeah, yeah, absolutely John. I mean it is a journey and I think and it's actually a good thing but as a young musician you copy. You copy your idols. You want to sound like, I don't know, Art Tatum, Herbie, you know. Then at one point you listen, you realize that's actually impossible because you cannot be them. Right. You got to be yourself.

0:13:34
Steve Smith, the drummer that was with Journey, who's also a brilliant jazz drummer. In Steve's clinic he talks about stealing. He says, steal from everybody. And then as you learn the licks, mold them to suit your musical personality.

0:13:50
Oh, absolutely. I'm not sure which, I think it was Beethoven, not sure. He said, the best composers are thieves. Fortunately, there's something to that.

0:14:02
Oh yeah, there is, absolutely. And what people may not realize is a lot of the early jazz, bebop especially, standard chord changes for a tune that had already been written, like I Got Rhythm, and then the melody would either be improvised or, in the case of Charlie Parker, written on an envelope in the cab on the way to the gig. Yes, yes, yeah. I mean that history is just, it's amazing. Oh, it is amazing. These are people that took a form of music that was in its infancy, which is jazz, and developed it to such a high level of improvisation and listening and interaction.

0:14:43
Yeah, yeah. Oh, absolutely. I mean, I have so much respect for jazz because I don't really look at myself as a jazz player. My background is, you know, again, as a kid in Switzerland, I listened to Stevie, Earth, Wind and Fire, and in a way jazz came later, but I have so much respect for people that really dedicate their lives to that specific art form. It's amazing.

0:15:05
Well, and you know that Motown, that sound was created by jazz musicians in Detroit.

0:15:11
Absolutely, absolutely. I went there, you know, down to the basement. I was there. Where they recorded. It's just humbling. That little house conquered the world.

0:15:21
It's like going to church.

0:15:23
Yes, oh absolutely.

0:15:25
Or if you go to Englewood, New Jersey to Rudy Van Gelder's studio, it's like going to church.

0:15:29
Yes, yes.

0:15:30
I remember standing in the room where Coltrane recorded A Love Supreme. Oh my God. And it was an experience. One of my favorite artists, by the way.

0:15:42
Oh yeah, I think he's a prime example that, I think at the height of being a musician, it kind of turns into a spiritual thing. It's more than notes coming out of the saxophone.

0:15:53
Oh, absolutely. And he was deeply into Eastern religion.

0:15:57
Yeah, absolutely.

0:15:59
And he had this crazy room on the mezzanine of his house where he did his practicing and writing and he'd go in there for days at a time. And his wife would knock on the door, give him food and walk away. And the story was that he came down from the room and looked at his wife and said, Alice, I know what I need to record, so call the band, have them meet me at the studio. And that's where Love Supreme came from. Wow. Wow. And it was like he said, and by the way, tell Alvin Jones to bring one timpani and a gong.

0:16:35
Wow. No, I mean, he was such a deep cat. I saw some diagrams that he drew. Oh, my God. In a way, it's pure mathematics. Sure. And you have moved to Las Vegas.

0:16:49
Yeah, about a year ago. And what prompted that?

0:16:49
Yes.

0:16:50
Where'd you come from, California? Cali, yes. So you're saving money. Yes, I am.

0:16:54
Yes, I am. And I just needed a change, you know, and my girlfriend lives here. Shout out to Beverly. And I just wanted to come here. And in the beginning, you know, I kind of missed the water. I used to live close to the water. We don't really have this here except for Lake Vegas, you know Yeah, but I I start to really love it the other day. We went to the desert Hikes, you know trails. It's beautiful Breathtaking. Have you been out to the Valley fire yet? Yes, we have that's beautiful. It's it's gorgeous. Very very beautiful Yeah, I love going out there especially to catch a sunrise or so. Yes. Yeah, red rock.

0:17:39
And I'm sure you've already found out that the desert has some of the most beautiful sunsets that you'll see anywhere.

0:17:45
Oh, stunning, stunning, stunning. I was kind of naive. I thought, ah, the desert is dead, but there's so much life in there.

0:17:53
Maybe we'll have another one of those blooms again where it rains a lot and the whole desert will bloom. Wow. There was one a few years ago. We had a tremendous amount of rain. Yes, yes. And between here and LA, all the mountains were yellow and purple and blue and just gorgeous with flowers. Yeah, yeah, yeah. And then if you want to see snow, you're from Switzerland. Right, right. Mount Charleston.

0:18:15
Mount Charleston, exactly, where it's always like 20 degrees cooler in the summer. Yeah, I had snow in my backyard again this year. I had snow for about 10 minutes. Yeah, exactly. I put it on Facebook and people were like, what? No, in Vegas? But it does happen.

0:18:30
So, you're writing a new album? Are you touring? Or what are you doing now?

0:18:35
Where can I start? I've been doing a lot of producing, a lot of writing for other people, been working on Jeff Ryan's new album, been working with Blake Aaron, great guitar player. And touring is starting now. As a matter of fact, my first show is actually going to be in Tokyo. Next month, the top of the month, I'm going to play in Roppongi at Birdland. I'm really excited about this. And this year we're doing some, it's a double bill with Jeff Ryan. We're doing Berg's Jazz Festival, we're doing Seabreeze, which is great exposure for us. I'm looking forward to it.

0:19:16
And I heard you're probably going to come back here and play.

0:19:19
Yes, yes, I'm very much looking forward to that. I've been there last year, but I think it's July 15th. Gambit in Henderson.

0:19:28
Isn't that a great place?

0:19:29
I love it, I love it. And you know what? They have a great grand piano. I didn't even know that. Yes, they do.

0:19:35
Love it. Well, and the other thing that's so great about that is, and the listeners should be aware of this, it's hard to find a venue that intimate to hear artists on your level and your caliber because normally it's a concert hall or an outdoor or a ship or somewhere like that and there's an intimacy there that really draws them in.

0:19:55
Yes, yeah, yeah. I love those dates, you know, the big festivals, you hardly see people and it's it's a I don't know especially with interaction with the band Yeah, and the audience. Yeah, there's nothing like a small club. Yeah, I remember

0:20:11
Have you ever been to a place in Boston called scholars? Oh, absolutely. I went to Berkeley College of Music Okay, yeah, I played scholars with a singer named Jack Jones Okay, and he had never played a room that small Wow and we're setting up and literally, I mean, you've been there. There's room for the grand piano, a drum set, a bass, and a singer on a stool, and that's where you're done.

0:20:33
Correct.

0:20:33
And the audience, you can almost touch them.

0:20:35
Yeah.

0:20:36
And we played the first couple of tunes, and he quickly turned around to me and said, I like it here.

0:20:44
You're too easy. It's like playing in your living room.

0:20:46
Yeah, it is. Exactly.

0:20:47
Very intimate. Very cool. Yeah.

0:20:49
I understand they have a new club to they moved oh okay in the same hotel but they're they're in a bigger facility oh and they were but I love I love playing the small rooms yes yes absolutely you know there's just that intimacy and it's more relaxed oh absolutely yeah I mean

0:21:06
yeah yeah I've been to st. James in Atlanta and it's also a great club.

0:21:14
Yeah, I did a few clubs in New York and that through the years. With people like Buddy Greco, the pianist and things like that. We always had a blast doing the small stuff.

0:21:24
Of course.

0:21:25
And then we'd go to Florida and play a big theater with a big band and Buddy would be like, yeah, it was a good show. Let's go home and go to sleep. So do you have any new directions in your music at all?

0:21:39
Wow, you must be psychic or something. Because you know, besides my smooth jazz stuff, as I said, I'm getting really interested in like a little bit bigger compositions, more orchestral, and I'm trying to incorporate that more. Just piano, strings, maybe just piano and string quartet. But I started to write in that direction. Of course, I'll keep up my more commercial smooth jazz side of me, but I'm going to explore more, like just string quartet maybe with piano and some electronic influences.

0:22:18
Yeah, I do some orchestrating and arranging for people as well. Oh, I didn't know that. It's so much fun when they say, hey, we have money, write. Write for strings.

0:22:28
They give you like carte blanche?

0:22:29
Yeah. I had that twice so far.

0:22:32
Oh, beautiful.

0:22:33
And I got really creative with colors.

0:22:35
Yes.

0:22:36
You know, string section with maybe an oboe and a bassoon and a clarinet instead of saxophone.

0:22:42
I mean, you know, the orchestra is the greatest synthesizer ever. You can get any color out of it.

0:22:49
Well, and it's a little easier for someone like yourself to write for an orchestra than it is for me because the piano is an orchestra. The whole range of the orchestra lives under your hands.

0:23:00
Yes, yes. It is, but I mean there are some downfalls about being a piano player because it's a huge advantage. Every note is right in front of you, but sometimes then you're drawn into certain patterns. It's almost like a visual thing. And I think if you step away from the instrument and you just listen to your inner ear, I think that's the real art of composing.

0:23:25
A friend of mine studied composing and arranging with someone in Chicago. And at one point he was talking about how he likes to write at the piano and his teacher said, can't you hear it? You know, because I grew up in a house my grandfather wrote avidly, composed, arranged. Yeah, yeah. And he wrote never at the piano. Wow. He just heard it. Yeah.

0:23:49
And that amazes me. Yeah, yeah. You know, because I cheat. I use Finale. Oh, of course. So I can hear it. Of course. I mean, same here, you know, I use orchestral mock-ups. I just do it in the computer, but I think and I hope I'll get there I think the real artists you just sit there with this with it with with a pen pen and paper

0:24:10
Yeah, and it's just listen to what comes out. Have you ever gotten into any spontaneous? composition on stage or in a or even in a room I

0:24:18
Did that a lot when I was at Berkeley? I mean decades ago You know we used to go to a clock three o'clock in the morning. We used to go to a room and just three, four, five of us and just jam.

0:24:32
Well, but that's probably where you begin to really get into listening.

0:24:37
Yes, yes.

0:24:38
Because we're talking about call and response. We're talking about interacting on a deep level with other musicians.

0:24:45
Yes, yes, yes.

0:24:47
You know, I was fortunate to play in a trio that did nothing but spontaneous composition. Wow. And it was a little different. It was piano, trumpet and drums. And we just had a blast with it because all three of us were listening all the time.

0:25:01
Of course. I mean, to me, that's like the highest level. One of my favorite piano players, Keith Jarrett, he became famous with the Cologne concert,

0:25:10
you know?

0:25:11
Oh yeah, yeah, he did. And that was like all improvisation.

0:25:14
I still listen to that concert.

0:25:16
Oh, it's mind-boggling. Yeah. Mind-boggling. And God bless him. He went through some strokes. I don't think he'll play ever again.

0:25:24
No, he doesn't play anymore. That is also one of my favorite trios ever.

0:25:28
Oh, of course. With Jack and Gary. Yes. Oh, legendary. Yeah. And that level of listening and you know sometimes as improvisers it's very easy to just recall the library in your head and play the same thing again and again and again. But on their level it's really, really spontaneous composition in real time.

0:25:55
I got a very valuable piece of advice once from a friend of mine and he said if you're playing a solo course and you make a mistake, do the same mistake in the same spot on the second chorus and it's hip. He said the third time, it's a mistake.

0:26:12
That is funny. Wow. I actually read an interview with David Sanborn, was talking to Miles Davis and somehow Sanborn felt kind of insecure about his jazz chops and they were listening to a recording together and Sam Boyer apologized and said, oh man, sorry Miles, I think I made a mistake. And Miles said, man, you should have played it twice.

0:26:37
Yeah? Yeah. Oh yeah. Miles was a genius, absolute genius. And there were things he did that the public didn't understand. When Miles turned his back on the audience.

0:26:49
Oh, he got a lot of flack for that, but we know why he didn't.

0:26:52
But he was telling the guys what to play.

0:26:54
Exactly.

0:26:55
He wasn't turning his back on the audience.

0:26:57
Exactly.

0:26:58
You know, he was arranging spontaneously, which is amazing.

0:27:03
I have a little funny story about Miles and me. Please. While I was at Berklee, Berklee College of Music, in order to get money, I was actually a flight attendant for Swiss Air during the breaks, during summer, and on one of the trips, I think it was from Geneva, he just, Miles just finished the Geneva Jazz Festival, traveled from Geneva to Paris and I was able to serve him breakfast in first

0:27:26
class. Oh that's great, that's great. Yeah he was a very, very, very nice man. See and I never got to meet Miles but I met his daughter. Oh! She lives in the same neighborhood I do in Henderson. I did not know that. And I'm at a dog park. I had a standard poodle that named Jazz. And I'm calling my dog and this little white dog keeps running over to me. And this lady walks up to me and says, why are you bothering my dog? I said, what do you mean? She said, my dog's name is Jazz. I said, well so is mine. And as I'm talking to her and we're talking and she's smiling, I finally said, are you related to Miles Davis? And she said, why? I said, you have his smile and his eyes and his sense of humor. And she said, I'm his daughter. Whoa, whoa, that's a great story. That's how I met Cheryl Davis. Wow. Yeah. Beautiful. Oh, it's wonderful. So you're going to be back at Gambit in July, you said?

0:28:30
July 15th, yeah.

0:28:32
I'm sure we'll be talking about that on the air. Great. And you're working on some new music with other artists and yourself, I'm sure.

0:28:39
I just released a single two weeks ago called The One. I know. We're playing it. Thank you, thank you. KUNV, you guys are playing it. Really thankful for that.

0:28:51
Yeah, and I wish you tremendous success and a great future. Thanks, John. I appreciate it. And I'm glad you're enjoying Las Vegas, because it can be a wonderful place to live.

0:29:01
It is, you know. Most of my friends think, oh my God, Vegas is the strip. And I live like five miles from it, very close to it, but my neighborhood is so quiet. It's beautiful.

0:29:13
Well, people will call me from Chicago. It's where I grew up and I know the friends there and they're like, where should we go? What show should we see us? I don't know Right. I don't go to the strip unless I'm invited same here. Yeah. Yes I I interviewed the pianist with Barry Manilow. Yeah, and he said come see a show So I'll go see a show on the strip sure. But other than that, that's not somewhere I go. It's not on my radar. Yeah, yeah. Because I worked on that strip for 40 years. Yeah, yeah. In the showrooms, you know. Yeah, yeah. But yeah, tremendous success and happiness.

0:29:47
Thank you.

0:29:48
And creativity always. Thank you. Appreciate it.

0:29:50
And thank you for coming in.

0:29:51
Of course. Thanks for having me, John. Appreciate it. And we've been here with Greg Manning, and it's been a great time, and I'm glad you're listening. Keep listening. I'm on the air Monday through Friday from 9 a.m. till noon in the Morning Groove at 91.5 Jazz and More. This is Nashen. Check out the podcast Transistor.fm. It's themorninggroove.transistor.fm and we'll talk to Transistor.fm. It's themorninggroove.transistor.fm and we'll talk to you soon. Have a great day.

Transcribed with Cockatoo