Brandee Younger Performs Live From 'Gadabout Season'

Summary

Podcast Summary: All Of It – "Brandee Younger Performs Live From 'Gadabout Season'"

Podcast Information:

• Title: All Of It
• Host: Alison Stewart
• Description: ALL OF IT is a show about culture and its consumers, aiming to engage thinkers, doers, makers, and creators about the what and why of their work. It fosters a community centered around diverse perspectives, celebrating the rich cultural tapestry of New York City.

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Episode Overview: In this episode of All Of It, host Alison Stewart welcomes Brandi Younger, a harpist, composer, and bandleader, to discuss her latest album, "Gadabout Season." The episode delves into the creative process behind the album, the significance of the term "gadabout," the unique recording setup in Brandi's East Harlem apartment, and her role as the custodian of Alice Coltrane's harp. The conversation is interspersed with live performances from Brandi and her trio, providing listeners with an immersive musical experience.

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1. Introduction to Brandi Younger and "Gadabout Season"

[00:38] Alison Stewart opens the episode by introducing Brandi Younger and her new album, "Gadabout Season," released in June. She highlights a unique aspect of the album: Brandi performs using a harp once played and owned by the legendary Alice Coltrane, of whom Brandi is now the custodian. Alison emphasizes the intimate nature of the album, recorded entirely in Brandi's East Harlem apartment with her band.

Notable Quote:

“Gadabout Season is out now. Please welcome the pride of Long Island, Brandi Younger.”
— Alison Stewart [00:38]

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2. Live Performance and Band Introduction

The episode features a live performance of the album's title track, "Gat About Season." Following the performance, Brandi introduces her band members:

• Alan Mednard on drums
• Rashawn Carter on bass

Notable Quote:

“On drums, Queen's finest, Alan Mednard.”
— Brandi Younger [06:08]

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3. Exploring the Meaning of "Gadabout"

Alison inquires about the origin of the term "gadabout." Brandi explains that it originated from a "word of the day" email during their tour. Initially uncertain of its meaning, especially in the UK where the term is less common and can carry different connotations, Brandi and her band embraced "gadabout" to represent finding joy intentionally amidst the challenges of life on the road.

Notable Quotes:

“I kept asking people while we were in Europe about it too, in the UK, and some people were like, oh, we don't know that word. We don't use that word.”
— Brandi Younger [07:09]

“It was really just about making an intentional decision to find some joy.”
— Brandi Younger [06:26]

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4. "Gadabout Season" as a Diary Entry

Brandi conceptualized the album as a diary entry, aiming for the tracks to reflect a chronological and emotional journey. The recording process began upstate with her cousins and evolved into recording the entire album at home, allowing the band ample time to refine their sound without the constraints of studio schedules.

Notable Quote:

“I was really thinking of it as like a diary entry... But absolutely. And then it was intentional to not have words because I really wanted these feelings and emotions to be conveyed sonically.”
— Brandi Younger [07:57]

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5. Creative Process and Recording in East Harlem

Recording in her East Harlem apartment provided Brandi with the mental space and freedom to explore her creativity extensively. This environment differed significantly from the frenetic pace of touring, allowing her to process her emotions and collaborate deeply with her band members.

Notable Quotes:

“It gave my brain a rest... to just create, literally.”
— Brandi Younger [08:48]

“We were able to lay into the music.”
— Brandi Younger [19:32]

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6. Collaboration Dynamics with the Band

Brandi discusses the collaborative dynamics within her trio. Composing on the harp, she often engages in a "push and pull" with Rashawn Carter and Alan Mednard to balance her creative vision with the band's input. This negotiation ensures that each track authentically represents their collective artistry.

Notable Quotes:

“There was a lot of push and pull between the three of us in certain songs where I wanted this and then could you play it like this?”
— Brandi Younger [11:24]

“I could see now that the long process... helped me to process.”
— Brandi Younger [10:19]

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7. Custodian of Alice Coltrane's Harp

A significant highlight of the conversation is Brandi's role as the custodian of Alice Coltrane's harp. She shares her deep connection with the instrument, which was restored by Lyon & Healy and played a pivotal role in the album's sound. Brandi emphasizes her commitment to honoring Coltrane's legacy while infusing her own voice into the music.

Notable Quotes:

“I have this incredible instrument, but now I'm sounding like myself... an extension of me.”
— Brandi Younger [17:16]

“I could completely be myself... We're on the road all the time. In too close quarters anyway, so.”
— Brandi Younger [20:50]

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8. Authenticity Through Home Recording

Recording in her apartment without the presence of engineers or label executives allowed Brandi and her band to capture authentic performances. This setup fostered a comfortable and uninhibited environment, crucial for conveying genuine emotions through their music.

Notable Quotes:

“There were no outside influences... I could completely be myself.”
— Brandi Younger [20:18]

“We really had ample time to really lay into the music.”
— Brandi Younger [19:32]

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9. Deep Dive into Specific Tracks

Brandi provides insights into specific tracks, such as "Breaking Point," which explores themes of anxiety through its contrasting bass lines. She also discusses "Be Back Later," a track characterized by a confrontational conversation dynamic, reflecting personal interactions.

Notable Quotes:

“I wanted it to be like anxiety full... We gotta meet in the middle somewhere here.”
— Brandi Younger [12:05]

“It's just the file name that we never changed. Do you. You're not buying that? ... Be Back Later.”
— Brandi Younger [21:00]

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10. Conclusion and Final Thoughts

Throughout the episode, Brandi Younger articulates her dedication to creating music that resonates on a personal and collective level. "Gadabout Season" stands as a testament to intentional joy, authentic collaboration, and the seamless blending of historical legacy with contemporary artistry.

Notable Quote:

“It's real. I'm being honest here.”
— Brandi Younger [19:19]

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Final Note: This episode of All Of It offers a comprehensive look into Brandi Younger's artistic journey, the intricate process behind "Gadabout Season," and the profound significance of cultural heritage embodied in Alice Coltrane's harp. Through heartfelt discussion and captivating performances, listeners gain an intimate understanding of the creative forces shaping contemporary culture.

Transcript

[Babs]

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[Alison Stewart]

This is all of it on WNYC. I'm Alison Stewart. Harpist, composer, and bandleader. Brandi Younger is back with new music. In June, she dropped a new album called Gadabout Season, a neat detail to this project. You'll hear Brandi perform on a harp once played and owned by Alice Coltrane. Brandi is now the harp's custodian. We'll get to that here. About that in a moment. And instead of a studio, she recorded the whole thing in her East Harlem apartment with her band. Gat About Season is out now. Please welcome the pride of Long Island, Brandi Younger. And her band is here as well. It is really nice to see you again.

[Brandi Younger]

You too. Thank you so much for having us.

[Alison Stewart]

We're going to hear a song right away. What are we going to hear?

[Brandi Younger]

Gat About Season.

[Alison Stewart]

Let's hear it.

[Alan Mednard]

Sa.

[Alison Stewart]

That was Brandi Younger performing the title track from her new album, Gadabout Season. She's here with her trio. You want to introduce us to everybody?

[Brandi Younger]

On drums, Queen's finest, Alan Mednard.

[Alison Stewart]

Hey, Alan.

[Brandi Younger]

And on basses, Rashawn Carter.

[Alison Stewart]

Nice to meet you as well. The word gadabout season. When did you first hear the word Gat about?

[Brandi Younger]

It was a word of the day email while we were on tour.

[Alison Stewart]

That's so funny.

[Brandi Younger]

That's really what happened.

[Alison Stewart]

So you said gadabout Gadabout.

[Brandi Younger]

I emailed it to him, to Rashawn. I said, you're gadabout. But a few months later, it came back and. And it sort of just became this thing while we were on the road. You know, being on the road is hard. People only see the finished product of the stage. But we're really just trying to, like, get from point A to point B and maybe take a shower. And it's hard. So it's really just about making an intentional decision to find some joy. Is that going for a meal somewhere, going for a walk, experiencing where we are, but really putting the work in to find joy because sometimes it takes work.

[Alison Stewart]

So you were looking at the upside of Gat about. Cause gat about could be negative. Or you can decide, like, I'm gonna experience this as a positive thing.

[Brandi Younger]

I'm not gonna lie. I wasn't sure because the word wasn't so common. I kept asking people while we were in Europe about it too, in the uk, and some people were like, oh, we don't know that word. We don't use that word. And then some people, like, it could mean, like, you little, like, risque. And I'm like, oh, no, no, no. We want to use this as, like, wholesome.

[Alison Stewart]

Yes, wholesome.

[Brandi Younger]

Fun.

[Alison Stewart]

Like, I always think about a butterfly as a gadabout. Like, it goes from flower to flower. Not. Not that kind of butterfly. But you know what I'm talking about.

[Brandi Younger]

Yes. No, no. Wholesome over here, guys. Wholesome.

[Alison Stewart]

We're talking about when you were. Let's talk about the album as a whole. When you were thinking about album as a whole, were you thinking about a story you wanted to tell as an album? Were you thinking about tracks as each story, or were they all different chapters in a story?

[Brandi Younger]

Yeah, I was really thinking of it as like a diary entry. When I went to write the music, I went upstate to my cousins, and they met me upstate, Rashawn and Allen. And we worked the music out. Rashawn brought his recording rig and recorded everything up there, which is how we ended up recording the album at home so we could take our time with it. But I essentially saw it as a diary entry, and I wanted the tracks to actually fall in chronological order. But I got voted out in terms of track order, but absolutely. And then it was intentional to not have words because I really wanted these feelings and emotions to be conveyed sonically.

[Alison Stewart]

What did.

[Rashawn Carter]

Being upstate outside of your own element, how did that contribute to your creativity, to your songwriting?

[Brandi Younger]

It gave my brain a rest, you know, there's just nothing going on up there. And so I had time and space, really mental space, to just. I hate to use this word, but create, literally.

[Alison Stewart]

Did you have to find the time to create? I mean, like, sometimes people get upstate and they suddenly have to look for things to keep them busy. Were you that kind of person, or were you able to be like, oh, I'm relaxed. I understand. I don't have to do anything right now?

[Brandi Younger]

Well, no, I went with the goal of I have to leave with. Yeah, I didn't. I actually didn't intend to leave with as much as I left with.

[Alison Stewart]

Oh, interesting.

[Brandi Younger]

Because I just wasn't being. I wasn't being creatively productive for such a Long period of time. So I said, all right, maybe if I leave, like, two things, I'll be satisfied. But I left with a lot, actually, most of the album, ultimately.

[Alison Stewart]

So you had a lot built up inside of you, I guess. So you really didn't get a chance to let out because you were busy, because you were touring or.

[Brandi Younger]

Yeah, busy. Always on the road, always touring. And what I learned in this whole process. And it's funny, I was telling John before that Rashawn recorded the album and he produced the whole thing. But his process is very different than the process that I'm used to, which is like, one and done one and done onto the next, on to the next. It became a really long process, which annoyed me at the time.

[Alison Stewart]

Oh, my gosh, I wish you could see his face.

[Brandi Younger]

But ultimately, I could. You know, in, what do they say, 2000-20s hindsight or whatever the saying is, I could see now that the long process of taking forever to finish the album actually helped me to process. You know, it wasn't really. Someone was like, is writing music? Are you able to process your feelings and thoughts? It actually was the process of recording and kind of continuing to dig at it and dig at it and revisit it, which is what helped me process.

[Alison Stewart]

This is kind of a dumb question, but I'm going to ask it anyway. How does one travel upstate with the harp?

[Brandi Younger]

That is not a dumb question. You need a cork. You need a big one. I have an suv, so you lay the seats down flat in the back and put the harp in. I also brought the smaller harp, just in case.

[Alison Stewart]

Do you compose on the harp or do you use a piano or a keyboard?

[Brandi Younger]

I compose on the harp. And I know you're supposed to compose on piano, but I'm most comfortable here.

[Alison Stewart]

Why is that?

[Brandi Younger]

Because I can't really play piano. Not very well.

[Alison Stewart]

Well, as you're composing on the harp, are you thinking about the drums? Are you thinking about the bass lines that are coming in?

[Brandi Younger]

Absolutely. There was actually a lot of push and pull between the three of us in certain songs where I wanted this and then could you play it like this? But then, no, the bass gonna play it like that. And I'm like, but I want it like this. Cause I wrote it that way. So, you know, it's a lot of, you know, give and push and push and pull.

[Alison Stewart]

That's interesting. How do you know? How do you know when it's time to give, to give up? Other times you're like, no, we're gonna do it this way.

[Brandi Younger]

I Guess. Oh, no one's ever asked me that before. You know, on one hand, I was just like, I don't have any patience whatever. But then I would maybe think about it later and go, well, no. Like, for example, one of the tracks is Breaking Point. I wanted it to be like, anxiety full. And I wrote. I wanted the bass line. I played it a certain way. I wanted it to be staccato short notes. And then Rashawn was playing it, like long notes. And I'm like, no, we gotta meet in the middle somewhere here. Or at least I explained what I wanted to achieve and kind of working together to find that thing.

[Alison Stewart]

My guest is Brandi Younger. Her new album is called Gat About Season. We're gonna hear another song.

[Rashawn Carter]

What are we gonna hear this time?

[Brandi Younger]

We are going to hear new Pinnacle.

[Rashawn Carter]

This is Brandi.

[Alan Mednard]

Sa Sa.

[Alison Stewart]

That's Brandi Younger. The new album is called Gadabout Season. You are the custodian of Alice Coltrane's harp. What does that mean?

[Brandi Younger]

It means I have that harp and.

[Alison Stewart]

Use the harp on the album.

[Brandi Younger]

Yes. I feel very lucky to not just to have such a wonderful relationship with the family and the estate. I'm also on the board of the John and Alice Coltrane Home.

[Alison Stewart]

But, yeah, the harp without sounding too woo woo. Does it. Does it speak to you? Do you hear her on it?

[Brandi Younger]

We'll allow the woo woo in this instance. You know, this wasn't my first time playing the harp. I had played it before for a tribute in la. However, this time is different. The harp was restored in Chicago at Lyon and Healy. And then after it was restored, it was shipped for me to play in Detroit. It was the premiere of the harp. You know, it was a whole year of Alice. A wonderful. Actually two years of all of these wonderful Alice Coltrane events and talks and everything. So this time was different because I had my surreal moment with it pre restoration note. I say pre restoration because restoration, things change. You know, the sound change is a little bit different. We have the original soundboard. I really had ample time in this album making process because we did it at home instead of doing a one and done in the studio. I had ample time to play the harp. Just literally scales warm up and to really now to sound woo woo, become one with the instrument and to find my own voice on it. So that it got to a point where it's like, okay, no, I'm playing Alice Coltrane's harp. I'm playing this incredible instrument. But now I'm sounding like myself, you know, and just to extend the woo woo feels like an extension of me. I know. Cheesy. But it's true.

[Rashawn Carter]

It's true, though.

[Alison Stewart]

Doesn't make it cheesy. It's true.

[Brandi Younger]

It's real. I'm being honest here.

[Alison Stewart]

You recorded in your apartment.

[Brandi Younger]

Yeah.

[Alison Stewart]

Your apartment. Is it made to be recorded in, or was that just something you decided you were gonna do?

[Brandi Younger]

So it's something that I just decided to do. You know, I told you how we were upstate and Rashawn recorded what we did upstate. And listening back to the quality of that, he said, you know what? We could do this. We could do this back at your place. Because I already do my overdubs at home anyway. But this was the first time basically having a full band with the drums, you know, so it was. It was a bit of an undertaking. Rashawn did it all by himself. I'm not even gonna lie. Literally all of it. But because we did it at home, we had the time. We weren't restricted to three days in the studio, so we really had ample time to really lay into the music.

[Rashawn Carter]

What was it like to have the.

[Alison Stewart]

Whole trio in your apartment recording?

[Brandi Younger]

It was hot. It was hot. And I ordered food that they didn't eat. But it's actually great because there were no outside influences. There were no, like, there were no engineers around. There were no label people around. So I think that really added to the authenticity of the music. I could completely be myself. I'm by myself with these dudes. We're on the road all the time. In too close quarters anyway, so.

[Rashawn Carter]

But that's big that there was nobody else around.

[Brandi Younger]

Nobody.

[Rashawn Carter]

The last song you're gonna play for us is bbl. What does that stand for?

[Brandi Younger]

It's just the file name that we never changed. Do you. You're not buying that?

[Rashawn Carter]

Not really, but I'll go with you on it. That's okay.

[Brandi Younger]

But I like to think of this song.

[Rashawn Carter]

Be Back later.

[Brandi Younger]

That's what we'll call it.

[Alan Mednard]

Oh.

[Brandi Younger]

Oh, I didn't think about that.

[Alison Stewart]

All right.

[Brandi Younger]

Be Back Later. I like to think of this one as a confrontational conversation. Like when one person. You ever have a convo with someone and only one person is getting any words in. Okay, that's what this one is.

[Rashawn Carter]

This is Brandy Younger.

[WNYC]

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