Talking about race is always easy, which is why Bruce and I couldn't cover what was

on our minds in just one session.

We know that bridging America's racial divide is going to require concrete policies, to

address the ongoing legacy of slavery and Jim Crow, but it also requires each of us,

in our workplaces and our politics and our plays of worship, and in a million daily interactions,

to make more of an effort to understand each other's realities.

Not to mention our own unspoken attitudes.

There's a lot of us have learned, whether from a childhood like mine have grown up different,

or a lifetime partnership like Bruce had with the big man, Clarence Clements, whether

from the great old protest songs or the new kinds of protest movements across the country.

That kind of reckoning can be uncomfortable, even, or maybe especially, when it's with

the people we love.

We talked about racial tension and freehold, but when you start what becomes the East

Street Band, this was an integrated band.

How intentional was that, or was it a matter of just, man, I'm trying to get the best musicians

I can?

This is the sound I want.

The integrated aspect of the East Street Band obviously was when I saw Clarence.

Clarence was just great.

He just had a sound that raised the roof.

He was one of the greatest sounding sax players I'd ever heard.

Was he older than you?

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