I've said many times that there is more talent per square foot in the city of New Orleans and any place on earth. And I mean that and that's whether it's food or art or music New Orleans creates magic. -- -- Is one of those magic makers he knew very early in life that the clarinet. Would be his voice in jazz his music. Now thirty odd years later he speaks to the world through that music. And he's done it his way. We're gonna spend the next hour hearing his story. I love you Tim Auckland I have known knew if we were just reminiscing far too long. At 1024 north rampart at the WL TV. You were you had that clarinet but we knew you in another respect to GAAP as the floor director as the running the teleprompter. I I actually was an assistant floor director of idea I think you have to be any union B Fuller director but I started. At the very bottom where. Actually that Todd Smith and I -- the end of the general manager and as I look at him and I'm like well I'm glad one of -- did substance. And he left he -- he's a big jazz fan and comes to hear me and but that we worked together as a system -- -- and we would work teleprompter and it. Different news I was mourning and the new news. Would bill out there and -- off so and that only lasted so long being a musician -- -- night but it lasted about 44 and a half years. Yes and then there was sampling music it was it was time to play music you know I loved reading the story and shame on me for not knowing back then. Umpteen years ago. How deeply interest did you war. That you kind of fell in love with the clarinet at eight or nine years old yeah I fell in love with the sound of the clarinet I've. Kinda -- -- was but I -- a friend of mine. And Gary played down the street and I'd go run down his house and and I would hold a music while he played and he was legit player he didn't play jazz. But he got this beautiful legit sound and I just loved it. And he actually taught me how to play by twist in the barrel round and he would he would show me and -- share. I don't put my mouth and and and and he would play the notes as I blew and -- so. But when I asked my mom to get me -- she got one and so I've kind of already knew how to play it. Because of Gary he would show me and so and then once I heard jazz on a radio that was sort of where my ears went and I would just play along with the records and you know keep you know started very simple but I was so you know -- a C minus reader. And I took lessons that world lines from -- I love that guy named bill bush while you played the shark and a nano and and all the old guys and I don't know he was a great. Player and but he taught me clarinet saxophone and flute. And and then shortly after that I went holy cross where I. Is in the tiger brand with frank Menino. Of Franken and and you know and and we would plant several bands. Whether it's playing saxophone and he'll also let me have my round jazz band. Off running and with clarinet so -- you know -- -- jazz was encouraged. Where a lot of schools wouldn't. Elsewhere. You know it's it's very interesting I think. To have the passion or interest that young is extraordinary. But for an instrument not many no -- yeah. But you know you can a little boy wanting -- drum set -- get a her guitar again but when you went home to your mother incidents like a clarinet she just thought it was like tennis lessons okay let's let the kid do written and move on a NN it. You know she knew how much I really enjoyed certain. It was just but once. Like you said once I heard -- jazz and radio IE. Started collecting records and then playing along with them and you know Benny Goodman -- All of you know them the big band stuff but I didn't listen to too much. Early New Orleans jazz and later. -- -- moved in I didn't find it in record stores. So. But it was fun playing along and it was so it's kind of like learning French event. At an early age you pick up the timing and nuances. When younger. Then learn learning say at my age right now in the struggle. But when you're eight or nine you'd be tend to get those little subtleties. What the what the clarinet players plan insane the ensemble or. They improvisation on solos note at that I was I was very lucky to be an early age. Just in trance and loving this music. How do you define -- describe jets. The best way to describe it is when I talk to kids and -- and you know. If it's. If you're having dinner with an Italian family. And you know how they all talk at the same time and to use -- talking about the same thing that everybody's got their own things say. And -- kind of half listening -- but they're all listening to each other while talking. Well that and you're sitting back eavesdropping on all these different conversations you having more fun than anybody here in the audience you're just I think they'll pick. But this conversation listen to while I'm hearing -- that's with jazz is like it's organized. Form of it's it's it can be chaotic but if ever instrument. Knows first all song. And knows their role it's one of the most beautiful sounds in the world Leonard Bernstein said it was -- New Orleans jazz is one of the it was beautiful sounds he's ever hurt it's it's it is beautiful symphony. And and so it's it's a melody based on improvisation. And so. Let me go to the clarinet the clarinet role is to ornament the trumpet is to play a harmony with a trumpet. And also weaves in and out of bounds in and out so -- what a bumblebee would do. And not to not to mock the -- -- fine but just to help -- out and now. Ornament and a trombone is a prompter -- alternate base he hit tailgate trombone. Up up up up up up up that's the lead in the trumpet player the next line and the trumpets is is these drivers to play a strong lead. And all of these instruments. Play them with -- and dictated the rhythm. In another words that sort of the the way we talk we don't talk monotone. We put periods and commas and question marks we reflect. And so that's where -- the originality of this like a patient comes from. In New Orleans and that early chances so and once you learn that. And you're listening to the records and you say OK now now -- get it it's not just the playing a bunch of notes now it's no placement. When you've been here Louis Armstrong that's a pretty -- a perfect example of note placement. Done perfectly because he'd he'd he'd plays out less with more but more with less ansari. And he he. Little Lewis was influenced by opera. And a lot of his endings you'll hear Aniston's. Very operatic. And -- used to sing opera with the car not -- family when he was a boy and it sort of adopted them they used to sing it there. And so that that's something that is and an influence in New Orleans jazz a lot of people don't realize. It's the the -- jazz is basically timing. And if you if you time things right it's. Wonderful it's beautiful and that that's what I tell you jazz is a note placement it's not note. The -- number. I wanna know when you've got so Smart cook look I don't know I'm this is incredible I'm listening to you I've just learned more about jazz. In the last five minutes and I have my entire -- and thinking I want everyone to stay with this because Tim Laughlin is gonna continue to educate his. But he's also going to play live right here in studio. Stay with the financial life under the that you well. -- Hello there. -- -- -- -- Really an educated as well. Beautiful explanation of what -- And coming young man knowing what he wanted very young to today now creating your own albums traveling the world he got it. I mean you've done it. Just making a living as a musician that's -- I ever wanted to do and that is huge cash -- You know I read where you said you are gonna get this right you're considered a 21 century jazz musician what does that mean. Well that it -- -- are. And the traditional mold in Maine. But and melodies are brand new so what I've what I've wanted to do was just bright new melodies for the new century. And so maybe in forty years and kids a little -- and play it start playing and I think it took forty years. For -- or to get my Oscar -- played by bands. He would recorded in the twenties and nothing happened until about forty years later now in an Alley staple. A cycle so it's it's kind of crazy. I think it's in European bands play Edmonton's. But -- moms tackle here. -- Well you're stuck with us right now does not support to place one I'm gonna do while we dance with the money Graf perfectly great. -- My. Mom and yeah. Yeah. -- And the and we'll. First -- live music in the studio. In my -- I'm really honored. Strategy here the way that stated the malady yes went away from the -- that's basically which as it is it's. Running away from the Melanie while stay in the pocket. And are you able follow it. By me play within the the frame of the malady you never I never I hope I didn't lose yet nobody you know an America where intimately and where. First section was. So that's. Pretty much what it takes a lifetime to learn and -- you'd you'd never stop because there's always something earn. And I you're creating your own which is -- interest yeah and and exactly you use on maladies. And the thing I wanna accomplish most of all is. We need to pass passing a blindfold tests I want people be able -- blindfolds okayed it that's ten Auckland. And and because you you wanna work and you sound. Two -- should match your fingerprint. So. You know I'll a lot of guys. Can play high fast and -- acknowledge everybody can do that that's part of the technique. But when you haven't unique sound. That is identifiable. That's when year. Accomplished. A great deal. And so you continued we started at eight so you're implying one. Thirty years thirty bill Bellamy -- I'm about to say that and still growing and I think that is so incredible. And I know I know tend to have traveled a lot. But this is where you should be playing. Yeah I it's where but think about it my audience comes to me not the other way. Right and so we've created it's such had. A demand for I think because it's now worldwide. Known. That this the birthplace of has among other things also birthplace of rock and roll and but what one of the things they wanna hear. When I come here is jazz and it's some a lot of people wanna hear clarinet because it's one of the the Big Three in front. So I'm very lucky that economic. And stay home most of the year and and and and work as a musician you know I think it's it's absolutely incredible what you're doing and I know you're like our favorite -- but who -- who were the influences in your. Well some early influences were of course Pete fountain here's the first I heard on radio. And and and Benny Goodman -- my -- went to that. Sydney vishay. And I listen to think more out of the sweeter players. Then the early traditional players so. At that sort of another thing where my years went. And then I had managers like bill bourgeois at. I had more lines -- teaching me. And later on I had parliament is like cornice Connie Jones. He kind of taught me how. -- with arranging and then how to lead a band. And he was. When a player -- Jackie Gordon. Back in the fifties and Jack pretty much taught him how to lead and it and it it's kind of -- list the way things happen he doesn't micromanage. And when I saw Connie do this. I'm Michael -- it's too easy I happen and it and so I try to do that still having trouble. Not micromanaging but does -- and today they only get the easier it is letting go -- you are now absolutely but. But you're still having a ball Aaliyah and and I still have influences today. That is as. But people you might have heard of Bob -- and Kenny to earn. And some younger players just adore listening to. It's a finish clarinet player and he's appeal. And has some great players here in town. That and enjoy playing with enjoyed just go and hear them you know. And Christopher one of them and so we're -- we're very blessed here and I think what's important is that you know that some people look at you and saying. That's who influenced me up -- while you never know one day I would I would love to. Have. A twelve year old come to me and say can you show me. What you would what you and I and I and I basically -- I can't show you what I learned but I'll. Play some records for yet and see how old -- years ago has if I show them. Licks and it that's all they are not right but if you can hear it licks and then play it that's monumental because you're developing your year. So what do what I do is I try to develop their ear and -- I can show you cease Gayle whenever. Anybody can do that. But what I wanna do is. Developed year find who they are yet exactly right at him. Everyone stay with -- were not finished with Tim Laughlin. But now let's go to the newsroom and -- names. You're listening to the sounds our guest -- -- Just a tremendous player and often as we now I understand. The 21 century Jensen set at 21 century. -- you you you started off and you just kind of kept focused she knew this is what he wanted to do with your it was fun. Oh I bet it was fun but it's it's tough to be a musician gap and make a living yet -- -- as part of it is self promotion and part of it is networking. Sitting and sometimes getting carved up and and coming back the next they have better musician so I was lucky enough to have. Some mantra here that I would go and sit in with that they would carved me up and had come back the next day -- better player you know. You know you have a new album out and I am looking up to -- its coming out win that's coming out Ash Wednesday it should be getting the shipment but -- -- and I. The official releases French court offense but people can go my website and get an early copy like he can books and I just gonna attempt -- on dot com. And I'll send assigned CD and it's called Treo collection volume one. I have to tell you in I'm looking at the back of it and it's. Not talking about the various artists. You know 193019261930. And then you go right down here -- says. Tim Auckland 1998. Esplanade. And so you all are the generation now leaving. Works as you said for the next generation to make that -- comply. Exactly I love playing -- standards but I I love plan my songs as well and a lot of people. That go into music industry just worry about where their next -- again. Is that instead. I'd I'd try to tell them look there's other money could be made. With music you can publish. And make a good living you know a lot of guys. Did okay with from day and writing songs and publishing them and selling them to the TV shows and a couple of mine have been in a movie and some TV each news and it's just another source of income for musicians so. I always encourage musicians are right and find their own voice. Even if it takes awhile and it's you know. -- nighttime over right and and I take out what is too much you know you. You tend to vomit in and you have a and then you get audits too much -- -- and I take. And it I take out in and out comes the beauty you know the simplicity. Of the malady. And so. I think it did that with esplanade on AM on on the new CD but to play -- I'd have to look at this as good as well night -- -- The and and rules. And and it. Man man man man moved. And and and it. Rural. And land. And. Yeah. And and and rules and. And. And I. Bad news. And it. Believe and. And and and. Little. Man. Thailand. And wrong. And and Emo. And a time. And the only. And little tang. And -- the and and and rule. Yeah. And. And I and rules. And mom. And. Hand it. And who. Diane. And food. Mean. The only. And it. The only. I move yeah. A little variation on in beautiful beautiful beautiful city is you're just sitting there one day and you're thinking and playing. And here esplanade I I write to -- first and then. The -- later for some reason that's the way Aaron and I just thought of one at a pretty streets in the in in New Orleans area it's one of my favorites. And it's such a beautiful mane fort street. And it's a lyrical McCain yeah yeah and so that's how it came you know. Everybody has their rhyme and reason Heidi right sometimes they they write words first and -- rounded light. Fortunately I can't do that at this -- banality first and if I'd feel like -- -- right words so. It's. -- the odd thing about right. -- -- with -- he's gonna play again but I'm very important question to -- like personal right here -- radio. We'll be right back I'm Angela under the -- Tim Laughlin is our guest. 789 year old boy decides he wants to play the clarinet and the rest literally is history. And a lifetime of from not just playing in the playing it beautifully. And caring at all I think that's very important. I remember one time -- and go way back I saw you this was years ago. And I can even see the car you were in and you said you were about to take. Eight vacation. Which you didn't do very often she traveled all the time you working on the John -- the highway one. And I remembered I hope I'm not being too personal but. He said you were lonely. It that your life was lonely because it you what were traveling on the ten. And now I know you have this fabulous woman in your life -- and your living happily ever after in this home that they restored. It just to me it's a storybook. And I I just wanted to say. It's funny which -- saving your brain but I remembered that moment my thought he shouldn't be -- yeah he's such a neat guy. But the life of the traveling musician is. Difficult it he can get very old quick and I don't do. Great on traveling now because I'm married men and the ability -- but we do a couple of gigs. To a festival in California aura. Something overseas. In Tokyo. And -- go with me. And but I I once told goddess and -- out I'll wait that long if you want you just burn it to me you know the rest. And it and it and it it and into it and she really appreciates. What you do yeah she's. There just about every. Every ship that she. She didn't have too much about jazz so like that to Malvern in my little jazz a and she really -- and she now as they since he loved solid test resistance in town. And it's in the it's the -- I'm gonna be celebrating a birthday this Thursday at the palm court. -- leading man so. That should be fun we'll happy birthday isn't it special special birthday it's officially over the hill -- 51. You have many men and your effort over the final I think you're right it's just the number and I feel great. Now what that is terrific and you were traveling that you were traveling and playing jazz in Europe and yeah I have a real love for -- -- -- I Asus and the summer and play it different friends over there. And though it would do different tour is in Germany with. With these stuff pharmaceutical companies that iris and Tuesday he really easy -- and -- -- and two festivals and I'm nightclubs. On the weekends. Did that for about a dozen or so years and kept on Europe in the summer to shut them. The apartment and could spend summer in new ride the train and could see. And on and then Tony -- And play Italy's great groups so. That you know that that was when I was younger and lagged it well absolutely. Because -- jazz -- was in your future yeah he -- I waited. -- innovative it. Good to have that conversation with god yeah and and well worth the wait that's very. Okay you're gonna play another one from your new album coming out at a trio collection as one of my favorites very lyrical pretty tune written by. The father of strike -- James. Room. And and my own. My mom and I. Room and and when there. And -- -- And and real. -- -- And my own. And then. And and -- the animal and yeah. I don't. And move. Yeah. I am. Have the. Okay. The medal of Lee Miller is a beautiful melodies and played beautiful like you know I'm looking into I'm thinking. Tomorrow are you gonna ride with the Pete fountain if you always do in years much. Of that parade is anything and then on Wednesday your album comes out there and Thursday at your birthday. That the palm court and this is your week. It's a it's a great week and well my 21 birthday as my first year. Walken with people we walked and that was march 6 so that was a very special although he had to still be eighteen and drank so when he won was -- But it's critical haven't migrant birthday. I think this is the way it should pay -- Everyone stay with us were not done with Tim Laughlin. Right after the it's. Tim -- are wonderful friend and on such a tremendous talent. It has been a real thrilled to have you for a whole hour. And just sort of just in the last seconds where you see jazz going from here. While it's a great question. If you. Go. What jazz is pretty vibrant on Frenchman street. There's a lot of -- a pretty good young players coming out so I think. It's up to them. Where they wanna take it if they write their own music or they just wanna. Keep him with a -- But it's hard to say. It's gonna have to happen I'm just glad we have you both back and I'm sorry we're out of time but thank you Tim Walton can.