Smitty:  (Laughs.)

DS:  But “September in the Rain” I’d learned from Dinah Washington’s version, which was a swing version of the tune, so I wanted to kinda emulate that version and that’s exactly what I did.  There was no bass on the track, just drums and piano.  Joe and Jack were their names.

Smitty:  (Laughs.)

DS:  I don’t remember who played drums and who played piano, but it’s so wonderful that we could preserve that.

Smitty:  Yes, with the aid of new technology  we get to hear that beautiful track from back then in 1964.

DS:  That’s right.

Smitty:  And it is just amazing.  Like I said, there are so many wonderful experiences and memories on this record and that’s gotta be one of the tops.  It’s just a beautiful thing and that’s not something you hear every day on an album project either.

DS:  No, that’s true.

Smitty:  So it’s just a beautiful thing.

DS:  Thank you.

Smitty:  Moving forward, how did we come to Some Other Time?  I mean, we’ve listened to you over the years and I’ve noticed different transitions and when I heard this record, I said now this is the Diane Schuur, this is the Deedles that I remember a few years back, and it’s like oh yeah, I’ve been waiting for this, and I really think you’re gonna hear that a lot more of  this year and as time goes on because it’s like you reached back and said “Hey, you guys, remember this?” is what it reminded me of.

DS:  Yeah, I wanted to really delve into the basics of where I really came from. Because I’ve been flirting with the pop field and different stuff, and there’s really nothing wrong with that, but I wanted to let the true jazzers know that I’m still here and that I still love this beautiful American art form that we all know and love as jazz.

Smitty:  Yes, and you made your point loud and clear with this great record. And speaking of that, the Irving Berlin song “Blue Skies.”

DS:  Yes.

Smitty:  What a track! 

DS:  (Laughs.)

Smitty:  I mean, you know, it’s a song—the way you arranged this song and the way you sang it, it just makes your emotions stand on end.  It’s just a gorgeous track.

DS:  Oh yeah.

Smitty:  Everyone’s gotta hear this.

DS:  Oh, it’s, you know, and it could even—I don’t know if they’ll do it, but it could even be played on the smooth jazz stations, you know?

Smitty:  Absolutely.

DS:  When I heard the final mix of it and I was blasting it on the stereo, when it came to that long note which is in the key of C, “Blue skies from now on” and I’d hold that note and hold it and hold it and hold it.

Smitty:  Yes.

DS:  And it’s just like the rhythm section, my musicians, Randy Porter on piano and Dan Balmer on guitar and Reggie Jackson on drums, they were just flying.  We were all just flying on that track. I just blast it every time I hear it, you know.

Smitty:  Yes indeed, so do I.

DS:  It’s special.

Smitty:  I don’t think I’ve ever heard this kind of arrangement with this song and you guys just nailed it.  I mean, it is so strong.

DS:  Well, Randy Porter arranged a lot of the stuff and he just did a phenomenal job.

Smitty:  Yes he did, and what a piano player.  Wow!  He’s incredible.

DS:  Yeah.  Scary, huh?

Smitty:  Yeah.

DS:  (Laughs.)

Smitty:  He had me locked in the chair, you know?

DS:  Mm-hmm.