Artist Interview by: Gerard W. O'Brien
I had the opportunity to speak with the “Spokesman for the Clarinet,” Eddie Daniels, about making his new CD with Hank Jones, the language of jazz and playing the saxophone and clarinet. The conversation was an education and Eddie Daniels is a remarkable teacher. After you read this, I hope you have the opportunity to hear Say What You Mean on SONY Classical. I believe you will like it every bit as much as I do.
JAZZREVIEW: Hello Eddie. I've been looking on the Internet and this album, Say What You Mean, seems to be some jazz that everyone has been waiting for a long time. The praise it has received is just phenomenal. How do you feel about it?
EDDIE DANIELS: I feel good about it. How could I feel bad about it, you know, it’s great. It’s great to play the saxophone again on an album. People hear it and like it. It is good having a presence on the jazz scene even though I have made several albums that were jazz albums in the last 10 years. They didn't make as big of a splash as having Hank [Jones], Richard [Davis] and Kenny [Washington] on the album. I think that's the difference you know.
I did one album called Swing Low Sweet Clarinet, which I think is a beautiful album. I did it with a big band in Frankfurt, Germany. We released it here on Shanachie Records, but people today, when they think of jazz, they want to hear the small group and want to hear the soloist wailing. Thanks to IPO Records I had a chance to do that.
JAZZREVIEW: Everybody on the album, at one point or another, does wail.
EDDIE DANIELS: I think part of it is complicity of expression rather than having… when I was doing GRP Records, we would think a lot about each album and I think I like going that way. We really spend a lot of time and you grab the tunes, the structure and the concept. That was more GRP's version of how to do things and it wasn't a jazz label. It was more of a kind of a crossover mixture label and I did some straight end jazz albums on that label: Benny Rides Again with Gary Burton, This is Now with Billy Childs--you know, some straight-ahead blowing. But generally, the albums were crafted. They were produced. This album, Say What You Mean, wasn't crafted. It was thought about, but it wasn't overly crafted. We had tunes that we were going to possibly do and we ended up choosing the tunes at the date that would fit everybody.
JAZZREVIEW: What's the process that you go through to choose the tunes?
EDDIE DANIELS: I choose tunes that I love and that I like to play, like "You and the Night and the Music.” You know, it’s an old standard. I like a lot of the old, great tunes that will always be fun to play on. Plus, they are tunes that everybody knows, like "How Deep is the Ocean" or "I Hear A Rhapsody.” It is a tune that Hank knows without even having to read it, and it’s a tune that everyone has a feeling for. Even though you don't hear the tunes as much today, it’s kind of from my own roots. Where those tunes come from are the roots of a lot of people my age. Those are great tunes. The only original tune on the album is "Why You?" which I think is a terrific tune. Hank and I composed it together, right there on the session.
JAZZREVIEW: For a recording like this, how many sessions did you do to record it?
EDDIE DANIELS: Two.
JAZZREVIEW: Two days?
EDDIE DANIELS: Two double sessions. You know, two all-day sessions, ten to one, two to five, times two.
JAZZREVIEW: Did you do any rehearsals before this?
EDDIE DANIELS: No, no rehearsals.
JAZZREVIEW: Do you think that when you do something like that with no rehearsals, that it gives it more spontaneity, more crispness?
EDDIE DANIELS: When you have guys like Hank Jones, it is okay to do it without rehearsals. I mean you do use some rehearsal time in the studio when you get there, but you don't want to waste that time. I generally like to rehearse. I think it is an important thing to rehearse for an album of this nature where you come in, you know the guys. I have known Hank for 40 years. I met him when I was in my early 20's and in Thad Jones' band, maybe some odd 30 years. He was the first pianist in the Thad Jones orchestra and I was in the first herd of that band. I was there the first night with Hank playing piano and Richard Davis playing bass. You know, you go back a lot of years. So you walk into a studio and you smile at each other, and you go "Ha ha! You again!" And you pick up your horns and you play.
And so, you know, rehearsal or not, eventually, you come to this common language. That is something I wanted to say jazz is. It’s a language, and a cultural language that only a certain select group of people who have been doing it for a long time really speak. And there are a lot of people who play jazz, but the ones who really speak it are the ones like Hank Jones who is 87 years old. Yes, so he has been speaking that language for a long time.
Once in a while you'll get people who will say, "I've been devoting myself to jazz for five years now. I really want to do it. You know I'm really devoted." Five years! You know, when somebody like Hank has been doing it for 50 – 60 years. . .you know, he may even play the same notes, but it’s not the same. I play the same notes someone else might play who’s younger, but the meaning of the notes is different.
The longer you speak this language, you could play the same notes that someone else plays, or they can play the same notes you play. Of course, the language is similar unless you want to play something that is so off the chart that nobody's ever heard it before, and you want to invent something new. You know, like Burton did at the time, which really wasn't something new. It was just an evolution of the music of the time and he took that next step, and he did it. If he hadn't done it, someone else would have, even though he was a monster. Not trying to take anything away from him, but the amount of time speaking that language is so important.
JAZZREVIEW: And everyone in the group has that….
EDDIE DANIELS: Exactly.
JAZZREVIEW: The youngest guy in the group is Kenny Washington and he has been playing for 30 years.
EDDIE DANIELS: That's right. And so we all have this language. We haven't really played together in a long time and I never played with Kenny. Of course, Richard and Hank have played years and years ago, but we've all been letting. . .it's like a bottle of wine that we're letting age and get beautiful.
As you get older, you speak that language with a little more sensitivity. You carve it a little bit different. It's like picking up a book. Everybody's. . .you know, in America, you go buy a pocketbook or a book in a store. Everybody's using the same words, but somehow, somebody writes a book where they take those same words and put them together in a way that peaks your whole imagination and interest. . .gets you alive from the same words, same adjectives, same nouns. So that's the difference--the amount of time speaking the language.
JAZZREVIEW: Now, one of the things I've always felt listening to an album with people of this stature is that it is very conversational. It's almost as if the audience is sitting in and watching the four of you having conversations through your instruments.
EDDIE DANIELS: Absolutely. Absolutely. Jazz isn't supposed to be, at least for me, you know, the soloist is playing and other guys are just backing them up, like putting a curtain there. It's really an interaction between the guys and if you really listen closely, I'll play a note and then Hank will play something else. Then I'll answer that. It's all subconscious because you're all in this world together, swimming in this lake together, or this ocean, flowing together. That's when real jazz happens--when there’s real communication happening. Not only jazz, [but] classical music. You know, in a classical setting when somebody plays a phrase and somebody answers it? Even though it’s written out, the way that person answers that phrase with the voice that came from the other person, really makes it come alive. Like you and I talking, you ask the question and I answer the question, then you bounce off the question that I answered with something else. We're doing it right here.
JAZZREVIEW: Conversation is very improvisational.
EDDIE DANIELS: Absolutely, yet we have a structure, in the way you're running this interview. So it's conversational and it's improvisational, but we have a structure here. It’s about the record. It’s about jazz. We're narrowing it in and it’s very similar to what happens when you play music.
JAZZREVIEW: Richard Davis is also a classical musician.
EDDIE DANIELS: Right.
JAZZREVIEW: I'm not sure about Hank or Kenny, whether they also play classical ensembles or groups. I know Kenny teaches, but when you play with somebody who is both classically trained and a classical performer, as well as a jazzman, do you feel that opens up a lot more possibilities for you?
EDDIE DANIELS: No. I didn't have that thought at all when I did this session, that Richard was a classical bassist, you know. The thing that happens when somebody's very good at classical and also very good at jazz is they have a sensitivity and command of their instrument, past just making a sound. They make a beautiful sound. They think of articulation. They think of things in a different way. They think of the details in a different way. So that's the difference. They have more control, so someone who’s played classical music for a long time and also happens to be a very fine jazz player - there aren't many, you know. You can count them on the fingers of half a hand. People who really play classical music and who are true jazz players, and I mean true jazz players, not just people who dabble in it, [are] the ones who have a command of the instrument, past just blowing it.
JAZZREVIEW: Do you think at any point in time that the four of you may make it together for a live concert?
EDDIE DANIELS: Sure, absolutely.
JAZZREVIEW: Where? I saw you play in Santa Fe. It's always amazing with Roger. Would that be a possible venue?
EDDIE DANIELS: Oh, yeah. Oh, sure. I think it is more likely that Roger and I will get together again because we have an ongoing duet that we do a couple of times a year. Hank is busy now and he is 88. It might be difficult to get everybody back together again, but we might. You never know.
JAZZREVIEW: That would be really great. I notice that you are also going to be coming out to Los Angeles in August to record, is it called Concerto in Swing?
EDDIE DANIELS: Concerto in Swing by Patrick Williams, yeah.
JAZZREVIEW: What kind of band will that be?
EDDIE DANIELS: That's a big band. Do you know who Patrick Williams is?
JAZZREVIEW: I'm not familiar with him.
EDDIE DANIELS: Well, he conducted for Frank Sinatra for a lot of years. He wrote a lot of his music. He's one of the really famous big band and orchestra writers who’s been around for years and years. He's the head of the Mancini Institute right now. This is going to be with the big band from the Mancini Institute in order to raise money for the Mancini Institute. We're going to do this piece that Patrick wrote for me as a gift that I've been doing around the world with big bands. It’s a beautiful piece, the clarinet of big bands.
JAZZREVIEW: Okay, will it be recorded live?
EDDIE DANIELS: Yes. No, in a studio.
JAZZREVIEW: It will be in a studio.
EDDIE DANIELS: But the day before that I'll be playing with the Mancini Institute Orchestra and playing some arrangements that Tommy Newsom wrote for me that are kind of dedicated to Benny Goodman--but written for me with a big, full orchestra. So I'll be doing two things with the Mancini Institute Orchestra in August.
JAZZREVIEW: And where will you be playing at?
EDDIE DANIELS: I think that's going to be outdoors in L.A. I don't know the exact venue.
JAZZREVIEW: Okay, with that information, I can get it from Mancini.
EDDIE DANIELS: Yeah, you can work that out. And I’ll be coming to New York in October. I'll be playing at the Iridium on October the 19th, my birthday. I will play with my own quintet, with Joe Locke on vibes, Dave Fink on bass, and Joe La Barbera. You know Joe La Barbera?
JAZZREVIEW: Yes, I do.
EDDIE DANIELS: And Tom Rinear on piano and clarinet.
JAZZREVIEW: Yes, I know Tom; he lives across the street from me.
EDDIE DANIELS: Oh, that's right.
JAZZREVIEW: Yes.
EDDIE DANIELS: And the first night, it's going to be a clarinet extravaganza. Paquito is going to come by and play, and Peplowski is going to come and play.
JAZZREVIEW: Wow! Now will that be recorded?
EDDIE DANIELS: Yes, that will be recorded. What about the saxophone?
JAZZREVIEW: Well the saxophone, its amazing the four tracks you play it on.
EDDIE DANIELS: I mean, generally everyone knows me as a clarinet player for the last 25 years. Right?
JAZZREVIEW: Right. Well, the clarinet, which I think is a wonderful instrument, has become. . .nobody plays it. You don't see it. People think the clarinet is the 1940's. Every time I hear someone play the clarinet, I can see why it was that popular in the 1940's. What happened? Did people stop writing for it?
EDDIE DANIELS: No, it's too hard.
JAZZREVIEW: It’s too hard to play?
EDDIE DANIELS: It’s very hard to play, you know. That’s the reason I made it my voice because I felt the clarinet needed a spokesman back in the 60's and 70's. That's why I did it. I felt like I could make a difference with that instrument.
JAZZREVIEW: I think the fact that it is a difficult instrument to play would attract people to it.
EDDIE DANIELS: I mean the level of difficulty for the clarinet is so much harder, that it can attract someone to it, but it’s not something you can pick up in a year and learn how to do. It’s something that you have to spend 25 years learning. With a saxophone and a guitar, you can pick up right away and be playing music on it. [The clarinet], it doesn't work that way.
JAZZREVIEW: Twenty-five years is too long for people.
EDDIE DANIELS: That's right, even twenty or even fifteen [years] if you’re really talented, or even 10 if you're super talented. There's just too much to do on it, and that's why there aren't that many [clarinet players].
JAZZREVIEW: Did you play the clarinet or the sax first?
EDDIE DANIELS: I played the sax first. But most people. . .maybe years have gone by and they have learned that I am a clarinetist. They say, "Oh, he's playing the saxophone now. When did he pick that up?" They don't realize that I'm on some early Sister Sledge albums playing solos. You know that group?
JAZZREVIEW: Oh, yes.
EDDIE DANIELS: I was on a hit record of theirs playing a tenor solo called "Gotta Love Somebody." I was the sax solo on that. On Billy Joel's "The Nylon Curtain," I'm the sax solo on that record. I don't know if you know that about me.
JAZZREVIEW: No, I did not. I know Billy Joel and I know Sister Sledge.
EDDIE DANIELS: Yeah, and "The Nylon Curtain" and Freddy Hubbard, the Hub of Hubbards, I'm the saxophonist on all those records from the early 60's and 70's. So, when they see me pick up the saxophone, they say, "How did he do this? Did he just pick it up?" No! I was in Thad Jones-Mel Lewis band for seven years in the sax section, and all those records playing the saxophone. So they don't know that part of my history.
The reason I'm playing the saxophone on this record is really at the request of a lot of my friends saying, "We miss your saxophone playing. We want to hear it again. We love your clarinet and you've made a mark on it, but you know, we miss that saxophone.” So that's why I did it.
JAZZREVIEW: You live in Santa Fe. Do you think that helps you in terms of being able to play elsewhere in the country, because you're at such a high altitude playing?
EDDIE DANIELS: No.
JAZZREVIEW: 'Cause I'd go there and for the first three days, I'm walking around town and I can't breathe.
EDDIE DANIELS: Well, it gives you a strain, but when you come down to sea level, I wouldn't say it helps. After a day back at sea level, you have to adjust to humidity, which we don't have here as much. It's a different thing. No, I wouldn't say it helps. In fact, life is a little harder as a reed player when you have to fly back and forth from the high altitude to sea level. You have to change your reeds for going to different areas, whereas if I lived in New York, I could go to L.A. I could go to Chicago and the reed that I would play in New York would work if I played at sea level. But, I live at high altitude so I have to kind of deal with that issue whenever I come back to sea level. It's harder actually.
JAZZREVIEW: My next question would normally be, well, what are you going to do in the future, but you've told me that it looks like at least another two albums coming out.
EDDIE DANIELS: That's right. The one we did live already with Roger, Live at the Bakery, that will be coming out in January. The one that we're doing live in October on my birthday at the Iridium will come out next year again. And, I just did a beautiful project. I recorded it with my friend Frank Proto and it’s called The Gershwin Connection. Frank wrote me a piece called "Sketches of Gershwin" for clarinet solo and string orchestra. It’s actually a kind of classical, jazzy piece. Then he wrote several arrangements of "I Loves You Porgy" and "The Man I Love," and "Fascinating Rhythm." So this is kind of a nice project, a Gershwin project of something original that’s Gershwin-esque, and some of the Gershwin tunes. That's something that will be in the mix that I hope people will be hearing pretty soon.
JAZZREVIEW: Okay, and then you play regularly with Roger Calloway.
EDDIE DANIELS: A couple of times a year.
JAZZREVIEW: Is that usually in Santa Fe or do you take that around the country?
EDDIE DANIELS: We've done it in L.A. and in Santa Fe, and in some other places. We've played in New York and hopefully, when the record comes out, there's a chance to go around the world and do it. It’s a very spectacular, different kind of. . .when you talk about the interaction between the players. . .when you have someone like Roger and myself, its really a conversation that you can watch and hear. It’s the essence of what really good music making is when there's a batting back and forth of the ball between players. They're conversing and they're sharing. It’s the talking together. That's what good music is about.
JAZZREVIEW: What haven't we covered that is important to you?
EDDIE DANIELS: What about my clarinet stuff? You haven't really talked at all about that.
JAZZREVIEW: Okay, how about your clarinet stuff?
EDDIE DANIELS: Do you know anything about the records I've made in the last couple of years on clarinet?
JAZZREVIEW: I have the Five Seasons and that's the extent of my knowledge of your clarinet albums in the last ….
EDDIE DANIELS: Five Seasons, it’s a beautiful album. It evolved from the Four Seasons with a jazz touch to it. It’s like a jazz album and a classical album together. There are many, many other jazz albums that I did just as a clarinetist. I'm also on all of the Gordon Goodwin big band albums as a soloist. I don't know if you know the Big Phat Band. You live in L.A. That's a band that you should get to know.
JAZZREVIEW: I've read all of the reviews that are on your website and everybody says, "Well, you've been gone for the last ten years," but apparently you haven't been gone at all.
EDDIE DANIELS: No, not at all, but that’s because most of the writers are from the East Coast.
JAZZREVIEW: Okay, and if you're not the leader, do they just assume that you're not working?
EDDIE DANIELS: No. In the last ten years, I've probably had three or four albums I've done as a leader, but it depends on how it seeps through to the listeners and also to the publicist. And I think that because Shanachie Records did not have a good publicist that worked my records, people didn't know about it. You know, I did an album with Chuck Love called Beautiful Love in quartet. It’s a beautiful album, but it never got any notice. I did an album on Chesky called Real Time with Adam Nussbaum and Chuck Love. It’s a really straight-ahead quartet album, but for some reason nobody noticed it.
I guess I stayed out of the mix a little bit longer, maybe five years, without doing a straight ahead jazz album. Then suddenly it comes out on a new label and people say, "Whoa! Where did this come from?" It's not that I have been out of the mix. I've been around and I've been on all of the Gordon Goodwin albums also. That was not as a sideman, I'm a soloist on all of those albums. The newest one that’s coming out, The Phat Pack, I have an amazingly beautiful solo on that album.
So you know, it’s really a matter of how it gets out to the right people. Somehow, New York, the East Coast, seems to be the jazz center. I could be out in L.A. playing and every year playing with my quartet around the country, but getting noticed seems to be a little easier when you have the East Coast guys working your stuff.
JAZZREVIEW: I've seen it to be very much the case with jazz, even out here, because the albums that are sent to me to listen to, review or do interviews, all come from the East Coast.
EDDIE DANIELS: Right.
JAZZREVIEW: I don't know why that is.
EDDIE DANIELS: Well, even Ira Gitler who wrote the notes on this album--I've known Ira for years and years when I was in Thad Jones' band. He was around all the time and he said, "Well, you've been off the radar for a couple of years." And I said, "Ira, I've been on the radar, just nobody watched it!"
It’s kind of difficult, but I’ve never done this kind of album. I did jazz albums, I did quartet albums, more original material, some standards, and the album divulged, "Oh! He plays classical music! It's really a classical album!" It got nominated for a Grammy Award, you know, and so in a sense, I have been on the radar. But people then categorize you because I did the Vivaldi variation and rhythm jazz section with Peter Erskine, Dave Carpenter and Alan Broadband as the rhythm section. There's tons of jazz playing on that album, [but] because it was kind of in between the crack and wasn't just a straight quartet album playing standard tunes, it got lost.
JAZZREVIEW: There is a kind of benefit in playing classical music from the perspective of jazz people noticing you.
EDDIE DANIELS: That's true. The Vivaldi Five Seasons album, to me was probably one of the true crossover albums that ever was. You know, where you have the L.A. Chamber Orchestra? It’s all evolving music. Then you have this quartet with Peter Erskine, Carpenter and Broadband waiting in the curtains, and we're wailing. But you see, jazz radio won't play a cut from that because it's classical sounding and then it's jazz. Well, you say there's always a risk when you do something a little bit different and I've always wanted to do something different. That's why I've stayed away from just doing a quartet blowing-album because I've felt that it was a bit more ordinary. But what has happened is because I haven't done that kind of ordinary album, I'm now a little bit more out of the ordinary.
They've seen me now come back to what has really made me a more pure, basic kind of jazz setting, and I'm having a ball and I love it. It’s like "Oh, he does that!" It’s kind of interesting, but the Vivaldi Four Seasons is also something very special and very beautiful. I hope people get a chance to listen to that album.
JAZZREVIEW: Well, hopefully, as people listen to this album, they'll get curious and want to get the other albums.
EDDIE DANIELS: As you have listened to this album, what do you notice about the clarinet?
JAZZREVIEW: What do I notice about the clarinet?
EDDIE DANIELS: I'm interviewing you now!
JAZZREVIEW: Yes. About your playing, what I notice is that you can do these various staccato things with it that are sort of,…once again, it goes back to my comment as conversationally, you'll say something and there's a response from the piano. The playing is very crisp, very clean, Hank Jones' playing is also incredibly crisp, clean and lively. And, I see a lot of the back and forth in there. To me, it’s an instrument. But maybe, the thing is, listening to it the first couple of times, I had a little bit of difficulty in figuring out when you are playing which instrument. That could be because I'm not a musician.
EDDIE DANIELS: What do you mean, "When I'm playing which instrument?”
JAZZREVIEW: It doesn't say in the liner notes that you're playing the saxophone on this cut, or you're playing the clarinet on that cut, so I have to listen to it because I think of you as a clarinet player.
EDDIE DANIELS: Yeah, but when you hear the saxophone, it’s obvious right?
JAZZREVIEW: Yeah, for the first or second listen, yes. But that, I think, also comes from not being a musician and not expecting it, even though it says tenor sax on the front of the album. When I got it, I put it on and I listened to it. And then I said, “Well okay, there's a saxophone in there,” and then I read the notes.
EDDIE DANIELS: Well, when you hear the clarinet, you're not sure if it’s a saxophone or a clarinet?
JAZZREVIEW: Now I am, but then I wasn't. And like I said, once again, the clarinet has not been as popular an instrument as it was and I expect you to be playing the clarinet. Everybody, it seems, plays the saxophone. I mean every band is able to get one or two saxophone players, but I guess it’s a case of if you're expecting something, that's what you hear. But now that I've listened to the album five or six times, I will continue. This is definitely one that will go into the rotation, but yeah, the more you listen to it, the better it sounds. The more distinct they sound, and it’s a case of, I think, being able to listen to it over and over again.
EDDIE DANIELS: I think the one thing about this album, and several of my friends who are musicians in the ordinary respect have said, “It is an album you can listen to many times and keep on getting more from it.” Some other albums you can listen to once and you don't want to hear to them again, not all albums, but some of them. I think this album has enough depth, interest, color and special-ness to it, that it’s not an album that you listen to once and then don't want to hear it again.
JAZZREVIEW: I think with a lot of albums you listen to them once and its not that you don't want to hear them again, it’s that there's nothing really in them that makes you want to seek them out again.
EDDIE DANIELS: Right, that's what I'm saying.
JAZZREVIEW: And in this, you can just listen to the album, listen to Hank Jones play, or just listen to you play. Or, you can just listen for you playing the saxophone, or just listen to the drummer and the bass player. When you put all those combinations together, this gives you a lot of opportunity to listen. One of the reviewers said this could have been titled the Hank Jones and Eddie Daniels Quartet. But, it also could have been titled all four of your names.
EDDIE DANIELS: We're sharing. Just because I'm the leader, doesn't mean I have to play all the solos.
JAZZREVIEW: Right.
EDDIE DANIELS: I play with people whose playing I love, but yet that same reviewer said at the end, "By the way, this is one of the best albums of the year." That was his comment! I was a little taken back when he said it could be called the Hank Jones/Eddie Daniels Quartet, but then when I read on, he was loving it so it didn't matter. You could call it the Irving 's Quartet. It doesn't matter. If you're listening to it and you love it, that's all that counts.
JAZZREVIEW: Well, a lot of the albums that come out under people's names, all the songs sound the same because it really is the leader playing. The other guys are a sheet behind them.
EDDIE DANIELS: Well, that's right. This album is about sharing and letting everybody shine, especially letting Hank shine.
JAZZREVIEW: And that is well accomplished.
EDDIE DANIELS: Yeah, well, that's the idea.
JAZZREVIEW: You recorded 12 hours of music making this. You did four sessions?
EDDIE DANIELS: Yes, four sessions, but you don't get 12 hours of music making out of this. That means a lot of time in between. No, I wouldn't say that, you know, four sessions times--three is 12 hours of being in the studio, and you don't necessarily get 12 hours of music. You probably get maybe five hours of music. You get several takes on each tune, but you spend time talking and figuring out what you're going to do.
JAZZREVIEW: Okay, but I'm just thinking into the future that Jimmy Hendricks is still releasing albums, so you've got potentially enough music there for another album.
EDDIE DANIELS: That's true. There's a lot of alternate takes and some other tunes that we didn't put on there, absolutely.
JAZZREVIEW: So that could be another project. For a guy who has disappeared, you're incredibly busy.
EDDIE DANIELS: I never disappeared. That's the idea.
JAZZREVIEW: That's it, but I'm glad, seriously glad, that people have seen that you're back.
EDDIE DANIELS: I'm glad to be back in this context and to have people hear and appreciate it. I'm loving playing the tenor sax again and the clarinet, and if I can make people feel good within themselves by listening to my music, that's my aim.
JAZZREVIEW: I think you're succeeding. You're aim is very good.
EDDIE DANIELS: Thanks a lot.
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