Music saved me. I'm Lynn Hoffman and our guest today is a musician who sound feels like a warm embrace after a long day, a burst of brass that hits you right in the chest and says you're alive and you are not alone. John Lampley or Lamps, as he just officially told me that people affectionately call him, is a trumpeter, a singer songwriter who sound bridges jazz, soul and gospel. And for over a decade, he's been the commanding brass voice in the house band on the late show with Stephen Colbert, bringing groove warmth and wit to millions night after night on their little TV screens, learning to play the trumpet by ear, which by the way is an impressive feat all in of itself. He is built a reputation as one of the most versatile brass players of his generation. And his roots front deep growing up in Akron, Ohio, where he attended church, that music in church taught him the immense power of communal healing and intention, my favorite word. His co-founded that high energy band, the Hunter Tone's lit up arenas with OAR and Lake Street dive and now has stepped boldly into the spotlight with his beautiful uplifting day view. And I hope that I pronounce it correctly and don't destroy it. Night service live at Lunatico, praised by critics and celebrated far and wide. Did I say that right? I was perfect. Oh, yeah. John is doing something deeply personal, by the way, with this release. And he's taking the spirit and the joy of church and he's bringing it to anyone, anywhere regardless of their fate. And I'm so glad that he's here today because this is a man whose story is exactly what this show is all about. John Lampley is next right here on Music Save Me. Music. This is an I Heart Podcast. I'm a forensic human. Save me. John Lampley, welcome to Music Save Me. It's so nice to meet you. I've watched you on TV for years and now here you are. Oh, well, thank you so much for having me. I'm very grateful to be here. I am grateful to have you here. I've read about how, as a kid, it wasn't just the sound of gospel music that got to you. It was that feeling that created in people. Can you take us back to that church in Akron, Ohio and describe what you were witnessing that made you think I need to do this the rest of my life? Absolutely. So, I grew up going to first Apostolic Faith Church, the Faith Place on Easter Avenue in Akron, Ohio. And from an early age, I was surrounded by, you know, not just the praise leaders and the choir directors and the choir at that church, but, you know, my mom had ten siblings and they all had kids and all my cousins could play instruments very well or sing very well at church. So I grew up immersed in this culture where everybody was singing. There was gospel music at home. Every Sunday, the music at church was incredible. But I think the thing that really struck me was, you know, not just the sounds, but the way that whoever was, you know, leading the service in song, whether it be like a praise team member or, you know, Eugene Wilson was the choir director and he would always kind of get on the mic and choose a song to sing. And he just would immediately command the entire attention of the congregation. And I remember this is like before even understanding what was what and what I wanted to do with my life, feeling like what would happen when he would get on the mic in the room, like feeling the spirit just like sweep through the room, but watching his ability to know exactly what to say and how to say it and what song to sing and exactly like the mood to invoke. I just remember feeling like inside of myself, like, I love that. I love that. I, I, I love that and I want to be able to do that. And I think that something, I feel like that's something that may be inside of me. And I think the older I got, you know, started playing trumpet at church, started, you know, working it out by ear with those musicians. But, but that was something that I always loved as much as the music was that ability to kind of be aware of whatever spirit is happening in the room and kind of being able to be a conduit of that to the people through the music. And I think that I'm extremely grateful to have learned that and to have been around that, you know, my entire upbringing and feeding off of that because that feeling, it's just, it's addictive. Yes. It's really, especially when it's communal like that when it's everybody. So it's so much more powerful. Absolutely. I grew up in, you know, an apostolic church where it was gospel music and very charismatic, you know, people singing, shouting, dancing. But even you walk into a Catholic mass, mass you walk into, you know, a synagogue, I think there is something about exactly what you said. There's this communal experience that people are coming together and a lot of times music is involved. And that feels like it is in particular to a religion, but more particular to the human experience, you know, there's something that we all experience when we come into a room on one accord. And, you know, a lot of times you're singing together or you were listening together, I think that that's something that really all human beings want to experience. And that's why it's so, you know, universal. And obviously working with a band is communal too because you all kind of feed off each other and play together. And that's always a work in progress, I think, forever. But something interesting though, not everyone I know wanted to be in that group situation, I myself always wanted to work with a group of creative people, whether it was in a band or comedy or whatever it was. But I get that so much. It just feels so much different when it's not just you by yourself. Absolutely. Although we are celebrating you by yourself. Yeah, I mean, I've had a really, I think I'm really fortunate to have had the career that I've had this far where I've gotten to be a part of some really amazing creative collectives. What would that be? The band, Hunter Tones that I helped start with some other horn players that I met at Ohio State that are now my best friends or becoming a part of the band OAR who was a group of guys who met when they were in eighth grade and are getting ready to celebrate 30 years together or getting to become a part of the fold at the late show with the late show band and that entire entity. I've always really liked bringing myself to a collective and being able to not only contribute but also learn and grow from the people around me. I think that that's something that has been kind of the beef of my music career. And now I think I'm taking all of those experiences and being like, all right, well, now what do you have to say given all of your experience and music, given all of your experience in life thus far? And the cool thing is, you know, I'm still surrounding myself with some amazing creative people, you know, when I'm presenting this music or I'm producing this album and I think it's just a little, it's taken a little while to get used to the person that everybody's, I'm the person that people are looking to when they're like, hey, like how are we playing this? They're like, what are you trying to say? But you're the leader now. Exactly, you know, but I think in the process of both making the night service album and also kind of working on this next project, I've become a lot more comfortable with being at the helm, both as being a leader, but also kind of as saying what I have to say to the world, you know, a scary thing when you're not used to doing that. I've always looked up to people who are, you know, early on kind of what you were saying, like people who are writing their own songs or have a very strong sense of their artistry. And it can be intimidating, but like I said, the more I've been working on this project, the more vulnerable I think I've gotten in the more confident I feel that, you know, what I have to say and the music that I have to make is just as worthy as all of these other amazing artists that I've gotten to work with over the years. Yeah, and it's safer in a group because you're all working collectively, so you don't have to take that risk. Now you have to lead. And but there's something really, really cool about that because you realize it's not what you thought. Absolutely. People like to be directed, especially creative types. They like to know where you want them to go. Oh, of course. Yeah, you know, you exist in groups and it's nice to be, you know, told what to do. Or even within the context of a band where it's like, you know when it's your time to shine and you know when it's your time to lay in the cut. And it's been a really kind of fun challenge to figure out. It's like, okay, well, how am I putting this show together? When do I decide when this person gets to shine? But it's also like all through my vision, which is, which is really, really fun. And exactly what you said, it's like when you're actually doing this, you're like, you're doing that. It gives you a lot of respect for the people who do you do that. And I think it's just kind of an experience thing where the more you do it, the more comfortable you get. And the better we get at it, yeah. So now you started playing piano at four years old. Yeah. But you became primarily known for your trumpet playing. First of all, self-talk trumpet. I mean, okay, I've sat at a piano before or a guitar. Maybe a couple of chords you can do, but a trumpet is not easy. It's interesting. So self-taught is generous. I'll say that it was kind of a hybrid. So my, you know, you're in fifth grade and you're in the room with like 30 other kids in the Mr. Lenzoe, the band instructor is up there. And he's like, all right, everybody, put your face like this, make a sound. And so I had instruction on how to kind of like, all right, make the sound. This is C. This one is D. This one is, you know, that type of thing. Yeah. But really, after that, once I started playing at church, it really was me literally like using my ears to figure out, oh, like what sounds good over this hymn. Even more specifically, like I really liked the way that James Thomas, who is like one of my favorite singers growing up at the church that I grew up in, I really loved the way that he'll like hold on to a note. And like at the end of the note, make his voice do this kind of the broad of thing. How do I do that on the trumpet? And then just like sitting in a room or sitting in the corner and just trying to do it until it sounds like, oh, yeah, like that sounds right. And I really did not have like a formal trumpet lesson until college, which a lot of people are like, you know, how is like what? And I feel grateful for that because I think, you know, there are a lot of things once I started studying with my teacher. He was like, hey, man, like you got to kind of figure these things out in order to be able to do some of the things you want to do. But also, I think that because I didn't have formal training up until that point, I was able to develop a sound that was very much my own and very unique without necessarily somebody informing that until I think it was a little dialed in if that makes sense. Yeah, totally. It does. Um, trumpet, you know, what made you drawn to it? Um, it's funny because a lot of people will be like, oh, you're a trumpet player. I mean, you're probably like really loud and cocky and outgoing. And it's like, I'm an outgoing person. I would say that. But I think that, um, it was something that came very naturally to me, even just like trying the different instruments. I remember being, you know, literally in fifth grade and it's like saxophone. It was like, okay, this feels cool, but it's kind of walky. But it's like just being able to actually like pick up the trumpet, not knowing anything about it. And it just feeling very like, okay, I can get a sound out of this. I feel like I understand like I'm holding this in this makes sense. And I'm somebody who really kind of lives my life on a sense of intuition. If that makes sense, like I feel very strongly that when you're paying attention, you can kind of sense the things you should be doing, the directions that you should be doing. And I think some of that is divine, but I also think some of that is just a matter of like learning to pay attention. And so even at a young age, there was something that was like, you know what? Like, it wasn't like it was like, oh, I love this person and they're a trumpet player. It was just like this instrument feels right. It feels natural. And you know, everything that has happened in the 25 years since then has kind of just confirmed that feeling if it makes sense. Yeah. Yeah. Totally. It does. And you're and you we just need to learn to listen to it more. I think equals just listening more. Yes. And being more aware and in the moment, trying to figure out what that is as opposed to do what everyone thinks that you're supposed to do. Yes. Yes. I think it's one of the things I love about the music that I grew up with and gospel music and also the music that I came to study and love in the jazz tradition is that so much of it is about listening is about listening is about reacting to, you know, active listening, reacting to something that somebody else plays, hearing a lick and trying to elaborate on it. I think, you know, it's exactly what you said. And even outside of the context of music, it's really important to be willing to listen and to understand versus just trying to, you know, I mean, speak all the time or just trying to be like, Oh, here are my ideas. Here's what I have to say. I think that's how, you know, that's what leads to growth. It does. And very good pro tip there, by the way. Right. Any musicians listening. Now, a lot of a lot of artists and musicians dream of that moment that sort of changes everything. For you, what was that moment or that opportunity that made you think, you know, your career had really turned that corner and that you were exactly where you knew you were supposed to be. What's there a moment like that? Absolutely. So I was a junior at Ohio State. And I remember I had switched my major to music and I was practicing and I was, you know, I met my friends and we were starting to make this band. But you know, I was getting to a point where it was like, man, like this is going to be a really difficult life. It's like, I know I love this again at Instinct. I know that this is what I'm supposed to be doing, but I don't really understand exactly what the path is going to be. And it was December and the jazz ensemble of Ohio State, we played a like, you know, every year we did like a holiday concert. And at the end of this holiday concert, the conductor of the band, whose name was Chris Keith and he was an amazing musician who also taught at the school, pulled me to the side. He was like, Hey, John, I just wanted to let you know that a friend of mine who's a sax one player, he plays in a band called OAR and I was like, I think I've heard of those guys. He's like, they're looking to add a horn section and I told him about you, just because, you know, I know you're in college or whatever, but I think you might be a good fit for this thing. And I was, he was like, I give him your number or whatever. I was like, yeah, like absolutely 100%. You know, and then a month goes by, a couple of months go by and I kind of forget about it. I was like, Oh, you know, that's cool, but you never know. And then that spring, I'll never forget it. I was sitting in a class and I got a phone call, didn't answer it because I'm a good student. I wouldn't check the voicemail and it was a voicemail from Jared, a piece of saxophone player in OAR and he was like, Hey, man, you know, my band's looking to add a touring horn section. Your name came up. I would love to come here. You play and to make a long story short, he came and heard me play. At some gig I had a dive bar in Columbus. And it's like, you sound great. How'd you like to play with us on our show in Columbus in a couple of weeks? In a couple of weeks later, I was up on stage with OAR in front of 3000 people. Wait, wait, wait. When he asked you that though, like, what went through your, like, were you like, my god, this was that moment? Or were you just surprised? It was, it was, it was definitely shock. It was definitely excitement. Also, there was like an overwhelming sense of like, yeah, like this is, like, you know that this is the thing that you are supposed to be doing and this is confirmation of that. So it was like this, oh my gosh. And also like, yeah, bro, like you knew something like this was going to happen. You just didn't know what it was going to be. And I feel like being on stage for that first time with them, seeing the audience and feeling what it felt like was this moment that you're referring to where you're like, yeah, man, like this, it's going to be okay. Like, you are on the path. And this is the beginning of that path. And it's like, now I have been working with those guys for 15 years. And I consider them family, you know, in that moment kind of led to a lot of things after like when I moved to New York, I was still touring with them and people knew about me because I was playing with them. And one thing led to another and all of a sudden John Vittis is like, Hey, man, do you want to come play at the Newport Jazz Festival? And then his team is like, Hey, do you want to be in the late show band? And it's like, I was like, I really traced it all back to that moment where that happened. It truly was kind of like a life changing opportunity, but also kind of this moment where I was able to take a deep breath and be like, yes, like this is the path. I am where I'm supposed to be. And funny you say path because you don't always have to know the exact path. You just kind of have to know that feeling that you're on the right path. Yes. Because you can't exactly call what the end is. You can have goals and stuff, but the path always changes. Yes. But if you know what you're talking about and you're right time, right talent, right opportunity and you took it and it just feels so good, I'm so happy for you. That's a great story. I appreciate it. We'll be right back with more of the Music Safety Podcast. Welcome back to the Music Safety Podcast. Now you spent years as a part of the house band on the late show on CBS. That kind of high profile platform is really extraordinary. And what did that experience teach you about performance, about pressure, what it means to serve music in someone else's world? I think that I have learned so many things being a part of the band at the late show, under John Bettiste and then underneath Luis Cato as band leaders, but then surrounded by literally the greatest musicians in the world on that band stand. We've learned so much about, you can talk technically like what it is to perform in front of cameras inside of a theater where you are performing to the room and in the room, but you're also performing to the camera. We've learned kind of how to inhabit this role of being the band that is like you said serving this greater purpose of a comedy show. And so whether that be literally just like entertaining the audience during the commercial breaks and playing during the ins and outs, or that means like, hey, production needs you guys to learn this spoof cover of this random song. And we all can do that in a matter of minutes. You know, it's incredible. Really? It's such like there's nothing like that gig or that environment because it's so unique. It's like one moment you're shooting a spoof commercial for like fake crab meat and the next moment you're rehearsing music that you're going to play with James Taylor next week. And then the other moment you're like, you know, it's just so there's nothing like it. And I think one of the main things that I've learned from that is how to internalize music very, very quickly. And I say internalize instead of learn or memorize because I think it's really, really important and it's really, really taught me how to, you know, if you have to play a song, you have to play somebody else's music, you're not just wanting to like, okay, it goes like this. It's like, boom, let me get it inside of me. Let me understand what part is coming up so that when you're in that moment, it feels like you really, really, really know the song. And then as soon as it's done, it's like, all right, I got to clear the cache and be able to do that with a whole new set of stuff tomorrow. So I think that that's been one of the main things that I've learned. But also just, I mean, watching Stephen do what he does over the past 10 years, you really learn, I've learned how to engage in audience, how to kind of, it's almost like he's playing twofold the whole time. He's like executing the monologue, but he's also paying attention to the energy in the room and he'll improvise based on, you know, something that feels a certain way. And then watching him interview people over the last 10 years, you know, people, former presidents and politicians, the most famous actors and musicians and authors in the world, seeing him be intentional about these interviews and kind of have an agenda going into it, but also being willing to improvise and let the conversation kind of lead. It really informs how, you know, I listen, not just as a musician, but as a human being. I think these are, you know, these are all things that have learned while being over there and that I'll take with me for the rest of my life, not just in my career of music, but in my, you know, day to day, it just existing in the world. Yeah, good skills to have and not that I'm partial to musicians, but I do think that it's just a tad harder for you guys to just out of the blue. You got a whole, like you're an extension of Stephen. And if he says something and then you guys have to go and create something on the spot live while you're taping, that's hard. I mean, that's like really amazing and you have to really be an incredible unit to be able to do that night after night. What I really want to talk about now is your new stuff, night service. It's your debut album. I'm congratulations. And it essentially, what I thought was really cool, it recreates a church service in a Brooklyn bar and it's open to everyone. That's a bold and also very beautiful concept. Where did you get the idea to do this? And was there ever a moment where you felt like maybe people wouldn't be ready for something like this or were you prepared? So yeah, for that first album, night service, it sprouted from a residency. Basically, I started playing at this bar every couple of months and I wanted to create exactly what you said and experience that you know, kind of had the feel of the church that I grew up in, but not necessarily like you would be sitting in a church service. So I was writing music kind of with that feel to it, also inspired by jazz. I was arranging some of my favorite church songs or kind of like, you know, I do a version of grandma's hands, which is a bill with her song that is kind of alluding to his own experience growing up with the grandmother that was a very, you know, religious church mother type woman. And I think creating that residency was really important to me in terms of figuring out how I wanted to kind of present myself to the world, you know, I think my faith and growing up listening to the music that I grew up listening to was a huge part of my artistry, but also I've experienced a lot of other things. And I wanted to figure out how to kind of convey that in a way that brought people joy and brought people together. And the space lunatico is amazing. It's a venue in Brooklyn. It existed for a little over a decade. And it's just like, I don't know, you know, some places are magic and this place is literally magic. And I, we've been doing the residency for about two years and I was like, you know what, this album just has to be live. We're going to set up some microphones and we're going to record this experience. And so when you listen to it, you can hear people yelling, you can hear like the glasses clinking and you can really feel, you know, this communal thing that I'm talking about when you listen to it. And I'm extremely proud of this project. It's like, you know, it feels like, you know, the best first swing of like me as an artist, if that makes sense. That's a home run. Yeah. You have been speaking of home runs. So this is your, that's you on your own, but you've also played with Stevie Wonder and Paul Simon and Billy Joel, Gary Clark Jr. The list of people that you've worked with and played with is really remarkable. I was curious. The name of this show is Music Savings. So I had to ask, is there been a moment in your life, personally or professionally, where music genuinely pulled you through something where it wasn't just your job, it was, it was your lifeline? I think about, I lost my dad a little over a decade ago and I remember, you know, he'd been sick for a while. So it wasn't sudden. And it was kind of the steady decline. And I remember finding such kind of peace and solace, not just from, you know, listening to, you know, songs from artists that I love, well, I'd be on a run, but also from being on stage, making music, you know, I did a lot of touring over the time that he was getting sick. And it felt like the two hours that I would be on stage with whether it be a way R or a hundred tones or over at the late, I mean, this was before the late show. So, you know, whatever entity it would be, I would feel this, you know, kind of, I don't want to say escape, but almost like all of the feelings that I was feeling from that, you know, the disappointment, the anxiety, the fear of what it would be like to live life without my dad. I was able to kind of get all of that out and share that through the horn, through the music, not just with, you know, the people that were on stage, but also kind of with an audience who obviously a lot of these audiences didn't know what I was going through. But being able to perform and to play and exude in that way was really, really powerful for me during that time. And I think that, you know, he's been gone for a while now, but there are many moments where I'll, you know, while I'm playing or I'll hear a song that he used to listen to. Since he's been gone, music has been something that allows me to grieve him in a way that sometimes feels sad but necessary, but also grieve him in a way that is sometimes very joyful, you know, on this next album that I'm doing notes to self, I do a cover of the Otis writing song, sitting on the dock of the bay. And that was one of his favorite songs. And my dad could not sing a lick, but I loved hearing him when that song would come on because you could just sense that he loved it so much. And so being able to produce this track and to sing it, you know, I'm really excited for the world to hear it, but it's also kind of been a really beautiful way to pay homage to my dad and to kind of, you know, feel close to him even now that he's gone. So I think that that's a big piece of how I would say music, you know, saved me or has gotten me through a really tough time in my life, that makes sense. No, it totally does. And I bet dad was so proud of you and he got to see some of your successes, which is equally as incredible because that, you know, those are the things you really want to have. And I'm glad that you at least had a little bit of that and can still, someone who wants to tell me this because I lost my dad about 12 years ago as well. And it was like the way you live your life is how you give back to them and show them that you paid attention and. Oh, absolutely. I think, you know, my mom and my dad are responsible for everything that I am. You know, it's funny. When I chose this path, they were really nervous because I grew up in a small town. They were like, man, nobody music makes any money. How are you going to make a living? You got to be a doctor, a lawyer. Yeah. Exactly. And, you know, I was really frustrated about that for a long time. But then you get a little older and you realize it's like the reason that they're so upset is because they've poured their entire lives into me. I was very fortunate to have two parents that really invested in me, whether it be, you know, basketball games, baseball practice, all the, and they came to all the concerts. I was at the Ohio State University marching band in college and they drove two hours and they came to every home football game. And that's just how they were. And so of course they were, you know, concerned that my life was going to go astray. But I do, I'm so grateful that, you know, I've stayed the course and been able to pursue this. And I feel obviously like, you know, how proud it's made my mom. And even though he's not here, how proud my dad is up there. You know, it's exactly what you're saying. It's like, you know, they pour all of that investment into me and everything that I go on to do in my life. And particularly, you know, are in my music is a reflection of their sacrifice, you know. And I'm, that's one of the coolest things about making music is that once you're making albums specifically, once you record something, it's forever. And it's not just a reflection of you, it's the reflection of everybody that has made you who you are. And I think that's really cool. It's beautiful legacy. And we're new album, where can everybody hear it when it's dropping and where can people find you and all of that good stuff before I let you go. So my new album notes to self is coming out June 26th, but the first single from that album is called greener and it's going to be coming in March. Easiest way to find me is on Instagram at John Lampley music with no H and also johnlampley.com. And if you're tuning into the late show, you can catch me on TV until May. Ooh, it's countdown time. Oh my gosh. I'm I know. It's crazy. Well, you're going to launch into something even bigger I can tell. I already can tell. So I can't wait to even watch the future for johnlampley and please make sure you come back and visit us again on music. Save me. Absolutely. Thank you so, so much for having me. Thank you for coming on and for sharing some pretty important stuff. And you know, if we can just one person hears it and it helps them in life, then our job is done. Our job is done. Amen to that. I'm Buzz Knight and thanks for listening to Lynn Hoffman and the music save me podcast produced by Buzz Knight media productions. Please check out our other shows, take in a walk Nashville hosted by Sarah Harrelson, comedy save me hosted by Lynn Hoffman and taken a walk hosted by yours truly. All shows are available on Apple podcasts, Spotify and are part of the iHeart Podcast network.
