Part 1  :

OL: We’d like to Welcome the incredible Glenn Zottola, Jazz Trumpeter/Saxophonist Musician Great… and famed Recording Artist to the Grammy Stars! & much more, to the OL Oceanliner Notes Weekly feature as our Special Guest Artist!

OL: Welcome Glenn, and thank you for giving us and all of the OL Site Visitors, for what will be a 7-part Interview on the Oceanliner Notes Weekly Series, for the entire week of April 27, 2014. Once again, thank you and welcome…

Glenn Zottola: It’s a pleasure! The first thing I want to say… I’ve been studying the Oceanlight Records Website before our Interview, and I’m blown away. It is so beautiful and it’s such a wonderful service. The way that You present it; it is very impressive! I want to say…’well done’.

OL: Coming from You, Glenn, that’s a special honor. Thank you.

OL: Glenn, you’re a Native New Yorker, whose fantastic Career has spanned from East Coast to West Coast… from performing on the famed Ted Mack Show at the tender age of 13, to the who’s who of the Hollywood line-up of Recordings and Shows, including the Suzanne Somers TV Show. Can You take us back to where it all began in New York. You were playing the trumpet in Jazz Clubs as early as nine years old?

Glenn Zottola: Well, I grew up in Port Chester, New York. I grew up in a musical Family and that was my foundation. My Mom played a wonderful piano…kind of like Count Basie… and my Dad was a trumpet player, my Sister sings, and my Brother is a wonderful trumpet player… so it was growing up in a musical Family, with Family jam sessions. I remember back to being in a crib, and my Dad would be rehearsing Big Bands, in the living room… so that’s the foundation, for sure. He was also a Conductor, so there was a lot of classical music and opera in the house, too.

OL: Wonderful! So you’ve been exposed to it all?

Glenn Zottola: He formed the ‘ Westchester Pops’, and I actually performed at the ‘ Westchester Pops’ at 9 years old. In New Rochelle, we used to do concerts, and he was the Conductor.

OL: Wow, that’s incredible, Glenn. To have that kind of exposure, and with your Dad at the helm. Were You self-taught?

Glenn Zottola: I was kind of an interesting character. I had perfect pitch, when I was a kid; and I also had imperfect patience (laughing). I wasn’t one that was a very studious type of guy, to sit down in front of books and practice. I just wanted to make music. I heard lots of music in my head, From when I was 3 years old. I wanted to play right away, and get out the music that I heard… so, that’s why jazz attracted me, you know, as opposed to being a classical Musician. A lot of my early years: were jam sessions, playing records, getting together with guys older than me, in the neighborhood and jamming. Basically, everything that I learned was on the Bandstand.

OL: The undeniable influence of coming from a Musical Family…respectively your Father, Frank Zottola, the consummate Musician, Conductor and Arranger for many of the Jazz giants… and without a doubt, your brother, the great Bob Zottola on Trumpet/Flugelhorn. As a young lad, what made You choose to first play the trumpet and that it would become such a natural evolution for You, being a part of the Musical Family Zottola Dynasty?

Glenn Zottola: Let me just add one more thing to my last question, just to give you a real graphic idea…my Mother would sit me on her knee, and she would play the piano and sing the tunes. I learned like 500 standards, by ear, like that. Trumpets… they were all over the house, because my Brother being 10 years older, and with my Dad ; the trumpets were hanging on hooks, all around the house. I mean when I went to school, I thought that everybody played the trumpet. I didn’t know that… so it was kind of natural. I heard trumpets since I was in the crib; as I say, it’s kind of a natural evolution. They were right there. My Dad was my first Teacher, so I gravitated to it. Plus, the trumpet matched my personality. I have a pretty strong personality, and I don’t have to tell anyone, that the trumpet is pretty powerful.

OL: Yes, indeed it is, Glenn. You play it so beautifully and with such excitement. It’s just terrific… the way that You play. We love your style!

Glenn Zottola: Thank you.

OL: We know Glenn, that in your expanding Professional Career, travels have taken You to many musical corners of the earth. Speaking of expanding… You also play both the alto and tenor sax, in addition to mastering your first instrument, the trumpet. How do You feel each of these instruments affects your exciting and versatile playing style?

Glenn Zottola: Well, luckily no one told me that I wasn’t suppose to do that, because there are very different embouchures. Last time I checked, there was like three of us that did that; Benny Carter, Ira Sullivan and Myself . So, no one told me ‘hey, what are You doing?’ …but, when I was a teenager, I was listening to records: for example, Clifford Brown was a big influence and Louis Armstrong before that. Also, I always did love Saxophone players, like Sonny Rollins, early John Coltrane. I loved the instrument, and the reason I loved the instrument; that’s true in what you’re saying, it did have a different mood to it, and that’s what I take from it. On the Saxophone, I can express a different side that cannot be done on the trumpet. The saxophone is a real romantic instrument… so when I was a teenager, I wrote to the instrument company, because I was endorsing instruments as a Trumpet Player, since I was thirteen. I said to them You think You could send me a Saxophone? …and he sent me a Saxophone. That’s how it started. It only took one lesson; just where to put my fingers. Only one, and I taught myself the rest.

OL: And it was just so natural from there on?

Glenn Zottola: Well, I transferred over everything. I was already a Trumpet Player; so I transferred everything musically, that I knew from the trumpet, over to the Saxophone. It was natural. I was pretty much kind of a natural on the trumpet, also… so, I never really had problem with that kind of stuff. I think that if I’m going to tell any kids, or help them; if people encourage you, and they don’t stop you, or put up barriers, you can do amazing things. That’s the whole thing with Jazz Education, its just to open the runway, so the person can do some exploring, and not feel hindered.

OL: How very true, Glenn… Speaking of exploring, what was it like to perform at the Atlantic City Jazz Festival, on a seat in your High School Band, with Russ Martino, Conducting? As a teenager, it must have been awe-inspiring to perform on the same bill as some of the greats, like… Dinah Washington, Gerry Mulligan, Oscar Peterson Trio, Art Blakey, and Wayne Shorter, to name a few… Tell us about that experience?

Glenn Zottola: I grew up. Let’s say, for lack of a better word, kind of like a child prodigy. My Parents were not Stage-Parents, they wanted me to be a normal kid. For example, when Maynard Ferguson heard me play on the Ted Mack Show, he wanted to take me on the road as his protege… and my Dad gladly turned him down. He knew Maynard. He said, “You know, that you’ve got plenty of time.” I had a boat, I enjoyed trying to be a regular kid, but I wasn’t a total regular kid, so-to-speak, because of the music. People were listening to Elvis Presley, I was listen to Charlie Parker. I mostly hung out with older people, but these experiences… like my Parents had a Jazz Club, The Atlantic City Jazz Festival. It’s like yesterday, when I think about it. I’m in the wings, waiting to go on; literally watching Dinah Washington, sitting on a stool, singing her hit of the day, which is “What A Difference A Day Makes…” and I’m mesmerized, by watching this amazing Lady sing, and waiting to go on, myself. Then, at the same time, Gerry Mulligan’s back stage, having a tantrum over something. Oscar Peterson’s there, and I’m hanging out back stage with these Legends. It was both educational, and like a wild experience for me at thirteen.

OL: Just to see how life is back stage, that’s a part of performing, wouldn’t You say?

Glenn Zottola: Also, I’m a Jazz Musician that absolutely loves Singers. Some guys, today, don’t. The old days, they did… But today, you know Jazz Musicians are into instrumental music, but I was mesmerized by Dinah. I think I was more attracted listening to her, than anybody. As I mentioned, I grew up around a lot of opera, and basically my approach to playing, is a very vocal approach, and lyrical, in a sense that… if I’m playing a ballad, I would always want to emulate, Sinatra, or Dinah Washington, and Billie Holiday. I have a lot of vocal approach ingrained in my playing. I mean, in the old days, the horn players like Lester Young; these guys did lyrics to songs, so when they play the music, they even knew the lyrics.

OL: In some Jazz Clubs where there are Singers performing; a lot of Musicians do play very lyrically, when intertwining with the Singer’s performance.

Glenn Zottola: Absolutely! It’s actually a lost art. I’ve played extensively with Sinatra, Mel Torme, Peggy Lee, Ella Fitzgerald, and Joe Williams. I’ve played behind these people, and it’s an art form that I just love to do… it’s just kind of not getting in their way, but adding to it.

OL: Right… enhancing the performance. As a teenager, Glenn, tell us about the Family’s “Someplace Else” Jazz Club in New York, and what it meant to You, as a young Musician, being in the company of your brother Bandleader Bob Zottola, performing with more top Musicians such as, Tommy Flanagan, Ray Bryant, Horace Parlan, Bobby Timmons, Booker Erwin, Bobby Jasper, & many others?

Glenn Zottola: That was a tremendous spawning ground for me. For all the same era as The Ted Mack Show. I was 13 around that time. I didn’t realize how amazing that was, because I hadn’t really gotten into the professional scene, yet. I mean, You talk about guys like Tommy Flanagan, You sit in every week, with someone like that; I thought that was the norm for piano players, you know what I mean? And then, I learned something different later, obviously. As you get out gigging, not everybody is Tommy Flanagan. The main thing about that experience, besides the music; was the fact that all of those guys, took me under their wing, and they treated me so amazing! They saw some talent and they were just so encouraging. That was amazing for me.

OL: What a wonderful launch into the gig world! What was your very first solo performance, and what selection did You perform?

Glenn Zottola: It’s kind of a funny story. I’m in the 2nd grade in Grammar School, where they get the whole School together; where one event, I was to do this solo with my Mom accompanying me on piano… and it was this song called, “Red, Red Robin,” and I get to the bridge, to the middle, and I go blank. I was kind of scared you know, 2nd grader, I was 6 or 7. I was kind of scared in front of the whole School like that, right?… and I ran off stage, crying because I forgot the middle. My Mom comes over and said, “Listen Son, I understand that this is a big deal, but I know that You can do this.” She just gave me this pep talk. I went back on, and it all came back to me. I finished the tune to a standing ovation. I never faltered, since.

OL: Wow… that must have been quite an experience… and you got a standing ovation!

Glenn Zottola: That shows that encouragement early on, can make a difference.

OL: That shows a testament to strength of your Family encouragement and your talent. When You combine the two of those, You get a standing ovation!

Glenn Zottola: Yeah, you know, it was great, and I never looked back. Can you imagine if I had ended on a loss and had gone home like, Oh my God, I screwed up… I might have never continued, who knows?

OL: Well, give yourself a break, Glenn. You were seven years old…

Glenn Zottola: You’re right! (laughing)

OL: Being around your Dad , and watching him work, both as a Musician and Arranger. You also got to learn from your Dad about how an instrument works on the technical side. He also extended his talents in the manufacturing production of instrument mouthpieces. This must have given You a true and direct understanding of both the production and performing aspect of the Music Business. What a huge world for a young man, as yourself, Glenn. What would be the most important thing that your Dad, Frank, has taught and stayed with You, on your wonderful journey, starting out as a Musician?

Glenn Zottola: He was a master’s, master craftsman. This was a love for him. He had another factory, making mouthpieces; tried to help brass players, and it was a love for him to do that. A lot of great players would come up to the shop, and buy mouthpieces, you know… but I learned, and he kind of taught me how to use all of the machines. I became pretty good at it. I think it’s an advantage for anything… like, if you’re going to learn how to drive a car, it helps you, if you know how the car works, right?. It’s fine while you’re driving, and then something happens, and you panic. If you know how to change a tire, it’s a good thing… so learning about mouthpieces and trumpets, and how they work… I think that understanding helps you, as a player, too. You don’t have to, but it’s a good thing.

OL: What would be the most important thing that your Dad has taught and stayed with You, on your wonderful journey, starting out as a Musician?

Glenn Zottola: Well, my Dad, you know, was a great lead Trumpet Player, he was a great classical guy, and he played jazz, like Louis Armstrong, and he was the first one to introduce me to Louie through records… and he gave me a few pieces of advice, that were very simple. I’ve got to be honest; they have carried me throughout my whole career, all the way from playing with Benny Goodman, all the way through Chick Corea. Basically, one of the things he said… when he saw that I really wasn’t really the kind of guy that liked to play with books, and I’d rather play with records… he had all of Louie’s records. He said, “Listen, regarding Jazz, Song, just embellish the melody like Louie.” So that’s what I started to do. I started to take the melody, and take little embellishments with the melody. That advice… even when I got up to be much more advanced; like let’s say Charlie Parker and Be-bop, people don’t realize when I equate Charlie Parker to Louie… Charlie Parker is a very melodic player, and he’s embellishing the melody, much more sophisticated, but is still embellishing the melody like Louie did… so that’s one piece of advice, that really carried me all the way, because I’m an ear player… so I just use that ability of taking a song, and embellishing the melody, creating my own themes with the melody. If you talk about Mozart, you have the themes and variations… so that’s what jazz is all about. It’s variations and improvisations.

OL: With your Dad’s well loved arrangements for the Claude Thornhill Band, where he arranged with Gil Evans; arranging on “Autumn Nocturne…” as a Musician Glenn, what did You learn from listening to your Dad’s recording arrangements and what would be your favorite of his recordings?

Glenn Zottola: Claude Thornhill Band, was an interesting Band. It was a very advanced Band, for its day… and of course Gil Evans, who did all of Miles Davis’ historic albums, was an Arranger with my Dad, on that Band. My Dad’s arrangements were pretty simple, they were not very notey, but again, they were very lyrical. If I could have a complaint about some of the Jazz today; I miss sometimes, more lyricism. There’s a lot of technical virtuosity going on, a lot of notes, but I love lyrical music. I pretty much come from what I would call, ‘the golden age of Jazz’… which is 1920, starting with Louis Armstrong, and ending in 1950, with Charlie Parker… and then Miles and people like that, beyond that. That golden age of Jazz; not only did it swing, and have a great groove, it was very melodic and lyrical.

OL: That goes back to what You were saying earlier, about when You perform, You also listen to Singers… you like to shape the melody when you’re performing with Singers…?

Glenn Zottola: Absolutely… phrasing is everything. If you hear a great Singer, and you say, Oh my God, listen at how natural their phrasing is… how they are making those lyrics speak. Suzanne Somers told me that she used to travel and she knew Frank Sinatra very, very well. She lived right near him… and on a plane, going to a gig, he would be writing the lyrics out, over and over, and over again; on a piece of paper. His advice to her was, “Make sure that You make these lyrics, your own… so when You deliver that song, it’s like coming from You.”

OL: They should have a College Course, just on Frank Sinatra’s phrasing. It goes hand in hand. Singers listen to Musicians, just as much. It’s definitely give and take?

Glenn Zottola: Absolutely! Frank grew up in the Big Band era, so he was listening to all of the Musicians playing. I’m sure that he got a lot of that from hearing Musicians. Oh, the other piece of advice that I want to impart, which is kind of cute, but my Dad said, “Listen Son, if you’re going to play the trumpet, just realize something… You have to be cocky. Not arrogant, but You have to be cocky.” (laughing) There was a time when I used that advice, even with Benny Goodman. I’m pretty strong on the Bandstand, in the sense, and not arrogant, but just the fact that he said, “Realize that you’re playing the Trumpet; it’s a lead instrument, you’re leading a section, or in a small group, you have a powerful lead instrument, so you’ve got to be cocky, know what you’re doing and play affirmative.” That’s the other thing that I carried with me, from my Dad.

OL: Well, that’s definitely part of your signature sound… listening to your music here at OL, it really does comes through.

Glenn Zottola: Thank you.

OL: As we look forward to traveling with You Glenn, throughout this OL Weekly Interview, on many of your sensational recordings, first let’s talk about how You pick and choose the material that You wish to record, as it relates to your Solo Albums?

Glenn Zottola: Well, it’s interesting, because yes like on all my albums that I’ve done, in my own name; I have chosen all of the material. They mostly have been standards. I’m not a songwriter… so I’m sure that people who are songwriters say that’s a different scene, because they’re choosing their own material. For me, I had this tremendous repertoire of standards, because as had I mentioned; my Mom taught me 500. I never learned a song from a piece of music… which is unbelievable. I look back at that now… a tune that I recorded in 1981 “Lush Life,” which is not an easy tune. I never saw that music on a piece of paper. In fact, Coltrane had an album out called, “Lush Life,” and I remember I bought that album, and I loved it… and I listened to it like a couple of times, and I had it… I had the song down. The best way that I can put it; these songs are engraved in my soul. They are not something that I learned by memory, from a piece of music, they are something that are in there, so deep, whether it be Billy Strayhorn, Rodgers & Hart, Cole Porter, or Jerome Kern… they are really in my soul…

OL: It’s just a part of your DNA, right?

Glenn Zottola: Yeah… they’re part of my DNA, and that’s how I pick the material; pretty much on how I feel, at the moment. What do I feel like expressing; what song will do that for me?

OL: That’s wonderful, who are some of your favorite Jazz Artists that You grew up listening to?

Glenn Zottola: Okay well, first was Louis Armstrong. He’s my foundation… and he is the Father of Jazz… and then I was into the the hot Trumpet players for a while, like Maynard; you know, I was very much into Maynard, and then Dizzy… but my next influence that changed my musical life, was Clifford Brown.

OL: Yes, we lost Clifford at an early age. He was only in his twenties?

Glenn Zottola: He died tragically in a car accident. He did some classic recordings with Dinah Washington. I remember when I had his records, when I was a kid, and he had a warmth in his sound, that’s what he’s known for, along with his tremendous technique; but he had a beauty and a warmth that I think that was part of who he was. He wasn’t a druggie, he was a Family Man, clean cut guy. In fact, a lot of people know that, but he was kind of changing the way people view Jazz Musicians, because he was a very clean guy, you know?… and a lot before him, unfortunately had big time problems… so to me, when I was a kid, that all came through the music.

OL: Interesting. In general, would you say Glenn, that music comes through (pretty much what You just said); how a person lives, that You can understand them through music?

Glenn Zottola: Absolutely… I want to say something about the Jazz Musicians, because nobody had more problems than let’s say, Billie Holiday, or Charlie Parker. The thing that I loved about those guys of that era, that I can’t say as much for, I mean I don’t know… I might be wrong in saying this maybe for the rock ‘n’ roll cats… when they went on the Bandstand, in spite of all of the personal problems they had… music was always first. Charlie Parker himself, said, “Listen, it’s not the drugs, it’s me.” He even acknowledged that he would probably be better without the drugs… so they weren’t like dramatizing a lifestyle. They had problems for sure, but those cats; and I grew up with a lot of them, music was always first, before everything. In jazz, you’re naked up there, you really are naked.

OL: Well, you’re bearing a part of your soul… something’s that deep within You. We know that when You play that piece, Glenn, it’s part of You, like You said… it comes from You. You take it and You really make it your own… and so that’s why, the recordings that You have, are just so special and so timeless.

Glenn Zottola: Thank you so much. I really appreciate that, especially coming from Oceanlight Records.

OL: Thank you, Glenn. It’s an honor to Interview You.

Glenn Zottola: I want to say something to everybody, because the Artist is so important. I mean like, I can’t imagine… (like the world is not in good shape, already)… but without art, it would be ridiculous, you know?… Like look what the renaissance did for the dark ages.

OL: For sure.

Glenn Zottola: So, you have these guys through history that you know. Some have been in decent shape, and then some like Van Gogh, or Mozart… he wrote all of this beautiful music, or Charlie Parker…The Artist is out there, in spite of everything, whether it be personal problems, or the resistance they have to the art. They’re still doing it. I’m 66 years old, now… and I’ve had a great run, that I wouldn’t trade for anything.

OL: You mean that you’re 66 years young.

Glenn Zottola: Thank you. I just think that it’s so important for people to continue to create. I talk to Chick Corea about this all of the time… and Chick is 72, and he’s at the top of his game… and he said, “Glenn, this is what we do. We are there to make people feel good, man.” You know, he’s out there cranking it on the road, 50 weeks a year… and I commend all Artists that are doing that.

OL: And like You, Chick has been doing that all of his life.

Glenn Zottola: All of his life. He’s got 20 Grammys, and 44 Grammy nominations… and he’s has never sold out. He had 44 nominations as a Jazz Musician, oh my God!

OL: He stayed true to his sound.

Glenn Zottola: Yes! So, we all are out there, you know… including Oceanlight Records

OL: Thank you, Glenn. It’s a pleasure to be in your company, and to ask You to share with all of our OL Viewers, of your journey that continues on, to this day.

Glenn Zottola: What a beautiful service, of what OL is representing to give people exposure to these Artists… You get the inside, that they might not get otherwise. It’s a fantastic service!

OL: We Thank You for sharing your experiences with many up and coming Musicians, who would love to know what it’s like out there, to be a Musician for a lifetime.

Glenn Zottola: Right! They can always go to my website: www.glennzottola.com There’s a lot of stuff on there. TV, Video, Albums and everything!

OL: Thank you. We’ll certainly post the link, Glenn! For our OL Visitors and all world-class Jazz lovers, your own sound Glenn, has surely been heard far and wide. Tell us about your first ‘road gig’ with the famed Glenn Miller Orchestra. Who does their first gig on the road at on 17 year of age, we ask? None other than Glenn Zottola… but we’ll let You tell us about that, Glenn…

Glenn Zottola: You know, I’ve got to be honest with you. Someone asked me about that recently, and I didn’t really enjoy it too much. I did a little bit, because I was playing with some of the original guys. It was the first time that I was on the road and you’re traveling in a bus, and they do these things called hit and run. When you do a gig, and they don’t even check into a hotel, you get in the bus and sleep overnight, and go to the next gig. I was a very Family guy, you know, used to having my own room in my house, and my boat, and my car… living that kind of lifestyle… and I left, after a short time. I said… you know, this is just not for me. I went from that Band, right into Lionel Hampton… the same thing. You know, I’ve got to be honest. I’ve never really, really enjoyed being on the road, except when I went on the road with my own Band. But sitting in a Band, or Trumpet section, as glorious as that was… I was always groomed to be a soloist to be in front of a Band.

OL: Each experience has its place.

Glenn Zottola: Yeah, some guys are rug-rats. I mean they do that their whole lives, and they love it. That’s great, wow! It just was not my favorite thing.

OL: Well, thank you for your honesty. That’s what Musicians today, need to know. Every experience means something.

Glenn Zottola: When I got the TV Show, I thought that I had died and gone to heaven. I had this huge office, right next to Steven Spielberg, at Universal Studios. I had my own golf cart to go to the gate, to the Studio, to tape the show. I had my own wardrobe person, my own make-up person. I have a runner… say I need a box of reeds, and he gets it for me. I said I died and went to heaven.

OL: Now that’s what You call a real tour, right?

Glenn Zottola: Ten minutes from my house… so after being a Jazz Musician my whole life, to get into that environment, was oh my God, I can’t believe this.

OL: That’s wonderful, what a great story!

Glenn Zottola: With Suzanne, instead of staying in third rate Hotels, I learned by limo and private Jet.

OL: We look forward to talking about your stay on the Suzanne Somers show.

Glenn Zottola: You know, I’ve got a lot to say about that, being a Jazz Musician, in that environment. Let me end it off, saying this: You use everything, and I did. You know, I’ve done everything in my Career… Broadway, all kinds of stuff; Big Band music and Jazz, and I used every bit of it on that gig, as being Bandleader on Network Television. Great questions, too. I totally enjoyed it!

OL: Thank you Glenn. We look forward tomorrow in Part 2 of this 7 part Oceanliner Notes Weekly Series, as we begin to travel through Jazz Trumpeter Great…Glenn Zottola’s most celebrated Solo recordings, including his many recordings, with the many world-premier Artists. The best of the best. Thank you very much Glenn, for coming on as our Special Guest Artist. Glenn, is there any music commentary you’d like to share with the OL viewers, as we conclude this Interview 1 of 7 segment?

Glenn Zottola: What do you mean by, music commentary?

OL: We’ve asked You the questions. Now, it’s anything that You’d like to share, as far as your Career, with our OL Viewers.

Glenn Zottola: I don’t know who your listeners, or who your public viewers are. I’m sure it ranges from a lot of great people and Musicians.

OL: We have a lot of up and coming Musicians that read the OL Interviews.

Glenn Zottola: I’d like to tell all Artists, from Student on up; is just to keep on going. It’s not an easy route; because of the Society we live in, unfortunately. Someone at a store, one day, who I got friendly with: the Manager at a store, I think it was at Bed, Bath & Beyond… and she looked tired all of the time, and I said, what’s going on? She said, “Well, I have two kids, and I’ve been here, thirteen years.” I could see that she was not having any fun. I said, You’re not having fun, right? She said, “Absolutely not…” and I looked at her and I said, You know, I understand. I’ve been very fortunate my whole life, because in spite of any of the problems connected with it; every time I got on stage, I had a lot of fun. I love what I do… so what I want to say to any Musician, or any Artist… Student on up: there may be tough roads, or you maybe even make as much money as other professions, but very few Professionals can say that they love what they’re doing. If you listen to any Steve Jobs or Bill Gates, or any of these guys; always their advice, is ‘do what you love’. I think that’s the best thing that Artists have to realize, that what they’re doing… not only is it valuable, but you can really love it, each step of the way, and that’s worth a lot!

OL: Wonderful, wonderful! Thank you Glenn. We’ll see you tomorrow! And thank you all for visiting OL Oceanliner Notes Weekly!

Continue to Part 2 →