Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
We're talking with Al Pacelli, who is the musical director
of Trans Siberian Orchestra, which is one of the most
successful touring rock bands of all time. And I want
to make sure everybody knows in a timely way here
that the tours coming up for this year, it's a
whole new show called The Lost Christmas Eve. They're playing
(00:22):
two shows in Denver on November sixteenth and then two
shows in the Springs on November seventeenth. And when I
say in a timely manner, I want to make sure
you know, tickets just went on sale.
Speaker 2 (00:33):
Like an hour and a half ago.
Speaker 1 (00:35):
So if you go to trans Hyphensiberian dot com trans
Hyphensiberian dot Com, you can pick your show and buy
some tickets. So when you say it's an all new show,
I assume you're still going to have you know, Sarah
Jevo and some of these things that people come.
Speaker 2 (00:52):
To you to hear. So what does a new show mean?
Speaker 3 (00:58):
So let me preface that question with this.
Speaker 4 (01:05):
This will be our twenty fifty year of touring. Okay.
Speaker 3 (01:08):
Our first show was back in the town with Theater
at Philadelphia back in ninety nine, and over.
Speaker 4 (01:13):
The course of this last you know, twenty five years
or so, there's a.
Speaker 3 (01:18):
Bunch of people who come back a year after year
after year after year, and I affectionately refer to them
as our repeat offenders. Okay, they have made this part
of their holiday tradition, and they will come back not
only maybe once a year, maybe, you know, once a week.
You know, I've got people who have seen five, six,
seven hundred shows with us. Wow, you know, yeah, no,
(01:38):
no joke, and now listen, thank you, you know, because
they heard something, felt, something experienced something within polomial stories
that they related to, and this has become to them
what like say, Charlie Brown's Christmas was to me when
I was a little kid back in the sixties. You know,
And if I go watch it now, if I hear
Vince Shiraldi played those opening chords, it.
Speaker 4 (01:58):
Immediately takes me back. You know. Music's fantastic like that.
Speaker 3 (02:02):
So with that in mind, the impetus of us doing
tours is balancing between the familiarity of post three stories
of part of the trilogy and keeping it different enough
every year so we're not repeating ourselves and keeping these
repeat offenders back on their heels on occasion because I
want to surprise them. I owe them a better show
(02:24):
than last year, and in some regards, and I got
to be very delicate, I owe them a different show.
But I need to have them familiar with the story
and the poetry and the songs and the characters. But
other than that, it's on and we haven't done this
particular piece of music, the Lost Christmas Eve in its entirety,
probably since I'm going to say twenty twelve, you know,
(02:45):
And so it's going to be wonderful to bring it
back when the characterscribing, the poetry and the story back
because it's a beautiful written story.
Speaker 4 (02:51):
And the cake is that.
Speaker 3 (02:53):
Technology has advanced so much in just a dozen years
that what our crew is able to do this year
visually with everything they've even dreamt up a dozen years ago.
So when I tell you, it's gonna be over the
top on every level. Everybody's so excited to have something
new to work with.
Speaker 1 (03:10):
I want to kind of weave in and out with
you with some direct TSO.
Speaker 2 (03:13):
Stuff and just some music stuff. I'm I'm curious what you.
Speaker 1 (03:19):
This occurred to me as you just talked about technology
and you were talking about lighting and stagecraft there, but
I'm curious what you are seeing in terms of the
influence of technology on music making these days, because I
can imagine there's some significant pros and some significant cons.
Speaker 4 (03:39):
Yeah.
Speaker 3 (03:43):
For me, okay, it really hasn't changed much in forty
five years that I've been recording. Yeah, I have a
less fall worse rat and I plug into the marshall
and there's a sure SM fifty seven in one of
the speakers. And I'm not changing. The format in which
(04:03):
we record, too, has changed. Grists at the back in
the day, you know, it was two inch tape. Now
it's on your pro tools, you know, the hard driving
your computer and all that.
Speaker 4 (04:11):
But I'm not leaving the generation that I'm from. I
refuse to do so.
Speaker 3 (04:17):
You know, when I play guitar, I want to feel
it in my hands, to an amplifier with tubes and speakers.
I'm not much for the newer gadgets and the plugins,
and I don't want anything to do with that, you know,
because I.
Speaker 4 (04:28):
Don't want to sound like my dad. Rest of salt,
you know, like, well, my generation's music was better than this.
Speaker 3 (04:33):
It's not about that it actually sounds better the old
school way of recording, you know, I think it's better now.
You know, people will argue that it sounds better through
a need board, that it doesn't have to sellboard. It
sounds better on two inch state than it does a computer.
I'm not going to argue that fact. I have no
control over that. But what I can control is the
(04:53):
organic element that I love. So when it comes to
playing the piano, playing the M and B three, playing
the guitar, the bandj or the mandolin base, whatever's I'm
gonna do with the old fashioned white because I feel
better about myself. I'm not cutting and pasting. I'm not quantizing,
you know. I learned how to play in tune and
in time. By learning how to play in tune and
in time, you know, I'm not going to rely on
(05:13):
a computer to do that for me. And when it
comes to our singers, I don't even know what autotune is.
I don't want to know about that.
Speaker 4 (05:22):
Right you know.
Speaker 3 (05:23):
Yeah, I was a kid Bill Rogers the entire company
record in about forty five minutes sort of fifty seven
and killed it.
Speaker 1 (05:29):
We're okay, Yeah, yeah, I do wonder like with that
auto tune and stuff for new for new young singers.
One of the things I wonder about is if if
it lets people seem like they have talent that they
actually don't have. And then I guess the second question
is if it's really entertaining to people. Does it matter
(05:50):
if they actually have the talent as long as I
believe the illusion that they do. Like when I'm watching
Trans Siberian Orchestra, literally every time I see you guys,
I'm like, I'm marvel at how you have the best
guitar player, the best bassis, the best and hottest violin player,
(06:10):
and on and on and on. You know, your talent
level is unmatched. I'm talking about like what you might
hear on pop radio. Does it matter if they're less talented?
And are they less talented?
Speaker 3 (06:23):
You know what, I don't think it matters, to be honest,
because that has been the same. You know, from when
I was a kid in the sixties listening to AM radio.
You know, they didn't have auto tune, they didn't have
you know, quantizing features and all of a sudden, but they
had the Wrenking Group, you know, the Banded, you know
Sound Studios in LA. They had the Swampers, you know
(06:45):
Dan Alabama. You know, they had the funk brothers in Motown.
So they were the quantizing auto tune all that stuff
because they were the best session players ever.
Speaker 4 (06:56):
So insert singer to that ensemble.
Speaker 3 (06:58):
And you knew you were getting their definition of perfection
was at the time. You know, I saw a really
fun interview with Sharon not too long or she was
talking about I don't know if it was I Got
you Babe of Gypsy's trans and thes or whatever, but
she knew that the record was going to be awesome
when she worked in because it was Tommydsko, Carol Kay
haliblaying on drums, you know, the record Cruit from Los Angeles?
Speaker 4 (07:18):
You know, now, were they better back then?
Speaker 3 (07:21):
With I don't know, there's always pop music on the
radio that I was like, yeah.
Speaker 4 (07:25):
I can't deal with that. And then I would have I'd.
Speaker 3 (07:28):
Listened to Leonard Bernstein, you know, doing Somewhere from Westside Story,
and the depth of his orchestration and his instrumentation, and
how how just beautifully valuable whose note relationships with the
harmony was. You know, I listened to old Disney stuff
and it's equally as brilliant. You know, if you listen
to Fantasio, I have to score underneath. You know, here's
making mouse running around like fighting like bloomsticks and buckets.
(07:51):
But if you you know, if you pay attention to
the scores, it's breathtaking. You know, does that still exist now?
I think so, you know, I just think that, you know,
technology gives other people opportunities to create music, which is fantastic,
But I think like real town still exists. I mean,
you know, I listened to Bruno mars Ago. This dude
is sly Stone. Yeah, he's awesome.
Speaker 2 (08:14):
I love it. That's a tremendous answer.
Speaker 4 (08:16):
Or can you listen to Christapleton saying yeah, we're good.
Speaker 2 (08:21):
Yeah, you know right.
Speaker 1 (08:23):
I mean, we're talking with Al Patrelli, who is a
musical director of Trans Siberian Orchestra. H let's talk about
TSO for a second, but maybe not the music part directly.
Your last tour generated over a million dollars for charity.
Can you just tell us about why you do this
and why it's important to you.
Speaker 3 (08:45):
I'm gonna always give credit with credits too. This is
Paul o' neil, the gentleman who created this whole thing. I.
TSO is approaching its thirtieth birthday this coming February when
I first recorded the opening notes to Christmas Eve Sara
Able twelve twenty four, A long time ago. And I
remember going to the studio with Paul and we walk,
you know, from the subway into the studio, from the
(09:07):
studio to a pizza place all over you know, the
lower East side of New York City, and we'd be
talking and chat and all of a sudden, I turn
over my shoulder. He's a half of Wakmahandi back on
thirty third Street.
Speaker 4 (09:18):
Dude, where'd you go now?
Speaker 3 (09:20):
You know? And he'd be reaching into his leather jacket
at the inside pocket and he would pull out a
ten novel bill at twenty dollar bill, whatever you had,
and he'd be handing it to somebody who obviously was
in need of help in that moment in time. And
you know, he'd come back and catch up with me,
and you know, I just, you know, bump him on
the shoulder, said, you just awesome.
Speaker 4 (09:38):
He goes out.
Speaker 3 (09:39):
The twenty bucks is not going to change my life,
but it may change this person's day or evening. Give
him a chance. Maybe they'll have the better tomorrow. Maybe
it'll notice this person, man, woman, whomever.
Speaker 4 (09:49):
Especially a child.
Speaker 3 (09:50):
Oh my god, maybe it'll there's a been a better
trajectory and they'll have some hope tomorrow.
Speaker 4 (09:55):
I don't know, but at least I tried so, and
I used to adore him for that.
Speaker 3 (09:59):
You know. To this day, my youngest daughter, Laila, when
we're in New York City, she will do the same thing.
You know, she just has that in her heart because
she's heard so many stories about Paul and the generosity
and all that. Here we are, all these decades later,
you know, on this a little beautiful soul in my
you know, my daughter, We'll see somebody on a blanket
on the street and.
Speaker 4 (10:19):
She just Daddy, can I please have a dollar? Yes
you may, so there you go.
Speaker 3 (10:22):
But anyway, our first show we did in ninety nine
at the Tower Theater at Philadelphia, I remember sitting in
Paul's dress room in the afternoon before sound check and
he goes, Hey, We're going to dedicate or donate one
dollar from every ticket sold tonight and every ticket we
ever sell forever back into the community. And I'm like, brother,
you're just this is awesome, you know, absolutely, And that's
what he did. And I think we saw that. I
(10:43):
don't know, three thousand tickets at whatever the cap is
at the Tower. You know, a lot of money, you know.
And then the next night it was the Orphan of
Boston and the Beacon in New York City and so
on and so forth, and I just had a sense
of pride knowing that, you know, he's the quiet guy
in the room that you always want to pay it
thank you to because he doesn't talk about things that much.
Speaker 4 (11:02):
They said it once and then he implemented it.
Speaker 3 (11:05):
Now, somebody told me last week that we have sold,
or are selling or whatever, our twenty million ticket as
we speak. So if you do it to math, a
dollar from every one of those tickets has gone back
into the community. And again, you know, I love him
with all my heart and I missed him every second every day.
But you know, Paul didn't talk about doing it. He
(11:26):
just did it, and he has made a different story.
And I'm very proud of him and his family, and
I'm proud to be part of an organization that puts
community first.
Speaker 2 (11:34):
We're talking with Al Patrelli.
Speaker 1 (11:36):
He is the musical director of Trans Siberian Orchestra. Tickets
went on sale less than two hours ago at Trans
Hyphensiberian dot com and they're playing two shows in Denver
on Saturday, November sixteenth, two shows in the Springs on Sunday,
November seventeenth.
Speaker 2 (11:52):
Mandy, did you want to talk to Al? Are you
a tso fan?
Speaker 3 (11:55):
Al?
Speaker 2 (11:55):
I have to tell you this.
Speaker 5 (11:56):
I'm over here on the other side where you can't
see him.
Speaker 2 (11:59):
I'll turn it. Hi Hi, Al Hi.
Speaker 4 (12:01):
So last time to see you.
Speaker 5 (12:04):
Last year, we came to see you in the Springs.
I brought my then fourteen year old daughter and at
one point during the show, you guys set off the
pyro and I went Pyro yes, and my daughter goes,
what di? And so I made her list of by
going piro yes, I mean, And I told her like,
this is when I was your age, this is what
(12:25):
a rock concert looked like.
Speaker 2 (12:26):
And it's just an absolute blast.
Speaker 5 (12:29):
And I love Christmas, so it is just the best
time for an evening of absolute just mayhem music.
Speaker 2 (12:38):
And it's just outstanding.
Speaker 3 (12:41):
Thank you so much, trusting nothing says Merry Christmas like Pyate.
Speaker 1 (12:46):
That's right, that's right, all right. We just have a
couple of minutes left, Al, and I want to do
two quick things. I'm going to ask you to give
me a shorter answer than this desert than this question deserves.
And I do not mean to sound like I am
picking favorites your children, but please tell me how your
son's in the Air Force and the Navy and Coast
Guard are doing.
Speaker 3 (13:08):
They're doing fantastic, and thank you so much for asking.
My oldest is approaching retirement age, which I'm very proud
of them.
Speaker 4 (13:16):
Excuse me.
Speaker 3 (13:17):
And the one who was in the Navy was chosen
to sattlers, were chosen to now be part of the
United States Space Force, so he has become buzz light Year.
Speaker 2 (13:27):
Wow.
Speaker 4 (13:28):
I so proud.
Speaker 2 (13:29):
Wow, that is absolutely fantastic. Okay,
We're talking with Al Pacelli, who is the musical director
of Trans Siberian Orchestra, which is one of the most
successful touring rock bands of all time. And I want
to make sure everybody knows in a timely way here
that the tours coming up for this year, it's a
whole new show called The Lost Christmas Eve. They're playing
(00:22):
two shows in Denver on November sixteenth and then two
shows in the Springs on November seventeenth. And when I
say in a timely manner, I want to make sure
you know, tickets just went on sale.
Speaker 2 (00:33):
Like an hour and a half ago.
Speaker 1 (00:35):
So if you go to trans Hyphensiberian dot com trans
Hyphensiberian dot Com, you can pick your show and buy
some tickets. So when you say it's an all new show,
I assume you're still going to have you know, Sarah
Jevo and some of these things that people come.
Speaker 2 (00:52):
To you to hear. So what does a new show mean?
Speaker 3 (00:58):
So let me preface that question with this.
Speaker 4 (01:05):
This will be our twenty fifty year of touring. Okay.
Speaker 3 (01:08):
Our first show was back in the town with Theater
at Philadelphia back in ninety nine, and over.
Speaker 4 (01:13):
The course of this last you know, twenty five years
or so, there's a.
Speaker 3 (01:18):
Bunch of people who come back a year after year
after year after year, and I affectionately refer to them
as our repeat offenders. Okay, they have made this part
of their holiday tradition, and they will come back not
only maybe once a year, maybe, you know, once a week.
You know, I've got people who have seen five, six,
seven hundred shows with us. Wow, you know, yeah, no,
(01:38):
no joke, and now listen, thank you, you know, because
they heard something, felt, something experienced something within polomial stories
that they related to, and this has become to them
what like say, Charlie Brown's Christmas was to me when
I was a little kid back in the sixties. You know,
And if I go watch it now, if I hear
Vince Shiraldi played those opening chords, it.
Speaker 4 (01:58):
Immediately takes me back. You know. Music's fantastic like that.
Speaker 3 (02:02):
So with that in mind, the impetus of us doing
tours is balancing between the familiarity of post three stories
of part of the trilogy and keeping it different enough
every year so we're not repeating ourselves and keeping these
repeat offenders back on their heels on occasion because I
want to surprise them. I owe them a better show
(02:24):
than last year, and in some regards, and I got
to be very delicate, I owe them a different show.
But I need to have them familiar with the story
and the poetry and the songs and the characters. But
other than that, it's on and we haven't done this
particular piece of music, the Lost Christmas Eve in its entirety,
probably since I'm going to say twenty twelve, you know,
(02:45):
And so it's going to be wonderful to bring it
back when the characterscribing, the poetry and the story back
because it's a beautiful written story.
Speaker 4 (02:51):
And the cake is that.
Speaker 3 (02:53):
Technology has advanced so much in just a dozen years
that what our crew is able to do this year
visually with everything they've even dreamt up a dozen years ago.
So when I tell you, it's gonna be over the
top on every level. Everybody's so excited to have something
new to work with.
Speaker 1 (03:10):
I want to kind of weave in and out with
you with some direct TSO.
Speaker 2 (03:13):
Stuff and just some music stuff. I'm I'm curious what you.
Speaker 1 (03:19):
This occurred to me as you just talked about technology
and you were talking about lighting and stagecraft there, but
I'm curious what you are seeing in terms of the
influence of technology on music making these days, because I
can imagine there's some significant pros and some significant cons.
Speaker 4 (03:39):
Yeah.
Speaker 3 (03:43):
For me, okay, it really hasn't changed much in forty
five years that I've been recording. Yeah, I have a
less fall worse rat and I plug into the marshall
and there's a sure SM fifty seven in one of
the speakers. And I'm not changing. The format in which
(04:03):
we record, too, has changed. Grists at the back in
the day, you know, it was two inch tape. Now
it's on your pro tools, you know, the hard driving
your computer and all that.
Speaker 4 (04:11):
But I'm not leaving the generation that I'm from. I
refuse to do so.
Speaker 3 (04:17):
You know, when I play guitar, I want to feel
it in my hands, to an amplifier with tubes and speakers.
I'm not much for the newer gadgets and the plugins,
and I don't want anything to do with that, you know,
because I.
Speaker 4 (04:28):
Don't want to sound like my dad. Rest of salt,
you know, like, well, my generation's music was better than this.
Speaker 3 (04:33):
It's not about that it actually sounds better the old
school way of recording, you know, I think it's better now.
You know, people will argue that it sounds better through
a need board, that it doesn't have to sellboard. It
sounds better on two inch state than it does a computer.
I'm not going to argue that fact. I have no
control over that. But what I can control is the
(04:53):
organic element that I love. So when it comes to
playing the piano, playing the M and B three, playing
the guitar, the bandj or the mandolin base, whatever's I'm
gonna do with the old fashioned white because I feel
better about myself. I'm not cutting and pasting. I'm not quantizing,
you know. I learned how to play in tune and
in time. By learning how to play in tune and
in time, you know, I'm not going to rely on
(05:13):
a computer to do that for me. And when it
comes to our singers, I don't even know what autotune is.
I don't want to know about that.
Speaker 4 (05:22):
Right you know.
Speaker 3 (05:23):
Yeah, I was a kid Bill Rogers the entire company
record in about forty five minutes sort of fifty seven
and killed it.
Speaker 1 (05:29):
We're okay, Yeah, yeah, I do wonder like with that
auto tune and stuff for new for new young singers.
One of the things I wonder about is if if
it lets people seem like they have talent that they
actually don't have. And then I guess the second question
is if it's really entertaining to people. Does it matter
(05:50):
if they actually have the talent as long as I
believe the illusion that they do. Like when I'm watching
Trans Siberian Orchestra, literally every time I see you guys,
I'm like, I'm marvel at how you have the best
guitar player, the best bassis, the best and hottest violin player,
(06:10):
and on and on and on. You know, your talent
level is unmatched. I'm talking about like what you might
hear on pop radio. Does it matter if they're less talented?
And are they less talented?
Speaker 3 (06:23):
You know what, I don't think it matters, to be honest,
because that has been the same. You know, from when
I was a kid in the sixties listening to AM radio.
You know, they didn't have auto tune, they didn't have
you know, quantizing features and all of a sudden, but they
had the Wrenking Group, you know, the Banded, you know
Sound Studios in LA. They had the Swampers, you know
(06:45):
Dan Alabama. You know, they had the funk brothers in Motown.
So they were the quantizing auto tune all that stuff
because they were the best session players ever.
Speaker 4 (06:56):
So insert singer to that ensemble.
Speaker 3 (06:58):
And you knew you were getting their definition of perfection
was at the time. You know, I saw a really
fun interview with Sharon not too long or she was
talking about I don't know if it was I Got
you Babe of Gypsy's trans and thes or whatever, but
she knew that the record was going to be awesome
when she worked in because it was Tommydsko, Carol Kay
haliblaying on drums, you know, the record Cruit from Los Angeles?
Speaker 4 (07:18):
You know, now, were they better back then?
Speaker 3 (07:21):
With I don't know, there's always pop music on the
radio that I was like, yeah.
Speaker 4 (07:25):
I can't deal with that. And then I would have I'd.
Speaker 3 (07:28):
Listened to Leonard Bernstein, you know, doing Somewhere from Westside Story,
and the depth of his orchestration and his instrumentation, and
how how just beautifully valuable whose note relationships with the
harmony was. You know, I listened to old Disney stuff
and it's equally as brilliant. You know, if you listen
to Fantasio, I have to score underneath. You know, here's
making mouse running around like fighting like bloomsticks and buckets.
(07:51):
But if you you know, if you pay attention to
the scores, it's breathtaking. You know, does that still exist now?
I think so, you know, I just think that, you know,
technology gives other people opportunities to create music, which is fantastic,
But I think like real town still exists. I mean,
you know, I listened to Bruno mars Ago. This dude
is sly Stone. Yeah, he's awesome.
Speaker 2 (08:14):
I love it. That's a tremendous answer.
Speaker 4 (08:16):
Or can you listen to Christapleton saying yeah, we're good.
Speaker 2 (08:21):
Yeah, you know right.
Speaker 1 (08:23):
I mean, we're talking with Al Patrelli, who is a
musical director of Trans Siberian Orchestra. H let's talk about
TSO for a second, but maybe not the music part directly.
Your last tour generated over a million dollars for charity.
Can you just tell us about why you do this
and why it's important to you.
Speaker 3 (08:45):
I'm gonna always give credit with credits too. This is
Paul o' neil, the gentleman who created this whole thing. I.
TSO is approaching its thirtieth birthday this coming February when
I first recorded the opening notes to Christmas Eve Sara
Able twelve twenty four, A long time ago. And I
remember going to the studio with Paul and we walk,
you know, from the subway into the studio, from the
(09:07):
studio to a pizza place all over you know, the
lower East side of New York City, and we'd be
talking and chat and all of a sudden, I turn
over my shoulder. He's a half of Wakmahandi back on
thirty third Street.
Speaker 4 (09:18):
Dude, where'd you go now?
Speaker 3 (09:20):
You know? And he'd be reaching into his leather jacket
at the inside pocket and he would pull out a
ten novel bill at twenty dollar bill, whatever you had,
and he'd be handing it to somebody who obviously was
in need of help in that moment in time. And
you know, he'd come back and catch up with me,
and you know, I just, you know, bump him on
the shoulder, said, you just awesome.
Speaker 4 (09:38):
He goes out.
Speaker 3 (09:39):
The twenty bucks is not going to change my life,
but it may change this person's day or evening. Give
him a chance. Maybe they'll have the better tomorrow. Maybe
it'll notice this person, man, woman, whomever.
Speaker 4 (09:49):
Especially a child.
Speaker 3 (09:50):
Oh my god, maybe it'll there's a been a better
trajectory and they'll have some hope tomorrow.
Speaker 4 (09:55):
I don't know, but at least I tried so, and
I used to adore him for that.
Speaker 3 (09:59):
You know. To this day, my youngest daughter, Laila, when
we're in New York City, she will do the same thing.
You know, she just has that in her heart because
she's heard so many stories about Paul and the generosity
and all that. Here we are, all these decades later,
you know, on this a little beautiful soul in my
you know, my daughter, We'll see somebody on a blanket
on the street and.
Speaker 4 (10:19):
She just Daddy, can I please have a dollar? Yes
you may, so there you go.
Speaker 3 (10:22):
But anyway, our first show we did in ninety nine
at the Tower Theater at Philadelphia, I remember sitting in
Paul's dress room in the afternoon before sound check and
he goes, Hey, We're going to dedicate or donate one
dollar from every ticket sold tonight and every ticket we
ever sell forever back into the community. And I'm like, brother,
you're just this is awesome, you know, absolutely, And that's
what he did. And I think we saw that. I
(10:43):
don't know, three thousand tickets at whatever the cap is
at the Tower. You know, a lot of money, you know.
And then the next night it was the Orphan of
Boston and the Beacon in New York City and so
on and so forth, and I just had a sense
of pride knowing that, you know, he's the quiet guy
in the room that you always want to pay it
thank you to because he doesn't talk about things that much.
Speaker 4 (11:02):
They said it once and then he implemented it.
Speaker 3 (11:05):
Now, somebody told me last week that we have sold,
or are selling or whatever, our twenty million ticket as
we speak. So if you do it to math, a
dollar from every one of those tickets has gone back
into the community. And again, you know, I love him
with all my heart and I missed him every second every day.
But you know, Paul didn't talk about doing it. He
(11:26):
just did it, and he has made a different story.
And I'm very proud of him and his family, and
I'm proud to be part of an organization that puts
community first.
Speaker 2 (11:34):
We're talking with Al Patrelli.
Speaker 1 (11:36):
He is the musical director of Trans Siberian Orchestra. Tickets
went on sale less than two hours ago at Trans
Hyphensiberian dot com and they're playing two shows in Denver
on Saturday, November sixteenth, two shows in the Springs on Sunday,
November seventeenth.
Speaker 2 (11:52):
Mandy, did you want to talk to Al? Are you
a tso fan?
Speaker 3 (11:55):
Al?
Speaker 2 (11:55):
I have to tell you this.
Speaker 5 (11:56):
I'm over here on the other side where you can't
see him.
Speaker 2 (11:59):
I'll turn it. Hi Hi, Al Hi.
Speaker 4 (12:01):
So last time to see you.
Speaker 5 (12:04):
Last year, we came to see you in the Springs.
I brought my then fourteen year old daughter and at
one point during the show, you guys set off the
pyro and I went Pyro yes, and my daughter goes,
what di? And so I made her list of by
going piro yes, I mean, And I told her like,
this is when I was your age, this is what
(12:25):
a rock concert looked like.
Speaker 2 (12:26):
And it's just an absolute blast.
Speaker 5 (12:29):
And I love Christmas, so it is just the best
time for an evening of absolute just mayhem music.
Speaker 2 (12:38):
And it's just outstanding.
Speaker 3 (12:41):
Thank you so much, trusting nothing says Merry Christmas like Pyate.
Speaker 1 (12:46):
That's right, that's right, all right. We just have a
couple of minutes left, Al, and I want to do
two quick things. I'm going to ask you to give
me a shorter answer than this desert than this question deserves.
And I do not mean to sound like I am
picking favorites your children, but please tell me how your
son's in the Air Force and the Navy and Coast
Guard are doing.
Speaker 3 (13:08):
They're doing fantastic, and thank you so much for asking.
My oldest is approaching retirement age, which I'm very proud
of them.
Speaker 4 (13:16):
Excuse me.
Speaker 3 (13:17):
And the one who was in the Navy was chosen
to sattlers, were chosen to now be part of the
United States Space Force, so he has become buzz light Year.
Speaker 2 (13:27):
Wow.
Speaker 4 (13:28):
I so proud.
Speaker 2 (13:29):
Wow, that is absolutely fantastic. Okay,
The Ross Kaminsky Show News
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