01:46 Kidd Jordan describes his work as “creative music; I play music on the spot.” Compares his training in classical music as a youth to bebop musicians, who would memorize and play the same solos each time. 03:30 Emphasizes that jazz is a music of improvisation; if asked what key he’s playing in will reply ‘Whiskey,’ as anyone who can’t identity a key by ear is out of their depth. Notes his experiences in Europe being recorded being accompanied by birds and playing various metal objects. Relates that he felt qualified to become a musician when he found himself able to improvise. Confesses he’s cleared out concert halls in his time, which doesn’t bother him, as he identifies as living and dying by the sword. Explains how regular practice has instilled him with confidence, feels able and eager to incorporate anything into a performance. 06:25 Darryl Levine explains that when playing with Jordan anything can happen, explains that it’s about timbres and tone colors of the moment. Emphasizes that improvisation begins with a solid knowledge of your instrument, as improvisation is “really not a music of chance.” 07:25 Jordan explains that he also works within his musical set-up, including which neck strap he uses, for optimal performance. He improvises his equipment as well, which he sees as a part of a piece. 08:50 Jokes about how expensive mouthpieces can be. 09:52 Tuning/Demonstration: “Blues for the People” 17:27 Jordan explains how he and Levine play off on one another, which requires listening at each other. This doesn’t require thinking in chords such as other formal musics require, but rather listening and responding. 19:00 Jordan explains that older New Orleans jazz musicians weren’t practicing, as they were working too much; despite different circumstances considers their experiences of improvisation similar, working off of collective experience. 21:11 Jordan says an important thing to remember is that the music keeps on developing. Wishes he could live two thousand years to experience such evolution. 22:18 Concurs with Matt Sakakeeny that despite New Orleans having so much music, there is not much room for his type of work. As a result, he plays in Europe more often than New Orleans. Does not begrudge traveling, as he is happy to be given the chance to play anywhere, beyond the pains of leaving his wife alone at home. 23:56 Levine explains that his father exposed him to jazz early on; believes today’s youth are not getting similar exposure. Also laments their lack of mentors in New Orleans, particularly post-Katrina. Says this is a role – mentor, uncle-like figure – Jordan played to many. 25:15 Jordan explains that some people disapprove of his tutelage, which doesn’t bother him, as he believes in continual development. Emphasizes that when teaching children he starts with fundamentals, including reading music, which lots of current young musicians don’t know how to do. 26:30 Jordan laments changes in Broadway shows, which now use tapes rather than live bands, depriving working, reading musicians of gigs. 27:40 Jordan says the first thing he tries to teach students is good technique, which he prioritizes over all else. Skills like perfect pitch are overrated if not in concert with technical competency. Sustained dedication is also key; points out he’ll be going home to practice this night. 29:06 Levine celebrates being a lifetime student. 29:34 Jordan explains a lack of ego can be very helpful: if he sees a child doing something he’s never heard or feels he can’t do, he explores it and tries. 30:03 Demonstration 35:33 Jordan explains that he and Levine have to come together in their improvisations; recognizes that to some ears it just sounds like noise, but points out that so did the music of the likes of Stravinsky and Schoenberg. 36:50 Jordan reveals he developed his high register by improvising with birds in the morning. Explains again that an improvisational ear matters more to him than one uniquely able to recognize pitch. 38:24 Jordan describes Fred Anderson as an unheralded tenor player, celebrates him for never having tried to sound like anybody but himself. 43:00 Jordan agrees with audience member that live music can be indelible; likens it to ‘the hallelujah,’ as sometimes experienced/imparted by preachers. 44:53 Asked about the future of his family, Jordan points out that his most talented musical son, Paul, quit music and pursued aerospace engineering.