Buckminster Fuller. He didn't really know who he was. He sent this New York Post newspaper writer to Washington, DC to talk to Fuller, and Fuller said that he could make shelters for 250,000 people out of rolled newspaper for $2 million. George didn't want to do that. His exact quote was he "didn't want to be the laughing stock of the USA." But I said, you know, this guy's not kidding. If he says he can make those shelters for that, he can do it. But they didn't do that I'm afraid it was turned over to the United Nations and I heard that a lot of the supplies got to the docks and there wasn't any way to get them to the needed areas. So there wasn't as much good done at the time as there could have been. There's this preacher in the United States- i can't remember his name- but he has this campaign called Feed the Children. He was asking me about that Bangladesh thing, and I told him about all the money that was raised and all the supplies that were bought, and their problem was transportation, and that if he was going to raise money and dis- tribute food, he'd better be sure he had his transportation together. I notice he's got a fleet of tractor trailers with this charity. Sorry, I'm rambling.
Not at all. It has always concerned me to know where the money and supplies go after the concert or fund raiser. Well, logistics are a problem. they have to be taken into consideration. You can't just raise a big pile of money. That's not gonna do it. You have to know what to do when you do get it.
You did some work with Delaney and Bonnie and Friends too. How was that? It was fun. They were quite a volatile couple.
But we had some good times! I played on, I think it was their first album. I had known Delaney and worked with him even before that.
You've played a lot of different styles of music during your career, from rock to jazz, country and bluegrass. Do you have a style that you prefer to play more than the others, or do you just like to play them all? Well, I feel sorry for people who have jobs where they do the exact same thing everyday. I like to do different stuff everyday. I'm sure I wouldn't mind working on a assembly line if I could work on a different part of the line everyday. I think I probably play some of that stuff better than others. I'm not really a jazz player. I'm a fake, actually. (Laughs) Like those sessions in Los Angeles. I was hired by the writers, basically, so that they wouldn't have to write the piano parts. They'd take down the bar numbers and the chord changes and say 'play classical here' or 'play country her.' They didn't have to write it down, and so when it comes to actually playing classical music I don't do that very well, but I kind of make a stab at, an illusion of those different things.
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