So maybe to open, what has been your very best personal experience as a jazz musician? Can you tell us about that?

Wow.

There's been so many.

Wow.

Well, a couple comes to mind.

In my earliest days when I first started playing, I was playing with – a guy named Ken Popowski, who just passed away suddenly.

He was a very, very famous jazz clarinetist.

Yeah, and that, of course, sounds like it's a matter of trust, trusting that it's going to come.

... yeah.

Well, I've talked to...

I've mentioned two of them already.

First one, the mastering the art of unlearning is, you know, I've kinda said that.

It's, uh, ways to trick yourself into having to pay attention in fresh ways, uh, following Sonny Rollins' model.

And the second point, as I mentioned, is, uh, this notion of affirmative competence.

Say yes to the mess.

I was wondering about your thoughts, your work and, um, improvisation and how, how that sort of works in the face of AI and, uh, the fact that people aren't improvising as much 'cause they're getting told everything, you know, by their devices or through their gen AI, right? How do you think we can balance that out, I guess, and, and, and, and, and ensure that we have this, uh, you know, a little bit more improvisation, you know, in, in our lives?

When I

was at Notre Dame, I was the accompanist for the Glee Club.

So I started to play again and it was much more interesting music.

It was somewhat semi-classical.

I had to really drill down to learn to read half decently.

But then I realized music is important to me.

That's when I was a senior in college, when I realized music is important to me.

Now, what was it like encountering, I guess, Weick's thinking? And where did his understanding of sensemaking meet with your sort of lived experience as a musician? Yeah.