Jan. 30, 2024

Living the dream with indie jazz artist Kait Dunton

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Dive into the melodic world of indie jazz with Kait Dunton on the Living the Dream podcast. Explore her musical journey from academia to film scoring, and the creative process behind her latest 70s-inspired album. Tune in to discover how a single piano in her childhood home led to a life dedicated to jazz, composition, and the joy of connecting through music.

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> Speaker A>Welcome, um, to the living the dream podcast with curveball. If you believe you can achieve, cheat, cheat.

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> Speaker B>Welcome to the living the dream with curveball podcast, a, uh, show where I interview guests that teach, motivate, and inspire. Got a special treat for you today as I am joined by indie jazz keyboardist and composer Kate Dundon.

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> Speaker B>Kate has spent many years recording with a trio and recording for film and movies, but now she's back on doing her solo thing, and she also worked in academia, so we're going to be talking to her about her story and everything that she's up to.

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> Speaker B>So, Kate Dunton, thank you so much for joining me today.

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> Speaker C>Hey, Curtis, thanks for having me. Happy to be here.

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> Speaker B>Why don't you start off by telling everybody a little bit about yourself?

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> Speaker C>Well, you covered a lot of it.

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> Speaker D>But, um, my name is Kate.

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> Speaker C>I'm a keyboardist.

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> Speaker D>Um, yeah, I've had a long securedist.

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> Speaker C>Path on this music business, and I'm still going. Um, but, yes, at the beginning, um.

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> Speaker D>There was a lot of teaching.

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> Speaker C>I even tried a little bit of music marketing, more of the sort of business side of things. Um, and then, yes, for a while.

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> Speaker D>I was performing, uh, as a trio.

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> Speaker C>And I called it trio Kate.

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> Speaker E>And now I've started focusing on more.

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> Speaker C>Of the solo artist concept. Not that I'm playing by myself, but know, it's not so much trio specific.

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> Speaker D>But just focusing on my own music and whatever the band happens to be. And currently, I just released an album.

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> Speaker C>And, um, there's a lot of fun.

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> Speaker D>Shows coming up, so I'm really focusing on the creative side of things right now.

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> Speaker B>Okay, so what got you started in music?

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> Speaker D>Oh, gosh.

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> Speaker C>Um, well, you know, I was so young, I don't really even remember, but there was a piano in the house, and I was very interested in it.

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> Speaker D>And my folks got me piano lessons, so I did that for a long time.

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> Speaker C>And honestly, I didn't really even start doing the jazz thing until college.

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> Speaker D>I don't think I even really knew.

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> Speaker C>What improvisation was, to tell you the.

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> Speaker D>Truth, until I got to college.

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> Speaker C>But my family is not particularly musical.

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> Speaker D>So where the actual genetic bug came.

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> Speaker C>From, I'm not sure, but certainly the interest and the passion has been there.

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> Speaker E>Forever, and I just have kept along with it.

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> Speaker B>So you also worked and recorded in movies and films. So tell us, um, how that came about and some of the movies and films that you've done some work for, maybe we can check them out.

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> Speaker D>Absolutely. Um, so this whole thing started because.

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> Speaker C>Of, um, a composer and a conductor orchestrator.

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> Speaker D>Who I met named Tim Davies.

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> Speaker C>And I first met him because he.

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> Speaker E>Has a big band, and I have.

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> Speaker C>Played in big bands before as well.

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> Speaker C>And he asked me to come play with one of, uh, the rehearsals he.

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> Speaker D>Was doing for his.

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> Speaker C>You know, I didn't know him, and I wasn't really sure whether I should do it or not, but I thought it's always good to meet new people and make connections.

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> Speaker D>And so I said, sure, let's do it. Um, and then I started playing in.

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> Speaker C>Some shows that he did with his band.

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> Speaker D>Anyways, our relationship continued, and he is very involved in the composing and film world, and often he conducts the scoring sessions, which is the recording session for the film. And so finally it happened where they.

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> Speaker C>Needed somebody, the main guy wasn't available. He put my name out, and I got the call.

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> Speaker D>And so the very first scoring session I got to do was for the Lego movie two, and that was at.

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> Speaker C>The Warner brothers scoring stage, which is huge. Uh, a full orchestra was there along with me, and a whole percussion section. It was so many people. And I actually had this really beautiful solo that I got to play, and everything turned out really well. I was very nervous, but it did turn out well. And since then, I've gotten to do a few other really interesting film projects. Um, a, uh, special note is the.

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> Speaker D>Mr. Rogers movie that came out with Tom Hanks a couple years ago called.

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> Speaker E>A beautiful day in the neighborhood, and.

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> Speaker D>That has a very piano heavy score by composer Nate Heller. And I got to do nearly all.

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> Speaker C>Of the piano work for that film. So that was very exciting.

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> Speaker E>That was a very big recording moment for me.

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> Speaker C>And since then, I've done a few other projects here and there, but that's kind of the story of that.

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> Speaker B>Okay, so you also worked in academia. Uh, so explain to the listeners what that is.

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> Speaker C>Yeah, academia.

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> Speaker D>So I have a lot of education.

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> Speaker C>I have all the way up to doctoral, uh, degree.

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> Speaker D>So I got what's called a doctorate in musical arts. So abbreviation is DMA, and that is basically the artistic equivalent of a PhD. So it's a PhD for the arts, you could say.

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> Speaker C>So not only have I been in school for a long time, but then after that, I taught in schools for.

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> Speaker E>Quite a long at.

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> Speaker C>There's a school here in California called Chafee College, and that's where I first started teaching at college level.

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> Speaker D>There's also a school called Musicians Institute, where I taught.

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> Speaker E>Um, and then I was also able.

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> Speaker D>To actually start a piano program at.

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> Speaker C>Los Angeles College of Music, and that's in Pasadena.

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> Speaker E>California.

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> Speaker C>I was offered the opportunity to create the first classes, the first curriculum for this new piano program, and that was a very exciting opportunity, and I was to hire the first faculty members and recruit the first students. And that was all a very big deal.

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> Speaker E>And I did that for a few.

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> Speaker C>Years, but it was also very, very.

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> Speaker D>Time consuming, as you can imagine.

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> Speaker D>And it was at that point in.

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> Speaker C>My life and in my career that.

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> Speaker E>I realized just how much I really.

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> Speaker C>Loved to perform and to compose and.

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> Speaker D>To be a creative.

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> Speaker C>Not that there's not creativity in teaching.

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> Speaker D>But I really wanted to focus more.

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> Speaker C>On the other side of things. And so after doing that program for.

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> Speaker D>A few years, I turned in my resignation.

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> Speaker C>I just said, I need to go my own way. And since then, I haven't looked back.

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> Speaker D>And I've just been doing really more.

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> Speaker C>Of the creative thing, and I've been.

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> Speaker D>So happy ever since.

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> Speaker E>Yeah, it's been a good switch.

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> Speaker B>Well, that's great. So, for the listeners who might not understand or might not know, explain what it's like to record an album, it.

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> Speaker C>Is a long process. There are many, many steps involved. Oh, gosh.

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> Speaker D>Well, at the very beginning, you got.

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> Speaker C>To have the music. You got to write the music, you got to have something to record.

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> Speaker D>So the first process is really just.

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> Speaker C>Writing songs, and even that has many.

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> Speaker D>Steps to it, and people do it differently.

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> Speaker C>So you could ask someone else, and.

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> Speaker D>You would get quite a different answer, I'm sure. But my particular process is I write everything at the piano, and I typically.

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> Speaker E>Record it just on my phone or something simple.

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> Speaker C>On my phone, I have something called.

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> Speaker D>Voice, uh, memos, and I use that a lot, and that allows me just to record quick snippets of the song.

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> Speaker C>And then eventually I start adding more snippets, and they start to grow. And when the song is somewhat fleshed out, at that point, I will write.

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> Speaker E>It out using notation.

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> Speaker C>And probably at that point, too, I might bring it to the band so.

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> Speaker D>That we can try it out as a group.

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> Speaker D>But I don't typically write songs with a group.

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> Speaker C>First, I start with my own personal concept.

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> Speaker E>Now, again, a lot of people do it differently, but.

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> Speaker D>So once we have enough songs, however.

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> Speaker C>Long an album can be.

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> Speaker E>However.

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> Speaker C>But typically, I try to have around.

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> Speaker E>Eight to ten songs for an album.

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> Speaker C>And so once the songs are ready, we'll rehearse them.

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> Speaker C>We'll rehearse them, and then we need.

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> Speaker D>To book some days at a recording studio. And this is a really thrilling thing.

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> Speaker E>To do because there's something very special.

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> Speaker C>About the recording studio, there's a magic to it when you walk in these places.

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> Speaker D>They always have these big rooms, typically with lots of wood or, I don't.

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> Speaker E>Know, interesting little touches.

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> Speaker C>And of course, all the expensive audio equipment and just everything. They're just very special.

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> Speaker E>And so we typically will go in.

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> Speaker C>For about two days to record an album.

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> Speaker E>And, um, I could go on and.

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> Speaker C>On about this, so I'm not sure how much you want me to spend talking about this, but the bulk of.

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> Speaker D>Recording an album is the initial creative.

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> Speaker C>Process, which is writing the songs and then actually going into the recording studio.

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> Speaker E>Where we then, I guess you could say, finalize the songs and then after.

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> Speaker C>That are what is called the post production.

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> Speaker E>So I could get into that if.

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> Speaker C>You'D like, but I will defer to you. I don't know how many questions you have today.

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> Speaker B>That's basically the mix and mastering and stuff like that.

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> Speaker C>That's right.

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> Speaker D>Mhm.

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> Speaker B>Yeah. So explain to us about your new album and why it's different than any of the other albums you've released.

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> Speaker C>Yeah, well, this new album, it's called.

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> Speaker E>Keyboards and I called it that.

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> Speaker C>It's a little bit tongue in cheek.

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> Speaker D>But it's because it really is about keyboards. All the different classic keyboards that are.

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> Speaker C>Featured heavily in music from the.

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> Speaker C>Just love this era of music, especially the jazz funk stuff that, like, herbie was doing.

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> Speaker D>Um, there's the band called stuff with Richard T and Steve Gad, which I just love so much, highly influenced by that band.

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> Speaker C>Uh, and I have started growing my own personal keyboard collection, starting to need more room.

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> Speaker D>But, um, I have offender Rhodes, a.

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> Speaker C>Whirlitzer, a clavinet, and these are all vintage instruments that are actually from the mid 70s.

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> Speaker D>So not only am I emulating the sort of style that I'm writing, but.

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> Speaker C>I'm using instruments precisely from that era, which is just really cool. And my husband, Jake Reed, who's a drummer, he also used a drum kit from the.

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> Speaker D>We used a lot of mics, period mics, from the.

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> Speaker C>We tried to do as much as we can that was period accurate.

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> Speaker D>But the way I was writing for.

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> Speaker C>This album was very different as well. It was much more focused on the.

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> Speaker E>Sound, sort of the sonic sensibility, you could say.

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> Speaker C>Whereas before, I was perhaps more focused on the composition.

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> Speaker D>And I was writing previously, I was.

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> Speaker E>Writing much more complex compositions, much more involved.

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> Speaker D>Not that there's anything wrong with simple versus complex.

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> Speaker C>There's no right or wrong way to.

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> Speaker E>Write, is what I mean.

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> Speaker D>But the songs for this album are.

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> Speaker C>They have simpler forms, simpler harmonies, but.

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> Speaker D>The focus is on the groove and the feeling, the style, and I just.

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> Speaker C>Really hadn't had sort of a concept album like that before, so focused on the 70s, so focused on these instruments. Um, so it really was quite a departure for me. But I am so much fun playing in this style, so I'm hoping to.

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> Speaker D>Do another album just like it pretty soon.

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> Speaker B>Well, tell us about some of your biggest musical influences.

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> Speaker D>Oh, gosh.

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> Speaker E>Um, well, if we just start with.

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> Speaker D>The pianists, um, if we go back away.

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> Speaker C>Ahmad, uh, Jamal was a big early.

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> Speaker E>Influence for me, especially his live at the Pershing album.

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> Speaker D>Just his style of arranging was so.

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> Speaker E>Unique to what I had heard before.

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> Speaker D>It was almost like pop music.

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> Speaker A>Ah.

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> Speaker D>Everything was really so tightly arranged, and.

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> Speaker C>There were all these sections and lots of dynamics.

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> Speaker C>The thing about jazz is, depending on.

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> Speaker E>The era, I suppose, but there can be, at a certain time, a lot.

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> Speaker D>Of the songs where you'd play the.

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> Speaker C>Melody, and then there'd be a lot.

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> Speaker D>Of improvisation, and then you'd play the melody again.

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> Speaker C>But the focus was on the improvisation.

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> Speaker D>The unknown and all of that is.

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> Speaker E>Fascinating, for sure, but the way ama.

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> Speaker C>Jamal would do it was more focusing on the arrangement. There was definitely improvisation going on, but it was very tightly fit within the arrangement.

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> Speaker D>Not so loose, I guess.

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> Speaker D>And I was very attracted to that.

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> Speaker E>Concept, and I think that, uh, know.

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> Speaker C>Certainly influenced my style of writing.

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> Speaker D>Um, and then after him, the big.

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> Speaker C>Ones were certainly Herbie Hancock, who has so many different eras. Um, and Keith Jarrett was a big influence.

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> Speaker D>Brad Meldow, Oscar Peterson.

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> Speaker C>Oh, my gosh.

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> Speaker E>I mean, there's a lot Herbie, I.

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> Speaker D>Think, is especially interesting for just how.

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> Speaker C>Many different styles he's gone through himself.

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> Speaker D>Personally, which I really admire in an artist, be able to sort of reinvent.

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> Speaker C>Yourself every decade almost.

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> Speaker E>And certainly his electric stuff, like the.

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> Speaker C>Album thrust, I really enjoyed, and that.

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> Speaker D>Certainly influenced a lot of the sounds on this current album.

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> Speaker B>Well, tell us about the most rewarding part of, uh, composing new, original music and entertainment projects.

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> Speaker D>Oh, gosh.

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> Speaker E>Well, I mean, there's just being able.

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> Speaker D>To write your own music is certainly a thrill, but there is a next.

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> Speaker C>Level thrill to hearing that music come.

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> Speaker E>To life with a band and hearing reactions from an audience, from fans.

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> Speaker D>It's been really amazing and rewarding to.

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> Speaker C>Connect with all kinds of new people.

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> Speaker D>Especially over social media, and to realize that the music really does have an.

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> Speaker C>Impact and really is meaningful to other.

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> Speaker D>People, and it's very encouraging to keep going. I think sometimes when you're just sort of alone in your room and you're.

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> Speaker C>Writing or whatever your art form is, you have to wonder, what's it for?

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> Speaker D>But it's been really rewarding to have found an audience for this music.

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> Speaker E>And I think it's also encouraging just.

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> Speaker D>To keep going and keep trying just.

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> Speaker C>To find the next thing. Just keep going.

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> Speaker D>I always try to write in a.

00:16:34.528 --> 00:16:37.225
> Speaker E>Way that's true to the moment in.

00:16:37.248 --> 00:16:39.225
> Speaker C>The sense of, like, uh, I have.

00:16:39.248 --> 00:16:41.659
> Speaker D>To be feeling something to write.

00:16:42.429 --> 00:16:44.538
> Speaker D>And that's the whole thing about waiting.

00:16:44.553 --> 00:16:47.433
> Speaker C>For inspiration to strike, I guess. But for me, it's more like waiting.

00:16:47.481 --> 00:16:51.230
> Speaker D>For the mood, and the mood can be anything.

00:16:51.299 --> 00:16:56.145
> Speaker C>I mean, if I'm sad, I might want to write something. If I'm elated, I might want to write something.

00:16:56.248 --> 00:16:59.714
> Speaker E>But if I'm feeling nothing, nothing's going to come out.

00:16:59.751 --> 00:17:01.597
> Speaker C>And we all have days where we're.

00:17:01.614 --> 00:17:06.402
> Speaker D>Kind of just blah, and then other days we're feeling very intense emotions.

00:17:06.465 --> 00:17:08.534
> Speaker C>And that's usually when my really good.

00:17:08.571 --> 00:17:15.653
> Speaker D>Writing comes out, is when there's some sort of emotion coming. But what's been really fascinating is to.

00:17:15.692 --> 00:17:21.046
> Speaker E>Find that whatever the emotion is, it connects with others.

00:17:21.147 --> 00:17:24.779
> Speaker C>Like, it's amazing to me that if I write something when I feel happy.

00:17:25.470 --> 00:17:27.238
> Speaker D>And I put it out, the feedback.

00:17:27.253 --> 00:17:35.241
> Speaker C>I get is, wow, this song makes me so happy. Or if I am, um, feeling something more intense and I put it out, I get responses like, oh, my gosh.

00:17:35.306 --> 00:17:37.306
> Speaker D>This song was so intense.

00:17:37.498 --> 00:17:40.670
> Speaker C>So it's really fascinating how it translates.

00:17:41.170 --> 00:17:48.579
> Speaker B>So tell us what advice you would give young, upcoming, aspiring musicians out there.

00:17:49.430 --> 00:17:50.160
> Speaker D>Oh, gosh.

00:17:50.160 --> 00:17:53.634
> Speaker E>Um, well, I would say, certainly be.

00:17:53.672 --> 00:17:56.200
> Speaker C>Yourself, which is harder than it sounds.

00:17:58.569 --> 00:18:01.493
> Speaker D>But along the same lines, I would.

00:18:01.531 --> 00:18:03.894
> Speaker C>Say, don't worry so much about what.

00:18:03.932 --> 00:18:08.185
> Speaker D>Everyone else thinks, or don't worry so much about what everyone else is doing.

00:18:08.367 --> 00:18:11.306
> Speaker C>And that really is about being yourself.

00:18:11.407 --> 00:18:13.766
> Speaker C>But I know that I personally spent.

00:18:13.798 --> 00:18:17.594
> Speaker D>A lot of time comparing myself to.

00:18:17.791 --> 00:18:27.486
> Speaker C>Others, uh, in the sense of, oh, this person is doing that, maybe I should be doing that, or maybe I'm supposed to be doing that instead of.

00:18:27.508 --> 00:18:30.799
> Speaker D>Really just asking myself, what do I want to do?

00:18:31.650 --> 00:18:40.049
> Speaker C>But again, with the social media, it's very easy to get wrapped up in, oh, uh, look at this person. They're doing this big gig. How come I'm not doing that gig.

00:18:40.710 --> 00:18:42.001
> Speaker D>Or whatever it is?

00:18:42.056 --> 00:18:44.465
> Speaker E>But you have to make sure that.

00:18:44.488 --> 00:18:48.193
> Speaker C>You take a moment to reflect and ask yourself, do I even want that gig?

00:18:48.321 --> 00:18:50.390
> Speaker D>Do I care about that gig?

00:18:51.130 --> 00:18:54.693
> Speaker D>And so really what I have found.

00:18:54.731 --> 00:18:56.693
> Speaker C>Even though it's taken me a few.

00:18:56.731 --> 00:19:09.180
> Speaker E>Years to really understand this deeply, but now I am much more comfortable being, uh, in line with.

00:19:10.190 --> 00:19:12.526
> Speaker C>Basically, I ask myself a question, if.

00:19:12.548 --> 00:19:18.319
> Speaker E>Something is coming up, and the question is, does this thing make me happy?

00:19:19.170 --> 00:19:20.605
> Speaker D>And I also sort of ask, does.

00:19:20.627 --> 00:19:22.750
> Speaker E>It align with my goals?

00:19:23.509 --> 00:19:31.377
> Speaker E>And those seem like pretty simple questions, but it has resolved so many issues.

00:19:31.544 --> 00:19:34.286
> Speaker D>Because I think sometimes I was concerned.

00:19:34.317 --> 00:19:39.173
> Speaker C>About doing the right thing, but whatever expectation I had about what the right.

00:19:39.211 --> 00:19:48.470
> Speaker D>Thing was was perhaps not necessarily my personal truth. I was trying to be someone I wasn't.

00:19:49.049 --> 00:19:52.102
> Speaker E>So in that sense, it's like figuring.

00:19:52.165 --> 00:19:56.586
> Speaker D>Out what you love and doing that thing is going to bring you the.

00:19:56.607 --> 00:19:58.425
> Speaker C>Most happiness and the most success, I.

00:19:58.448 --> 00:20:00.730
> Speaker D>Think, because it's your true north.

00:20:03.069 --> 00:20:13.390
> Speaker C>However crazy it is. Like, if you just want to go make cheese in a cave, whatever, go do that. If that's going to bring you the greatest happiness, then that's what life is about.

00:20:13.539 --> 00:20:16.226
> Speaker D>I think you should go do it. But it is hard because, uh, we.

00:20:16.248 --> 00:20:18.718
> Speaker E>Get these messages like, well, making cheese.

00:20:18.733 --> 00:20:24.579
> Speaker C>In a cave is not what normal people do. Well, who cares what normal people do? You got to do. You.

00:20:25.289 --> 00:20:28.086
> Speaker D>You got to do what's right for you.

00:20:28.188 --> 00:20:30.039
> Speaker D>So that's what I would say.

00:20:30.890 --> 00:20:40.730
> Speaker B>Absolutely. So when your audience listens to your music, what do you want them to feel? What kind of emotions are you trying to strike up in your listeners?

00:20:41.470 --> 00:20:43.130
> Speaker D>Well, it varies.

00:20:43.630 --> 00:20:47.034
> Speaker E>Certainly with this last project, I really.

00:20:47.071 --> 00:20:50.233
> Speaker C>Just wanted people to feel good. I mean, this is a feel good project.

00:20:50.352 --> 00:20:53.470
> Speaker E>This is about just kind of getting.

00:20:53.539 --> 00:20:56.061
> Speaker C>Down to some grooves and hanging out.

00:20:56.115 --> 00:20:59.726
> Speaker E>And just feeling good and a bit.

00:20:59.748 --> 00:21:02.160
> Speaker C>Of nostalgia because of the 70s thing.

00:21:03.650 --> 00:21:07.458
> Speaker C>Certainly. Vinyl is so popular right now, and.

00:21:07.544 --> 00:21:09.041
> Speaker D>I think we all kind of have.

00:21:09.175 --> 00:21:12.420
> Speaker C>Nostalgia for the past because things are moving so fast.

00:21:13.190 --> 00:21:13.554
> Speaker E>But.

00:21:13.592 --> 00:21:14.829
> Speaker D>So there's a bit of that.

00:21:14.829 --> 00:21:20.453
> Speaker E>Um, but I think I want people.

00:21:20.491 --> 00:21:22.614
> Speaker D>To feel joy when they hear my.

00:21:22.652 --> 00:21:26.839
> Speaker C>Music because music brings me joy. So I would like to share that with others.

00:21:27.529 --> 00:21:32.779
> Speaker B>Well, tell us about any current or upcoming projects that you're working on that people need to know about.

00:21:33.710 --> 00:21:42.134
> Speaker D>Well, I'm, um, going to release a single over Labor Day, and I'm working.

00:21:42.192 --> 00:21:45.273
> Speaker C>On kind of the next keyboard style.

00:21:45.321 --> 00:21:48.942
> Speaker D>Album, but I'm going to add guitar to the next one, I think.

00:21:49.076 --> 00:21:52.190
> Speaker E>So it'll be a quartet, but it'll be similar.

00:21:52.259 --> 00:21:53.865
> Speaker C>Like, I'm really enjoying this sort of.

00:21:53.907 --> 00:21:59.645
> Speaker D>Jazz, funk, really groovy style, and I'm still writing pieces in that style.

00:21:59.678 --> 00:22:07.029
> Speaker C>So I have more to say. So I am going to, I think, put out another album, but I also hope to release.

00:22:09.130 --> 00:22:12.359
> Speaker D>It's interesting. I get a lot of feedback about.

00:22:12.809 --> 00:22:14.806
> Speaker C>My solo piano pieces that I put.

00:22:14.827 --> 00:22:17.394
> Speaker D>Up on instagram, and yet I don't.

00:22:17.442 --> 00:22:21.226
> Speaker E>Have a solo piano album, so I.

00:22:21.248 --> 00:22:25.481
> Speaker C>Would like to do that, and I'm going to, I think, explore a little.

00:22:25.615 --> 00:22:29.034
> Speaker E>Bit of that and we'll see when that comes out.

00:22:29.231 --> 00:22:36.109
> Speaker B>Speaking of your instagram, throw out your contact info so people can find your music and keep up with everything that you're up.

00:22:36.259 --> 00:22:37.342
> Speaker C>Oh, yeah, yeah.

00:22:37.395 --> 00:22:39.645
> Speaker D>Please follow me and always feel free.

00:22:39.667 --> 00:22:40.910
> Speaker C>To connect and leave a message.

00:22:40.980 --> 00:22:43.953
> Speaker D>My instagram is just my name, kaitdunton.

00:22:43.991 --> 00:22:51.518
> Speaker E>And that's the same thing for TikTok.

00:22:51.614 --> 00:22:54.766
> Speaker D>Or Facebook, wherever you like to hang.

00:22:54.798 --> 00:22:57.586
> Speaker E>Out, you'll find me all with the same name.

00:22:57.768 --> 00:23:00.470
> Speaker B>You have a website or you just got your social media?

00:23:00.619 --> 00:23:03.205
> Speaker C>Yeah, website is the same thing. So just my name, kaitdunton.com.

00:23:03.228 --> 00:23:13.786
> Speaker C>And, uh, again, you can contact me there. You can buy some of the new vinyl. I've got all kinds of other stuff.

00:23:13.968 --> 00:23:18.009
> Speaker D>Sheet music, t shirts, all kinds of merch.

00:23:18.509 --> 00:23:20.405
> Speaker C>You can check out the upcoming tour.

00:23:20.438 --> 00:23:23.673
> Speaker E>Schedule there, browse any of the music.

00:23:23.711 --> 00:23:26.349
> Speaker D>That I've put out. It's got a lot of stuff on the website.

00:23:26.420 --> 00:23:28.301
> Speaker E>Check it out. Okay.

00:23:28.355 --> 00:23:35.970
> Speaker B>We'll close this out with some final thoughts. Maybe if that was something I forgot to touch on, that you would like to talk about it. Just any final thoughts you have for the listeners?

00:23:36.549 --> 00:23:37.599
> Speaker D>Oh, gosh. Um.

00:23:40.630 --> 00:23:41.233
> Speaker E>I don't know.

00:23:41.271 --> 00:23:44.660
> Speaker D>I would just say that, um, for.

00:23:45.690 --> 00:23:49.794
> Speaker E>Anyone who is listening, who is curious.

00:23:49.842 --> 00:23:53.862
> Speaker D>About the music, I hope you'll check it out.

00:23:53.915 --> 00:23:56.806
> Speaker C>And I do always love to hear from you.

00:23:56.907 --> 00:23:58.986
> Speaker C>I love to connect with fans, with.

00:23:59.008 --> 00:24:04.713
> Speaker E>The audience, and really, it's people like you.

00:24:04.751 --> 00:24:08.490
> Speaker D>It's people who listen, people know, follow.

00:24:08.559 --> 00:24:12.586
> Speaker C>Me or come to shows. I mean, you are the inspiration for me to keep going to write new.

00:24:12.607 --> 00:24:18.041
> Speaker D>Music, and I just really appreciate every one of you. And I'm just so grateful.

00:24:18.185 --> 00:24:22.410
> Speaker C>And for you, too, Curtis. I'm just happy to be part of all of this, so I'm very appreciative.

00:24:22.490 --> 00:24:23.359
> Speaker E>Thank you.

00:24:23.670 --> 00:24:36.034
> Speaker B>Oh, well, I definitely, uh, appreciate you, uh, as a fellow artist and appreciate everything that you're doing. And listeners, you will appreciate Kate's music. So go check her out.

00:24:36.152 --> 00:24:39.220
> Speaker B>Kateundon.com.

00:24:40.390 --> 00:25:03.258
> Speaker B>Make sure you check her out, know, check her out on your favorite streaming platform and keep up with everything that she's up to. And if you have any guest or suggestion topics, cjackson 102 ah@cox.net. Is the place to send them. As always, thank you for listening. And Kate thank you for joining us today and sharing your talents.

00:25:03.433 --> 00:25:04.990
> Speaker C>Oh, thank you, Curtis.

00:25:05.809 --> 00:25:13.758
> Speaker A>For more information on the living the Dream podcast, visit www.djcurveball.com.

00:25:13.923 --> 00:25:18.730
> Speaker A>Until next, uh, time, stay focused on living the dream. Dream.