1 00:00:04,195 --> 00:00:04,975 What's up, Adam? 2 00:00:05,915 --> 00:00:07,415 What's up, Jack? Jack? 3 00:00:07,415 --> 00:00:08,895 Whatcha talking about? That's what's in your glass? 4 00:00:09,275 --> 00:00:11,175 Uh, no, this is Coke Zero, actually. Oh, 5 00:00:11,365 --> 00:00:12,365 Okay. Hey, Peter, 6 00:00:12,365 --> 00:00:14,055 I was thinking today in honor of the album 7 00:00:14,055 --> 00:00:16,175 that we're listening to Sinatra at the Sands, that instead 8 00:00:16,175 --> 00:00:18,855 of playing the intro like we normally do. Yeah. 9 00:00:18,965 --> 00:00:21,655 That we could, uh, sing a ding, ding it. I 10 00:00:21,655 --> 00:00:22,335 like that. Let's do 11 00:00:22,335 --> 00:00:23,335 it. You ready? 12 00:00:23,335 --> 00:00:23,635 13 00:00:25,435 --> 00:00:26,815 Fly me to the moon 14 00:00:27,875 --> 00:00:30,615 and let me play among the stars. 15 00:00:33,235 --> 00:00:34,815 Let me see what life is like 16 00:00:35,675 --> 00:00:39,095 on Jupiter and Mars. How'd all 17 00:00:39,095 --> 00:00:40,095 These people get into my room? 18 00:00:41,035 --> 00:00:44,615 In other words, hold my hand. 19 00:00:46,575 --> 00:00:49,655 Sing it, Pete. In other words, that's 20 00:00:49,655 --> 00:00:50,415 A two chord, buddy. Oh 21 00:00:50,415 --> 00:00:51,735 My bad. Darling 22 00:00:51,925 --> 00:00:55,695 kiss me. Right on the soup coolers, you know. 23 00:00:56,325 --> 00:00:58,295 Fill my heart with song 24 00:00:58,915 --> 00:01:01,935 and let me sing forevermore. 25 00:01:03,635 --> 00:01:08,455 Say sing. You are all I long for all I worship 26 00:01:08,915 --> 00:01:10,975 and adore. You talking to me or Dino. 27 00:01:11,035 --> 00:01:13,095 Do I like Basie? In other words, 28 00:01:14,955 --> 00:01:16,135 please be true. 29 00:01:19,825 --> 00:01:23,935 Other words. I love you. 30 00:01:25,315 --> 00:01:26,255 You'll hear it now. 31 00:01:38,615 --> 00:01:38,935 I am 32 00:01:39,045 --> 00:01:40,055 Adam Maness. And 33 00:01:40,055 --> 00:01:41,055 I'm Peter Martin. 34 00:01:41,405 --> 00:01:43,975 Live from the Starlight Room in the beautiful Chase Park 35 00:01:43,975 --> 00:01:45,535 Plaza Hotel from St. 36 00:01:45,535 --> 00:01:49,175 Louis, Missouri. It's the You’ll Hear It podcast. Music 37 00:01:50,215 --> 00:01:52,455 explored. Pruning Away today. 38 00:01:52,455 --> 00:01:54,175 Music explored brought to you today by Open Studio. 39 00:01:54,475 --> 00:01:56,575 Go to openstudiojazz.com for, oh, 40 00:01:56,725 --> 00:01:58,455 your jazz lesson needs. Ringa. 41 00:01:58,455 --> 00:02:00,575 ding ding. It's a ringa ding, ding kind of day. 42 00:02:00,575 --> 00:02:03,695 Peter, we're talking about Sinatra, the chairman 43 00:02:03,695 --> 00:02:06,695 of the board, the CEO, Frank Sinatra. 44 00:02:06,885 --> 00:02:08,055 Sinatra at the Sands. 45 00:02:08,055 --> 00:02:10,615 This is a live album recorded in 1966 46 00:02:10,615 --> 00:02:12,695 with the incredible Count Basie Orchestra 47 00:02:12,965 --> 00:02:15,055 with Quincy Jones conducting a lot 48 00:02:15,055 --> 00:02:16,255 of heavy hitters on this album. 49 00:02:16,635 --> 00:02:20,095 Yes. And a lot of swinging bangers on this album. This 50 00:02:20,095 --> 00:02:21,295 Was a swing fest buddy. 51 00:02:21,295 --> 00:02:22,335 You know what I love about this album? 52 00:02:22,435 --> 00:02:23,975 And I love about having to pick, 53 00:02:24,005 --> 00:02:24,935 this is our first time we've talked 54 00:02:24,935 --> 00:02:25,895 about Frank Sinatra on the show. 55 00:02:25,965 --> 00:02:27,815 Yeah. Oh, is we, we, we've said his name though. 56 00:02:27,815 --> 00:02:28,855 We've mentioned it, but this is the first 57 00:02:28,855 --> 00:02:30,015 album we've listened to, which 58 00:02:30,015 --> 00:02:31,175 Right. It was also his first live 59 00:02:31,175 --> 00:02:32,175 Album. Did you know that? I 60 00:02:32,175 --> 00:02:32,695 did not know that. 61 00:02:32,695 --> 00:02:34,535 That's a, which is crazy. That's a fun fact. 62 00:02:34,535 --> 00:02:36,495 I've already felt like this podcast's been worth my time. 63 00:02:36,495 --> 00:02:37,535 Thank you, Peter. You're welcome. 64 00:02:37,835 --> 00:02:40,495 But, um, what I love about this tip, your waiter. Yeah. 65 00:02:40,955 --> 00:02:43,815 I'm here all week. Try the View. Um, 66 00:02:43,925 --> 00:02:46,735 what I love about this album in particular is that, I mean, 67 00:02:46,875 --> 00:02:49,575 all the Sinatra stuff is swinging and great. 68 00:02:49,645 --> 00:02:51,415 Yeah. And the ringa ding dinging and all that stuff, 69 00:02:51,555 --> 00:02:54,255 but there's something about him with the Basie band Yes. 70 00:02:54,325 --> 00:02:56,975 That brings out the both the best in both of them. Yes. 71 00:02:56,975 --> 00:03:00,605 You know what I'm saying? Like, it's, it's, it's as good 72 00:03:00,625 --> 00:03:03,285 as Frank is, is when he's in front 73 00:03:03,285 --> 00:03:06,245 of this absolute swing machine. 74 00:03:06,385 --> 00:03:08,845 Yes. And it is an absolute swing machine. Yeah. 75 00:03:08,885 --> 00:03:12,085 I mean, they sound so good and are so swinging 76 00:03:12,665 --> 00:03:16,605 and Count Basie, uh, at this point was in his sixties. 77 00:03:16,905 --> 00:03:19,765 Yep. Still playing Great. The band's still swinging great. 78 00:03:20,105 --> 00:03:23,925 Uh, young Quincy Jones. Yeah. Conducting his ass off. 79 00:03:24,145 --> 00:03:25,365 Yes. Uh, and arranging 80 00:03:25,505 --> 00:03:27,085 And arranging his ass off some of the great arrangements. 81 00:03:27,085 --> 00:03:29,485 Yeah. And then Frank, you could just tell is loving it. 82 00:03:29,595 --> 00:03:33,085 It's the, the vibe of the live album is loose, 83 00:03:33,215 --> 00:03:34,925 maybe a little too loose, which we're talking about, 84 00:03:36,265 --> 00:03:38,205 We talking about the album or the after party. What 85 00:03:38,205 --> 00:03:39,205 Are we talking about? Well, it got, it's 86 00:03:39,205 --> 00:03:40,845 pretty, it is pretty swinging, 87 00:03:41,345 --> 00:03:43,605 but, uh, man, I love this, uh, this album so much. 88 00:03:43,755 --> 00:03:45,805 It's so great. And I mean, you know, we're, 89 00:03:45,805 --> 00:03:48,005 we're gonna talk about it, I think folded into 90 00:03:48,005 --> 00:03:49,285 this story today. 91 00:03:49,285 --> 00:03:52,085 Like, is this peak Frank, like Frank Sinatra. 92 00:03:52,155 --> 00:03:56,405 What a amazing actor. Musician. Singer, of course. Comedian. 93 00:03:56,825 --> 00:03:58,365 He gets into some comedy on here. 94 00:03:58,825 --> 00:04:02,485 Um, heartthrob, all these different things. Icon American. 95 00:04:02,555 --> 00:04:04,645 Yeah. Uh, acting and singing icon. 96 00:04:04,865 --> 00:04:06,725 But this may be he was 50 years old. Yeah. 97 00:04:06,725 --> 00:04:08,245 And he jokes about that and talks about that. 98 00:04:08,665 --> 00:04:11,285 Um, and he, in terms of like vocally 99 00:04:11,585 --> 00:04:14,125 and musically, this might be kind of peak, not 100 00:04:14,125 --> 00:04:15,205 to say that he slid down. 101 00:04:15,325 --> 00:04:16,725 I mean, I actually got a chance to hear him live 102 00:04:16,755 --> 00:04:17,925 towards the end of his career. 103 00:04:18,025 --> 00:04:19,965 And he had the chops still, he still had had the voice. 104 00:04:19,965 --> 00:04:21,005 Yeah. He sounded good. Yeah. 105 00:04:21,225 --> 00:04:25,365 But in terms of like, you, you know, the peak of the Vegas, 106 00:04:25,725 --> 00:04:27,245 I mean, look, he, we always think about like, 107 00:04:27,245 --> 00:04:28,565 this is right in the middle of it. 108 00:04:28,565 --> 00:04:31,205 He, he'd been playing in Vegas for 15 years at this point. 109 00:04:31,305 --> 00:04:33,605 He helped build Vegas. He literally helped build Vegas. 110 00:04:33,605 --> 00:04:35,805 Yeah, that's true. 1951 was the first time he played in 111 00:04:35,805 --> 00:04:37,005 Vegas, and this is 66. 112 00:04:37,065 --> 00:04:39,125 So he's 15 years into it. 113 00:04:39,345 --> 00:04:41,765 He sees, and he'd been coming off a little bit of a lull, 114 00:04:42,145 --> 00:04:44,445 uh, in terms of, not in terms of his recordings, 115 00:04:44,445 --> 00:04:45,965 but in terms of his popularity sort 116 00:04:45,965 --> 00:04:46,965 Of. And there would be a lull 117 00:04:46,965 --> 00:04:48,125 after this too. There would be. 118 00:04:48,125 --> 00:04:50,565 Right. And the fir, when he first came to Vegas, 119 00:04:50,925 --> 00:04:52,485 actually Vegas sort of revived his career, 120 00:04:52,485 --> 00:04:54,165 even though he was like 35 or so. 121 00:04:54,165 --> 00:04:56,085 Yeah. He'd been on a little bit of a lull, was going 122 00:04:56,085 --> 00:04:57,845 through a divorce, was kind of in exile. 123 00:04:58,265 --> 00:04:59,285 So it's really interesting, 124 00:04:59,285 --> 00:05:01,525 the whole Vegas story that goes along with this. 125 00:05:01,545 --> 00:05:02,965 But you can't really pull 126 00:05:02,965 --> 00:05:04,485 that apart from what this event was. 127 00:05:05,235 --> 00:05:07,245 Sinatra had just on two records 128 00:05:07,295 --> 00:05:10,445 where he actually released like three records in 1966, 129 00:05:10,445 --> 00:05:13,205 or maybe even four, which is crazy by today's standards. 130 00:05:13,225 --> 00:05:14,765 But in the last four years 131 00:05:14,765 --> 00:05:17,365 before this 1962, he released Sinatra 132 00:05:17,365 --> 00:05:19,165 and Basie with arrangements. 133 00:05:19,385 --> 00:05:21,045 He had already worked with Quincy Jones 134 00:05:21,065 --> 00:05:22,685 before that, a young Quincy Jones. 135 00:05:22,945 --> 00:05:24,565 But that record, this was his first record 136 00:05:24,565 --> 00:05:26,165 where was all cues arrangements. 137 00:05:26,165 --> 00:05:29,645 But the Sinatra Basie record in 62 was Neal Hefti and the, 138 00:05:29,645 --> 00:05:31,285 and the Basie band, of course, sort 139 00:05:31,285 --> 00:05:33,725 of legendary arranger in some we consider the greatest 140 00:05:33,725 --> 00:05:35,805 arrangements for the Basie band. 141 00:05:36,265 --> 00:05:37,685 Um, and then he did 142 00:05:37,985 --> 00:05:39,645 Lot of loud, soft, loud, soft, loud, 143 00:05:39,645 --> 00:05:40,645 Soft. Yeah. Yeah. 144 00:05:40,645 --> 00:05:43,245 1964 without, was not with the Basie band. 145 00:05:43,265 --> 00:05:45,365 It might as well be spring. It had a couple hits on that. 146 00:05:45,365 --> 00:05:47,685 Mm-hmm. But it was a little bit of a lull for Sinatra. 147 00:05:47,685 --> 00:05:49,045 And it was a little bit of a weird period 148 00:05:49,045 --> 00:05:51,645 because 66, the Beatles. 149 00:05:51,715 --> 00:05:54,525 Yeah. Yeah. We got a whole culture shift happening. Yeah. 150 00:05:54,605 --> 00:05:56,405 I mean, huge rap. I mean, the Beatles were already out 151 00:05:56,405 --> 00:06:00,005 there, of course, but we had Revolver, uh, from The Beatles 152 00:06:00,005 --> 00:06:01,125 and Pet Sounds and the Beach Boys. 153 00:06:01,125 --> 00:06:03,285 So like pop music was going in a different direction. 154 00:06:03,305 --> 00:06:04,365 And I think it's easy for us 155 00:06:04,365 --> 00:06:06,325 to think about like, jazz music. 156 00:06:06,345 --> 00:06:08,965 And this is certainly a jazz big band, sort 157 00:06:08,965 --> 00:06:10,005 of typical, not typical. 158 00:06:10,125 --> 00:06:11,405 I mean, it's extraordinary. It is. 159 00:06:11,405 --> 00:06:14,725 But in terms of like the standards, the swing beat 160 00:06:14,795 --> 00:06:18,245 that like, it's very, very much a jazz record that we forget 161 00:06:18,245 --> 00:06:19,285 that it was just a few years 162 00:06:19,345 --> 00:06:22,685 before this that this kind of record would be a major hit. 163 00:06:22,685 --> 00:06:24,485 And in fact, this record did chart up 164 00:06:24,485 --> 00:06:25,565 to number nine on Billboard. 165 00:06:25,565 --> 00:06:27,245 Awesome. So it wasn't like it wasn't still in there, 166 00:06:27,245 --> 00:06:29,245 but I think for Frank Sinatra 167 00:06:29,245 --> 00:06:31,605 and the popularity that he'd enjoyed, um, 168 00:06:31,785 --> 00:06:34,205 before this, it was a little bit of a downslide, 169 00:06:34,225 --> 00:06:36,405 but not to the audience that was there for the whatever, 170 00:06:36,405 --> 00:06:38,565 two weeks that he played two sets a night, 171 00:06:38,825 --> 00:06:39,925 uh, with this extraordinary 172 00:06:39,925 --> 00:06:40,925 Band. Let's get into 173 00:06:40,925 --> 00:06:42,405 it, man. Let's get into the swing. Okay. 174 00:06:42,755 --> 00:06:44,605 Well, the great thing about this record too, 175 00:06:44,605 --> 00:06:46,405 and if you haven't heard this, you're really in for a treat. 176 00:06:46,785 --> 00:06:49,405 Um, is that like the record tells a story, 177 00:06:49,405 --> 00:06:53,045 it was recorded over how many days was this something like, 178 00:06:53,435 --> 00:06:54,565 yeah, maybe it was just a week. 179 00:06:54,865 --> 00:06:56,805 But, you know, and they're using like different takes from 180 00:06:56,805 --> 00:06:58,325 different times, but it's put together in a way, 181 00:06:58,325 --> 00:07:01,045 like it's a set, like you were sitting there, the double lp, 182 00:07:01,045 --> 00:07:02,205 and you'll be able to hear a lot 183 00:07:02,205 --> 00:07:03,605 of the story from the very beginning. 184 00:07:03,605 --> 00:07:05,645 Well, and just the Copa room. Sorry. 185 00:07:05,715 --> 00:07:08,125 400 seats in the Copa room. Right, right. 186 00:07:08,225 --> 00:07:11,285 So 400 seat theater, $25 tickets, 187 00:07:11,575 --> 00:07:12,845 which would've been pretty expensive. 188 00:07:12,955 --> 00:07:14,245 Yeah. For 1966. 189 00:07:14,245 --> 00:07:15,605 Yeah. This was a, a pricey thing. 190 00:07:15,605 --> 00:07:16,845 And that was just the loss 191 00:07:16,845 --> 00:07:18,045 leader to get you into the casino. 192 00:07:18,225 --> 00:07:20,565 The whole, the whole Vegas machine. That's right. 193 00:07:20,665 --> 00:07:22,205 And look, I don't wanna get myself in trouble. 194 00:07:22,245 --> 00:07:24,805 I don't know what the statute of limitation on getting, um, 195 00:07:25,055 --> 00:07:27,405 taken down by the, I think wasn't Vegas pretty 196 00:07:27,405 --> 00:07:28,565 mobbed up still at this point? 197 00:07:28,585 --> 00:07:31,285 It certainly was before this had it gone corporate yet. 198 00:07:31,285 --> 00:07:32,325 Sorry. You nervous? 199 00:07:32,625 --> 00:07:35,325 You look nervous. Well, well, we don't, 200 00:07:35,325 --> 00:07:36,765 not if Frank Sinatra would've had anything to do with 201 00:07:36,765 --> 00:07:37,765 That. This has put a lot allegedly 202 00:07:37,765 --> 00:07:38,645 in 203 00:07:38,645 --> 00:07:39,725 front of what we're saying today, 204 00:07:39,725 --> 00:07:40,725 Pete. People are saying 205 00:07:40,725 --> 00:07:41,245 that it was not. 206 00:07:41,245 --> 00:07:43,005 People are saying that it was mobbed up. 207 00:07:43,385 --> 00:07:44,285 Um, so anyway, let's check. 208 00:07:44,445 --> 00:07:45,485 I saw The Godfather too. I know. 209 00:07:46,045 --> 00:07:49,045 Let's check this out. Come fly with me. Of course. 210 00:07:49,305 --> 00:07:53,365 But this intro so great. Sonny Payne at the drums, 211 00:07:54,465 --> 00:07:58,285 The Sands is proud to present a wonderful new show. Norm 212 00:07:58,305 --> 00:07:59,445 Keenan at the bass, his music. 213 00:07:59,625 --> 00:08:01,285 Can we get this guy to I know our show, please. 214 00:08:01,445 --> 00:08:03,485 A music of Count Basie and his great band. 215 00:08:06,955 --> 00:08:10,525 Come on. Woo. 216 00:08:12,185 --> 00:08:13,185 Ah. 217 00:08:14,945 --> 00:08:16,765 And the man, See where go do that. 218 00:08:21,385 --> 00:08:22,245 The timing of this. 219 00:08:36,355 --> 00:08:36,645 Here's Basie 220 00:08:40,315 --> 00:08:41,885 Basie gonna Basie. Great 221 00:08:41,885 --> 00:08:42,885 How'd all these people get 222 00:08:42,885 --> 00:08:44,285 in my room. Oh, come 223 00:08:44,285 --> 00:08:45,285 On. 224 00:08:46,305 --> 00:08:47,845 How did all these people get into my town? 225 00:08:48,435 --> 00:08:51,885 Come fly with me. We'll fly. We'll fly away. 226 00:08:54,345 --> 00:08:57,245 If you can use the flu doubling. Some exotic booze. 227 00:08:57,245 --> 00:09:01,285 There's a bar and Far Bombay. Come on, fly with me. 228 00:09:01,815 --> 00:09:03,845 We'll fly. We'll fly away. 229 00:09:05,675 --> 00:09:06,725 Come On, Quincy, come 230 00:09:06,745 --> 00:09:07,745 Fly with me. 231 00:09:07,855 --> 00:09:09,605 We'll float down to Peru, 232 00:09:12,035 --> 00:09:13,845 Very few. Anderson Trump, 233 00:09:14,185 --> 00:09:17,805 One man is flu for you. 234 00:09:17,995 --> 00:09:20,845 Come on, fly with me. We'll float down the way 235 00:09:20,845 --> 00:09:22,405 Sinatra lays in those phrases. 236 00:09:23,675 --> 00:09:27,085 Once I get you up there. Where the air, 237 00:09:27,765 --> 00:09:31,685 I feel like I'm on TWA airline, Pan Am Pan Am on a clip 238 00:09:31,685 --> 00:09:33,485 and on an air clipper. Steven 239 00:09:33,645 --> 00:09:37,925 Spielberg used this song, I don't think this recording, 240 00:09:37,945 --> 00:09:40,685 but this song in, uh, in the Catch Me. 241 00:09:40,685 --> 00:09:43,005 If You Can scene where Leo is impersonating 242 00:09:43,525 --> 00:09:46,005 a Pan Am pilot surrounded by 243 00:09:46,695 --> 00:09:49,325 Pan Am Stewardesses as they were called. 244 00:09:49,355 --> 00:09:50,355 They were called 245 00:09:50,995 --> 00:09:51,995 Mean. Check out this writing. 246 00:09:51,995 --> 00:09:52,285 247 00:09:54,315 --> 00:09:55,925 Just say those words. 248 00:09:56,555 --> 00:09:58,045 Beat those birds down to 249 00:10:01,225 --> 00:10:03,125 Acapulco Bay. Perfect for a flying 250 00:10:03,715 --> 00:10:05,645 honeymoon. Are they say, 251 00:10:05,655 --> 00:10:06,655 Could you imagine? This is the 252 00:10:06,655 --> 00:10:07,685 first song in the set. 253 00:10:08,425 --> 00:10:10,285 We Fly. I'm gonna gamble. 254 00:10:10,345 --> 00:10:13,005 You're like, honey, take my money, honey. 255 00:10:13,285 --> 00:10:14,365 I told you to go to Vegas, 256 00:10:29,255 --> 00:10:30,565 Harry Sweet Addison. Come 257 00:10:30,565 --> 00:10:32,485 On Back to the bridge. 258 00:10:32,835 --> 00:10:34,765 Come on. Keep it simple. You could almost smell 259 00:10:34,765 --> 00:10:35,845 the cigarettes in cologne 260 00:10:35,845 --> 00:10:36,845 in this room, couldn't you? 261 00:10:38,985 --> 00:10:42,085 It smells like bourbon and bad, like Canadian Club. 262 00:10:42,705 --> 00:10:47,405 And Ave I'll be holding 263 00:10:47,785 --> 00:10:49,725 you so awfully near. 264 00:10:51,185 --> 00:10:55,645 You might even hear a gang of Angels chair, just 265 00:10:55,645 --> 00:10:59,365 because we're together weather wise, wise. It's such a, 266 00:10:59,525 --> 00:11:01,005 I made a few notes, but all the right ones 267 00:11:01,015 --> 00:11:02,165 count bass, come on. 268 00:11:02,825 --> 00:11:04,525 You just say that word. 269 00:11:05,035 --> 00:11:08,685 I'll beat your bird to a Kago Bay 270 00:11:09,905 --> 00:11:13,445 is perfect for a fly off. 271 00:11:13,995 --> 00:11:18,765 Simmering. Save. Come on, fly with me. We'll fly. We'll fly 272 00:11:21,115 --> 00:11:22,115 Pack Up. Let's fly 273 00:11:22,115 --> 00:11:22,605 away. 274 00:11:29,755 --> 00:11:33,525 Amazing. Yeah. So, I mean, that's a good start, right? 275 00:11:33,525 --> 00:11:35,245 Yeah. That would be a fun start to the gig. Yeah. 276 00:11:35,245 --> 00:11:37,045 Yeah, yeah. How many people fell off the wagon? 277 00:11:37,115 --> 00:11:38,245 They came into Vegas. They 278 00:11:38,245 --> 00:11:39,285 were like, I'm not gonna get a drink. 279 00:11:39,385 --> 00:11:41,085 By the end of that tune. They're like, come on, 280 00:11:41,175 --> 00:11:43,525 bring the Canadian Club. Let's do it. Yeah. 281 00:11:43,675 --> 00:11:45,205 Amazing. Yeah. Great start. 282 00:11:46,305 --> 00:11:47,805 Um, so yeah, 283 00:11:47,805 --> 00:11:50,005 and that's sort of like, you know, I mean, 284 00:11:50,005 --> 00:11:51,365 Frank Sinatra Come Fly with Me. 285 00:11:51,365 --> 00:11:55,765 Like, that's such a classic, um, frank song. 286 00:11:55,945 --> 00:11:58,765 But like, I think what, what you're hearing in that, um, 287 00:11:59,795 --> 00:12:01,765 version, I was just looking to Oh yeah, of course. 288 00:12:01,765 --> 00:12:04,765 Jimmy Van Heusen and Sammy Cahn Classic from 1954. 289 00:12:05,105 --> 00:12:06,245 Um, what's fun about that song? 290 00:12:06,245 --> 00:12:07,485 It was actually written in three four, 291 00:12:07,825 --> 00:12:11,125 and I believe that Sinatra's the first one to do it in four. 292 00:12:11,125 --> 00:12:12,325 That's how he kind of made it his own. 293 00:12:12,405 --> 00:12:15,205 I could be wrong on that, but I know Sinatra asked Quincy 294 00:12:15,205 --> 00:12:17,605 Jones to put that arrangement into four. 295 00:12:18,145 --> 00:12:20,485 And I think the way that Quincy did that, I mean, look, 296 00:12:20,845 --> 00:12:23,845 Quincy is like, he's sort of omnipresent from this point. 297 00:12:23,905 --> 00:12:26,645 And really before this, when he first worked with Sinatra, 298 00:12:26,665 --> 00:12:28,685 and even, even before that when he was playing trumpet with, 299 00:12:28,685 --> 00:12:31,285 with Lionel Hampton and had a storied career. 300 00:12:31,345 --> 00:12:32,405 But I mean, this was the point 301 00:12:32,405 --> 00:12:35,885 where he became the superstar, kind of, um, like 302 00:12:36,775 --> 00:12:39,525 taste maker, um, conductor, 303 00:12:39,525 --> 00:12:41,045 obviously actually conducting the band, 304 00:12:41,065 --> 00:12:43,445 but conducting the whole vibe, being able 305 00:12:43,445 --> 00:12:46,645 to realize Frank's vision in a way that I think, I mean, 306 00:12:46,645 --> 00:12:48,045 like, to me, of all this, 307 00:12:48,105 --> 00:12:50,005 the different recordings I've heard of Frank Sinatra, 308 00:12:50,005 --> 00:12:52,725 it doesn't get any, he's got other great recordings 309 00:12:52,725 --> 00:12:54,365 and studio stuff that's amazing. 310 00:12:54,865 --> 00:12:57,365 But in terms of like, him being able to connect with Jazz 311 00:12:57,505 --> 00:12:59,165 and with the big band and Count Basie, 312 00:12:59,305 --> 00:13:00,645 the whole band is a huge part of that. 313 00:13:00,645 --> 00:13:03,645 But I think that that, um, Quincy Jones had 314 00:13:03,645 --> 00:13:06,285 that unique ability to really pull, like, 315 00:13:06,285 --> 00:13:07,925 to put, to set the table. Right. 316 00:13:07,985 --> 00:13:09,605 I'm trying to think of how that would sound. Are 317 00:13:09,605 --> 00:13:10,605 You still thinking about that? Three, four. Yeah. 318 00:13:10,605 --> 00:13:11,965 Come down, come fly 319 00:13:11,965 --> 00:13:16,965 with me. I don't 320 00:13:17,435 --> 00:13:18,805 Yeah. I was thinking, come fly 321 00:13:19,035 --> 00:13:20,035 With me. 322 00:13:23,995 --> 00:13:25,445 That kind of thing. That's good, right? That as good. 323 00:13:25,445 --> 00:13:27,485 That was good. Yeah. Well, that, that definitely was. 324 00:13:27,485 --> 00:13:30,445 That's good. But like Frank trying to be like, I, 325 00:13:30,525 --> 00:13:31,765 I mean I'm projecting now, 326 00:13:31,765 --> 00:13:33,245 but for Frank Sinatra to be like, 327 00:13:33,245 --> 00:13:34,285 I think I want it to be in four. 328 00:13:34,505 --> 00:13:36,085 But then Quincy to put it into that, 329 00:13:38,985 --> 00:13:40,605 um, that kind of a vibe. 330 00:13:40,825 --> 00:13:44,845 And then Sinatra's Precision really being matched 331 00:13:44,845 --> 00:13:46,125 by the band's precision. 332 00:13:46,625 --> 00:13:49,405 Um, you know, Sonny Payne, I mean, just driving the band, 333 00:13:49,405 --> 00:13:52,925 like all the right things happening, but also as loose 334 00:13:53,185 --> 00:13:54,445 and confident as they are. 335 00:13:54,755 --> 00:13:56,485 There's also like a precision 336 00:13:56,485 --> 00:13:59,285 and a humility wrapped up in the way that they do this. 337 00:13:59,355 --> 00:14:02,885 That probably for a lot of the audience from Peoria 338 00:14:03,385 --> 00:14:05,405 or Chesterfield or whatever, it might've kind 339 00:14:05,405 --> 00:14:07,005 of flown a little bit over their head. No 340 00:14:07,245 --> 00:14:08,405 Chesterfield in 66. 341 00:14:08,715 --> 00:14:11,005 Well, whatever it was called Gumbo Flats back then. Gumbo 342 00:14:11,005 --> 00:14:12,245 Flats, you know, but you know what I'm saying? 343 00:14:12,245 --> 00:14:15,605 Like this was above, in terms of musicality and artistry. 344 00:14:15,605 --> 00:14:18,325 This flew right above. A lot of folks come fly with me. 345 00:14:18,325 --> 00:14:20,285 He was flying above the radar on this one for 346 00:14:20,285 --> 00:14:21,285 Sure. Flying high. 347 00:14:21,285 --> 00:14:22,165 What's up next? 348 00:14:22,585 --> 00:14:24,365 How about a little bit? We're gonna, okay. 349 00:14:24,365 --> 00:14:26,525 Great thing about this album. All the tracks. 350 00:14:26,525 --> 00:14:28,965 Maximum 40 minutes, man. They, it's just like 351 00:14:28,965 --> 00:14:30,005 44 minutes. Four 352 00:14:30,005 --> 00:14:30,565 Minutes. Sorry, 353 00:14:30,565 --> 00:14:31,565 What did I say? 40 minutes. 354 00:14:31,565 --> 00:14:32,085 Oh, 40 355 00:14:32,085 --> 00:14:33,085 Minutes. What's, that's true too. 356 00:14:33,085 --> 00:14:34,285 The maximum it goes. 357 00:14:34,605 --> 00:14:37,045 That would be an unparalleled artistic achievement if all 358 00:14:37,045 --> 00:14:39,685 of these standards were 40 minutes long. Four 359 00:14:39,685 --> 00:14:40,685 Minutes. Four minutes. Yeah. 360 00:14:40,685 --> 00:14:42,605 Um, but there's a lot of tracks. 361 00:14:42,605 --> 00:14:44,605 This is a double on. We're gonna skip to track number three. 362 00:14:44,795 --> 00:14:47,125 I've got you under my, 363 00:14:56,645 --> 00:15:00,765 I have got you under my skin. 364 00:15:00,995 --> 00:15:02,325 Cole Porter Classic. Of course. 365 00:15:03,805 --> 00:15:08,205 I have got you. Deep in the heart 366 00:15:08,625 --> 00:15:13,605 of me, so deep in my heart that 367 00:15:13,625 --> 00:15:15,605 that's you really a part. 368 00:15:16,225 --> 00:15:20,485 Me. I've got you 369 00:15:21,575 --> 00:15:22,685 under my skin. 370 00:15:25,845 --> 00:15:30,285 I have tried so not to in, 371 00:15:33,305 --> 00:15:35,445 and I said to myself, this is what 372 00:15:35,485 --> 00:15:36,485 A great song. Cole Porter 373 00:15:36,485 --> 00:15:37,205 could write a song 374 00:15:37,315 --> 00:15:38,315 Port. He could write it. 375 00:15:38,315 --> 00:15:40,645 Indiana's finest. Who should, 376 00:15:41,025 --> 00:15:42,525 Why should I, if this is a Quincy arrangement 377 00:15:43,635 --> 00:15:44,635 Baby? 378 00:15:44,705 --> 00:15:48,925 No. So, well that I've got 379 00:15:48,985 --> 00:15:50,005 to you, man. 380 00:15:50,755 --> 00:15:52,045 It's a super mature kind 381 00:15:52,045 --> 00:15:54,125 of like restrained arrangement. Well, it's, 382 00:15:54,315 --> 00:15:56,245 He's definitely nodding towards the Nelson or 383 00:15:56,315 --> 00:15:58,645 Riddles, You know, famous. It might have 384 00:15:58,645 --> 00:16:00,365 Been an orchestrated version of it, I'm not sure. 385 00:16:00,365 --> 00:16:01,365 But 386 00:16:02,095 --> 00:16:06,725 Spite of Comes the Night, every 387 00:16:07,795 --> 00:16:08,885 repeats in my ear. 388 00:16:09,945 --> 00:16:14,245 But, you know, you fool, you never can win. 389 00:16:16,825 --> 00:16:21,325 Use your mentality. Wake up to reality. 390 00:16:24,385 --> 00:16:28,805 And each time I do, just the thought of you makes me stop 391 00:16:29,305 --> 00:16:30,485 before I begin 392 00:16:31,275 --> 00:16:36,125 because I've got you under my skin. 393 00:16:39,985 --> 00:16:40,205 Ha. 394 00:16:46,225 --> 00:16:49,445 Run for cover running high. 395 00:16:50,465 --> 00:16:52,845 Ask your boy, ask your 396 00:16:52,865 --> 00:16:55,845 boy Percolate. 397 00:17:00,185 --> 00:17:04,125 Woo Al gray. 398 00:17:04,695 --> 00:17:05,725 Incredible solo. 399 00:17:23,555 --> 00:17:25,525 Yeah. So look, great stuff on here, 400 00:17:25,985 --> 00:17:26,985 Man. You know what makes, I 401 00:17:26,985 --> 00:17:28,525 love all these arrangements so much. 402 00:17:28,625 --> 00:17:29,885 And yeah, there's definitely, I think 403 00:17:29,885 --> 00:17:31,445 that is a, a, a different arrangement. 404 00:17:31,445 --> 00:17:32,725 Definitely nodding to the Nelson 405 00:17:32,725 --> 00:17:33,765 Real, but I could be wrong about that. 406 00:17:34,145 --> 00:17:37,165 Um, but what I would like our listeners to listen for, 407 00:17:37,265 --> 00:17:38,445 if you're like wanting 408 00:17:38,445 --> 00:17:39,685 to appreciate the music a little more, 409 00:17:39,705 --> 00:17:41,685 and specifically like what does an arranger do, 410 00:17:41,865 --> 00:17:43,525 you know Quincy Jones in this case. 411 00:17:43,985 --> 00:17:46,805 So he is taking the song in this case by Cole Porter, 412 00:17:46,805 --> 00:17:49,525 which is just the melody and some chord changes. 413 00:17:49,885 --> 00:17:52,165 Probably a simple chord Yeah. Progression from the original 414 00:17:52,515 --> 00:17:54,365 version, the sheet music or, or 415 00:17:54,365 --> 00:17:56,805 however, whatever reference Quincy would use for this. 416 00:17:57,385 --> 00:17:59,085 And then deciding what all 417 00:17:59,085 --> 00:18:01,165 of these instruments in the big band mm-hmm. 418 00:18:01,255 --> 00:18:03,205 Count bass orchestra are gonna do. Yeah. 419 00:18:03,305 --> 00:18:07,205 Now you can hear very clearly sort of Mozart's rule 420 00:18:07,205 --> 00:18:09,485 of three, you know about Mozart's rule of three, of course. 421 00:18:09,905 --> 00:18:12,285 So I love it. Do you wanna describe it in detail? No, 422 00:18:12,285 --> 00:18:13,285 I don't. I I just meant that 423 00:18:13,285 --> 00:18:14,045 as an affirmation. 424 00:18:15,145 --> 00:18:16,285 No. So like, uh, 425 00:18:16,355 --> 00:18:18,525 it's basically like when you're arranging something like 426 00:18:18,525 --> 00:18:21,885 this, there's no more than three melodies happening at once. 427 00:18:21,885 --> 00:18:24,125 Right. Three main sections happening at once. 428 00:18:24,145 --> 00:18:26,685 And you can hear it sometimes there's four in these. 429 00:18:26,715 --> 00:18:27,885 There's not, but there's never, 430 00:18:27,885 --> 00:18:30,205 like the saxophones are doing one thing. 431 00:18:30,205 --> 00:18:31,445 The trombones are doing one thing. 432 00:18:31,445 --> 00:18:33,605 The trumpets are doing one thing, Frank's singing over it, 433 00:18:33,605 --> 00:18:35,125 and the piano player's doing another thing. 434 00:18:35,155 --> 00:18:38,045 Like there's the rhythm section keeping some time. 435 00:18:38,545 --> 00:18:40,005 And when Frank is singing a melody, 436 00:18:40,005 --> 00:18:42,965 there's usually only one other thing happening in the 437 00:18:42,965 --> 00:18:44,005 band behind him. 438 00:18:44,065 --> 00:18:46,925 And sometimes those are combinations of sections, 439 00:18:46,925 --> 00:18:50,365 like the saxes and the trombones or the, the, the trumpets 440 00:18:50,365 --> 00:18:51,725 and the, and the saxes. 441 00:18:51,795 --> 00:18:53,645 Sometimes it's one horn. 442 00:18:54,105 --> 00:18:56,765 Um, sometimes it's a unison line that's happening. 443 00:18:56,785 --> 00:18:58,325 And then like with the saxophones 444 00:18:58,325 --> 00:18:59,805 and the trombones are playing, you know, 445 00:18:59,805 --> 00:19:00,885 punchy chords underneath. 446 00:19:00,885 --> 00:19:02,365 Yeah. Maybe for just a little more support. 447 00:19:03,305 --> 00:19:06,285 But there's, there's really a great 448 00:19:06,365 --> 00:19:07,925 symmetry to what Quincy is. 449 00:19:07,945 --> 00:19:09,445 The balance to what he's writing in 450 00:19:09,445 --> 00:19:10,485 these arrangements is really great. 451 00:19:10,635 --> 00:19:12,245 Even when they do the famous 452 00:19:13,135 --> 00:19:17,005 shout course when things are answering. 453 00:19:17,005 --> 00:19:20,925 Yeah. It's never getting cluttered. So cluttered. Exactly. 454 00:19:20,935 --> 00:19:24,005 Which is so easy to do if you're trying to write all 455 00:19:24,005 --> 00:19:25,325 of these individual sections. 456 00:19:25,325 --> 00:19:27,645 And, and of course you have, you know, all these players. 457 00:19:28,305 --> 00:19:31,165 Um, really, really incredible tight writing on this. 458 00:19:31,165 --> 00:19:33,365 Yeah. Uh, it's such a great way to describe it. 459 00:19:33,365 --> 00:19:36,285 And I think also that ability, like in the solely section 460 00:19:36,305 --> 00:19:39,325 and as it's building up and on a lot of the intros, like 461 00:19:40,645 --> 00:19:44,325 Quincy's writing for Sonny Payne at the drums, like giving 462 00:19:44,325 --> 00:19:47,125 that space because he can drive so much of that. 463 00:19:47,125 --> 00:19:49,765 Like that's one of those three parts. Oh. Potentially. 464 00:19:49,905 --> 00:19:50,965 You know, it's, it's like leaving 465 00:19:50,965 --> 00:19:52,845 that white space in there to do that. 466 00:19:53,025 --> 00:19:55,085 And the little places for Count Basie. Totally. 467 00:19:55,195 --> 00:19:58,325 Like, I always like, don't ever end underestimate 468 00:19:59,105 --> 00:20:00,725 his prowess at the piano. 469 00:20:00,915 --> 00:20:02,645 It's very easy for us to be like, well, he didn't play. 470 00:20:02,725 --> 00:20:04,445 I mean, the same thing you could say about Duke Ellington. 471 00:20:04,555 --> 00:20:06,645 Like I played a lot of those arrangements with the big band 472 00:20:06,655 --> 00:20:08,485 where it's like tacit, tacit, tacit. 473 00:20:08,485 --> 00:20:09,685 Yeah. And then just a couple of notes 474 00:20:09,705 --> 00:20:11,285 and you're like, oh, this is easy, but 475 00:20:11,285 --> 00:20:12,285 It's so effective. So again, 476 00:20:12,285 --> 00:20:13,925 if you think about that, like rule of three, 477 00:20:13,945 --> 00:20:16,005 if you think about the, the melody lines 478 00:20:16,005 --> 00:20:17,325 that you're arranging Yeah. 479 00:20:17,625 --> 00:20:19,445 And then the, or the, the instrumentation 480 00:20:19,445 --> 00:20:21,005 that you choose is the orchestration. 481 00:20:21,095 --> 00:20:22,565 Right. And that's where it's like, 482 00:20:22,865 --> 00:20:24,805 I'm not thinking about like, what are the trumpets gonna do? 483 00:20:24,805 --> 00:20:26,845 Yeah. I'm thinking about Frank is singing this Yeah. 484 00:20:26,865 --> 00:20:28,125 And the rhythm section is doing this 485 00:20:28,125 --> 00:20:29,645 and I want one other thing happening. 486 00:20:29,745 --> 00:20:31,645 Yep. That could be anywhere. Right. 487 00:20:31,665 --> 00:20:35,885 And that the color you choose is part of the orchestration 488 00:20:36,105 --> 00:20:38,085 of that and thinking about the line rather 489 00:20:38,085 --> 00:20:39,325 than the instrument Yeah. 490 00:20:39,325 --> 00:20:40,405 Can be really freeing. 491 00:20:40,605 --> 00:20:42,685 'cause then you can use things like the piano 492 00:20:43,225 --> 00:20:45,325 as just another extension of that line 493 00:20:45,475 --> 00:20:47,380 that totally changes the character of it. 494 00:20:47,380 --> 00:20:49,200 Right. Changes the vibe of the song completely. 495 00:20:49,725 --> 00:20:50,805 Absolutely. And I mean, you know, 496 00:20:50,805 --> 00:20:54,165 count Bei was a master at being just one part 497 00:20:54,165 --> 00:20:55,165 of the whole orchestration. 498 00:20:55,165 --> 00:20:57,205 Totally. We're used to as pianists being 499 00:20:57,205 --> 00:20:58,325 able to be the whole orchestra. 500 00:20:58,325 --> 00:21:00,245 And some pianists play within a big band like that. 501 00:21:00,245 --> 00:21:03,565 But the great ones, I count Bey, duke Ellington 502 00:21:03,565 --> 00:21:06,365 and many other, like knew that they're just one part of it. 503 00:21:06,445 --> 00:21:07,685 I mean, it's also maybe easier 504 00:21:07,885 --> 00:21:08,885 'cause it's their name's on the band. 505 00:21:08,885 --> 00:21:10,285 Right. For sure. They can do whatever they want. 506 00:21:10,585 --> 00:21:12,565 But it's like, you don't have to play all the orchestration 507 00:21:12,565 --> 00:21:13,565 along with the orchestra. 508 00:21:13,685 --> 00:21:15,365 'cause you've got an orchestra there. Right. Yeah. 509 00:21:15,515 --> 00:21:17,885 It's like, but, but what's some fun, cool stuff 510 00:21:17,885 --> 00:21:18,965 that you can do at the right time? 511 00:21:19,265 --> 00:21:20,845 And Quincy knew how to highlight that. 512 00:21:20,905 --> 00:21:23,245 And of course, Basie, it was just like second nature. 513 00:21:23,345 --> 00:21:24,525 He could hear that in. Yeah. 514 00:21:24,525 --> 00:21:26,085 We got a lot of jazz pianists that listen to this podcast. 515 00:21:26,225 --> 00:21:27,325 If you're playing a big band gig, 516 00:21:27,325 --> 00:21:28,845 if you're playing an orchestra gig, don't play. 517 00:21:28,875 --> 00:21:30,165 Yeah. TAs it, learn those 518 00:21:30,175 --> 00:21:32,725 Until, until it's like important that you play. 519 00:21:32,795 --> 00:21:33,725 Yeah. And then it's gonna be even 520 00:21:33,725 --> 00:21:34,685 more impactful. Absolutely. 521 00:21:34,685 --> 00:21:36,325 Yeah. Um, now having said that, 522 00:21:36,325 --> 00:21:38,205 we're gonna get into a couple of tracks here. 523 00:21:38,655 --> 00:21:41,405 Where, which is more sort of along Sinatra, 524 00:21:41,405 --> 00:21:44,805 like real classic Croner, uh, cronyism. 525 00:21:45,085 --> 00:21:46,325 I don't know, is that a word? I don't know. 526 00:21:46,385 --> 00:21:49,365 That's derogatory. No, it's not crooner. 527 00:21:49,365 --> 00:21:50,365 Like what he was known for. 528 00:21:50,365 --> 00:21:52,085 Beautiful ballads, stretching things out, 529 00:21:52,085 --> 00:21:53,405 really leaning into the lyrics. 530 00:21:53,825 --> 00:21:56,605 Um, which I think he balances out the set, especially 531 00:21:56,605 --> 00:21:58,845 with these short tracks, tight arrangements. 532 00:21:58,875 --> 00:22:01,805 Yeah. As he goes through this sort of Vegas, like look, 533 00:22:01,805 --> 00:22:02,925 when you're going through all these tunes, 534 00:22:02,925 --> 00:22:06,365 it can become like a Vegas review, R-E-V-U-E kind 535 00:22:06,365 --> 00:22:08,885 of situation where it's like, oh, we're just gonna slam 536 00:22:08,885 --> 00:22:10,725 through the hits and it's gonna be like a slide. 537 00:22:10,755 --> 00:22:12,525 It's gonna be like a buffet where you're like, 538 00:22:12,915 --> 00:22:14,925 it's a quantity play as opposed to a quality play. 539 00:22:14,925 --> 00:22:16,405 But I think this is a big buffet, 540 00:22:16,505 --> 00:22:19,445 and they are running through these things as getting ready 541 00:22:19,445 --> 00:22:22,045 for the next dinner, the dinner set or whatever. 542 00:22:22,345 --> 00:22:23,925 But the artistry with which they do it, 543 00:22:23,925 --> 00:22:26,485 and the way he offsets it with these beautiful ballads 544 00:22:26,785 --> 00:22:28,925 and slower temple things, we're gonna listen next 545 00:22:28,925 --> 00:22:30,285 to the shadow of the, of your smile. 546 00:22:30,595 --> 00:22:31,645 This is very interesting. 547 00:22:31,645 --> 00:22:33,005 This is the fourth track on there, of course, 548 00:22:33,005 --> 00:22:34,045 written by Johnny Mandel. 549 00:22:34,045 --> 00:22:36,485 This was a pretty new song. A very new song was, 550 00:22:36,485 --> 00:22:37,485 But he references that. 551 00:22:37,615 --> 00:22:38,965 Right. Which is funny to hear him say, 552 00:22:38,975 --> 00:22:40,045 check out this new number. 553 00:22:40,305 --> 00:22:41,365 That's right. Beautiful new 554 00:22:41,365 --> 00:22:42,365 Song. I know. I was like, it was in 555 00:22:42,365 --> 00:22:43,325 the movie The Sandpiper, 556 00:22:43,325 --> 00:22:44,645 but it was instrumental version. 557 00:22:44,705 --> 00:22:48,365 And apparently, um, well, Paul Webster had written lyrics 558 00:22:48,365 --> 00:22:50,525 for it and Sinatra on one of the flights back 559 00:22:50,525 --> 00:22:53,845 and forth to Vegas, told Quincy Jones, he's like, man, 560 00:22:53,845 --> 00:22:55,165 I think we should do shout of Your Smile. 561 00:22:55,165 --> 00:22:57,845 And Quincy was kinda like, um, for, for this gig, 562 00:22:57,845 --> 00:22:59,045 do you think you can learn the lyrics? 563 00:22:59,545 --> 00:23:01,965 And Quin, uh, Sinatra's like, yes, I can. 564 00:23:02,585 --> 00:23:04,365 And he said he pulled out a notebook 565 00:23:04,365 --> 00:23:05,965 and started writing the lyrics out. 566 00:23:05,965 --> 00:23:08,285 That's the way he would learn lyrics would write them down 567 00:23:08,345 --> 00:23:09,405 and then write them again. 568 00:23:09,585 --> 00:23:11,405 And he said he was like, and uh, 569 00:23:11,525 --> 00:23:12,845 Quincy Jones said he fell asleep on the flight. 570 00:23:12,845 --> 00:23:14,285 He wakes up, they're there, and he looks over 571 00:23:14,285 --> 00:23:15,765 and it's like 20 pages of 572 00:23:16,385 --> 00:23:17,525 the lyrics written out over 573 00:23:17,525 --> 00:23:18,725 and over again. That's how he learned it. 574 00:23:19,145 --> 00:23:21,325 That's a pro tip right there. Trying to learn lyrics. 575 00:23:21,325 --> 00:23:22,965 That's right. I should have done that in our intro. 576 00:23:24,335 --> 00:23:27,005 Ringa ding ringa ding ding. Oh yeah. 577 00:23:27,005 --> 00:23:28,525 He's gonna talk about it. It's a very pretty song, 578 00:23:29,345 --> 00:23:30,345 By the way. A new song as 579 00:23:30,345 --> 00:23:31,005 the Esta 580 00:23:31,075 --> 00:23:32,125 Yeah. Esta bill. Uh, 581 00:23:32,195 --> 00:23:33,195 Star the show. The 582 00:23:33,195 --> 00:23:35,125 Shadow Bill Evans of yours. 583 00:23:35,185 --> 00:23:37,525 No. Bill Miller. Bill Miller. Yeah. Same thing. 584 00:23:37,715 --> 00:23:39,285 Pianist for Frank Sinatra. Legend. 585 00:23:41,615 --> 00:23:42,845 Shout out Freddie Green. This 586 00:23:42,845 --> 00:23:43,925 is a new arrangement for Yeah. 587 00:23:43,925 --> 00:23:44,845 Freddie Green. You know how hard 588 00:23:44,845 --> 00:23:45,760 that is? That quarter note. 589 00:23:45,805 --> 00:23:48,845 I know. That's not easy, man. 590 00:23:49,555 --> 00:23:51,405 Will Colorado, that was His, that was his 591 00:23:51,405 --> 00:23:53,405 Jam With this tempo. 592 00:23:53,435 --> 00:23:54,925 Yeah. And 593 00:23:55,935 --> 00:23:59,245 light the dawn. 594 00:24:02,355 --> 00:24:06,845 Nice. Right there. Look into my 595 00:24:07,395 --> 00:24:11,285 eyes, my love. 596 00:24:12,225 --> 00:24:16,245 So the Esta is that Bell instrument famous from Dance 597 00:24:16,245 --> 00:24:18,165 of the Sugar Plum Fairy, Harry Potter. 598 00:24:18,465 --> 00:24:21,445 Yep. And which didn't exist yet, by the way. Oh, 599 00:24:21,865 --> 00:24:22,925 Lovely thing. 600 00:24:23,805 --> 00:24:26,405 Che Baker Monk. 601 00:24:26,915 --> 00:24:27,205 Yeah. 602 00:24:35,945 --> 00:24:38,685 Man, the guitar is doing so much of a 603 00:24:38,685 --> 00:24:41,445 Heavy lift With the feel. 604 00:24:41,475 --> 00:24:42,885 Yeah. It was far 605 00:24:45,345 --> 00:24:46,405 To Woo. Sweet. 606 00:24:46,605 --> 00:24:51,575 Edison Harmon Mute. Is that cup mutes on the trumpets? 607 00:24:51,695 --> 00:24:53,815 I don't know. That's, I don't know. I just like 608 00:24:53,815 --> 00:24:54,615 It. Haven't burned before. 609 00:24:54,745 --> 00:24:57,895 Bring it. Ding ding. So, 610 00:24:59,075 --> 00:25:00,375 Man, his voice is so rich. 611 00:25:01,075 --> 00:25:04,455 So did all, But this is like, 612 00:25:08,965 --> 00:25:12,255 This is what his voice was really made for. 613 00:25:12,255 --> 00:25:14,415 Right. Which makes the swing 614 00:25:14,415 --> 00:25:16,335 and stuff even more impressive. You know, and 615 00:25:16,505 --> 00:25:19,135 Every little lovely Thing. 616 00:25:19,165 --> 00:25:21,135 Like he's just sinat it now. Right. Yeah. 617 00:25:23,825 --> 00:25:26,555 I'll be remembering. Oh, 618 00:25:27,495 --> 00:25:30,595 Oh, the shadow Bow on the base 619 00:25:32,125 --> 00:25:33,125 Smile. 620 00:25:35,565 --> 00:25:39,315 Sweet. Your 621 00:25:39,335 --> 00:25:40,715 lovely smile. 622 00:25:45,185 --> 00:25:47,195 Yeah, you're right. It's really what he started out, 623 00:25:47,585 --> 00:25:48,715 what he got famous for. 624 00:25:49,055 --> 00:25:52,035 That's a good Right. Those ballads. The crooning. Yeah. 625 00:25:52,145 --> 00:25:54,315 He's so good at it. He's so good at it. 626 00:25:54,355 --> 00:25:55,915 I encourage everybody to, to go listen 627 00:25:55,915 --> 00:25:57,715 to some really early Frank Sinatra. 628 00:25:57,715 --> 00:25:59,835 There's some stuff that you can find, uh, 629 00:25:59,835 --> 00:26:01,075 when he was a kid, basically. 630 00:26:01,075 --> 00:26:04,915 Yeah. He's a teenager. Uh, in, was it Hoboken in Hoboken? 631 00:26:04,935 --> 00:26:08,155 No, New York City with Tommy Dorsey. Um, oh yeah. 632 00:26:08,335 --> 00:26:10,515 And, but even on his own, like, like his version 633 00:26:10,735 --> 00:26:11,915 of I fall in love too easily 634 00:26:12,335 --> 00:26:13,595 and he's like in his early twenties. 635 00:26:14,135 --> 00:26:17,395 So gorgeous. Yeah. And his, his his take on that. 636 00:26:17,615 --> 00:26:18,875 But I, I just wanted to highlight again, 637 00:26:18,875 --> 00:26:19,915 guitarist Freddie Green. 638 00:26:19,935 --> 00:26:23,395 Yes. For those of you who don't know fa very famous part 639 00:26:23,395 --> 00:26:25,315 of this bassy orchestra. In fact, for 640 00:26:25,315 --> 00:26:26,875 Many years before This, many years 641 00:26:26,875 --> 00:26:29,755 before this famous for, he never soloed, 642 00:26:30,105 --> 00:26:31,755 ever that I know of. 643 00:26:32,295 --> 00:26:35,275 And all he did would chunk quarter notes. Yeah. 644 00:26:35,275 --> 00:26:37,275 So if the tempo is 1, 2, 3, 4, 645 00:26:37,275 --> 00:26:41,915 he says Yeah. 646 00:26:41,975 --> 00:26:45,205 And even on a tune like this, which is like, um, 647 00:26:46,435 --> 00:26:47,435 Wait, hold on. Lemme see if 648 00:26:47,435 --> 00:26:49,085 I can, I'm gonna try to find 649 00:26:49,085 --> 00:26:51,165 Some classic Freddie Green chunking here. Yeah. 650 00:26:51,565 --> 00:26:52,845 I don't know if this is gonna work to ice. 651 00:27:00,545 --> 00:27:01,645 No, that sounds like bass, doesn't 652 00:27:01,725 --> 00:27:02,725 It? He's trying to, he's trying 653 00:27:02,725 --> 00:27:05,805 to find the chunk. There it is. 654 00:27:08,785 --> 00:27:10,605 So you can hear very muffled that you can hear that 655 00:27:10,915 --> 00:27:12,525 that chunk of the quarter note happening. 656 00:27:12,525 --> 00:27:13,605 That's all he did in the band. Right. 657 00:27:13,605 --> 00:27:15,125 That was his ma his prime. It's not all he did, 658 00:27:15,125 --> 00:27:19,525 but this his primary function and he was so good at it. 659 00:27:19,525 --> 00:27:21,965 Yeah. That shadow of, of your smile performance. 660 00:27:24,385 --> 00:27:29,325 It sounds better than this. What a feel. Yeah. 661 00:27:29,325 --> 00:27:30,685 But that's why all this other stuff is 662 00:27:30,685 --> 00:27:31,685 Happening. He's basically part, 663 00:27:31,685 --> 00:27:35,845 he's like so 664 00:27:35,875 --> 00:27:38,605 Awfully near So connected to the drums in the bass. 665 00:27:38,605 --> 00:27:39,645 Yeah. Like as a unit, 666 00:27:39,645 --> 00:27:43,005 they're just creating this like Mm mm mm Pulse this cord 667 00:27:43,005 --> 00:27:46,005 note pulse that is infectious. Yeah. 668 00:27:46,105 --> 00:27:47,965 And I mean to the point that this is called, 669 00:27:47,965 --> 00:27:49,085 if you make a big man chart 670 00:27:49,545 --> 00:27:51,165 and you just put some chords for the guitar, 671 00:27:51,165 --> 00:27:52,285 and then you say, Freddie, Freddie Green, 672 00:27:52,285 --> 00:27:54,325 Fred Green it, Freddie Green did, that's, 673 00:27:54,325 --> 00:27:56,045 they every everybody knows, knows to do it. That's 674 00:27:56,045 --> 00:27:57,045 Right. He's like the Kleenex 675 00:27:57,045 --> 00:27:58,645 of tissue paper. Right. 676 00:27:58,755 --> 00:28:00,245 Yeah. But what I was saying with the shadow 677 00:28:00,245 --> 00:28:01,245 of your smile is like, 678 00:28:01,265 --> 00:28:02,805 that's one of the hardest versions of that. 679 00:28:02,805 --> 00:28:04,085 And you're like, I, it's 'cause of the tempo. 680 00:28:04,085 --> 00:28:05,085 Because of the tempo. But you're like, 681 00:28:05,085 --> 00:28:06,165 well, Adam, the tempo's slow. 682 00:28:06,265 --> 00:28:07,325 But that's why it's so hard. 683 00:28:07,385 --> 00:28:09,205 The slower it is, the harder, the slower it is, 684 00:28:09,205 --> 00:28:10,765 the harder it is to be steady, 685 00:28:10,825 --> 00:28:12,085 to be swinging, to be in the pocket. 686 00:28:12,145 --> 00:28:14,645 And he never fails. The guy doesn't miss. Yeah. Yeah. 687 00:28:14,645 --> 00:28:16,045 It's so good. Um, 688 00:28:16,465 --> 00:28:19,845 and so look what I was saying about like Frank Sinatra on 689 00:28:19,975 --> 00:28:21,765 these ballads on shadow, you smile. 690 00:28:21,925 --> 00:28:23,845 I didn't mean, this is not no shade at all. 691 00:28:23,845 --> 00:28:26,005 When I say this is what his voice was made to do. 692 00:28:26,125 --> 00:28:28,725 I just mean like, that's not to denigrate the artistry 693 00:28:28,725 --> 00:28:29,845 and the control Yeah. 694 00:28:29,915 --> 00:28:32,125 That he takes his beautiful instrument and puts on it. 695 00:28:32,275 --> 00:28:36,685 It's just, to me it's like that makes the, when he's going 696 00:28:37,415 --> 00:28:40,165 super hard swing, like he can do that 697 00:28:40,225 --> 00:28:41,525 and he executes all great, 698 00:28:41,545 --> 00:28:43,045 but it's even more, it's kind 699 00:28:43,045 --> 00:28:45,085 of like when a great pitcher gets up and does a home run. 700 00:28:45,085 --> 00:28:46,765 Yeah. You're like, damn, they can do that. 701 00:28:46,765 --> 00:28:48,005 But you're not necessarily expecting it. 702 00:28:48,025 --> 00:28:50,285 You could say he's the shhe Tani of he's the show 703 00:28:50,625 --> 00:28:51,625 Of Vocal. No, I mean, 704 00:28:51,625 --> 00:28:53,685 we talked about, about this last, uh, 705 00:28:53,685 --> 00:28:55,165 in the last couple weeks with Lauren Hill, 706 00:28:55,185 --> 00:28:57,205 how it was like the total package at the time 707 00:28:57,205 --> 00:28:59,085 that she released that Miseducation album. 708 00:28:59,135 --> 00:29:00,805 Right. And like, but Frank Sinatra, 709 00:29:00,805 --> 00:29:03,325 his whole career is this total package, first of all, 710 00:29:03,675 --> 00:29:07,085 like the ballads thing is his original wheelhouse. 711 00:29:07,085 --> 00:29:10,565 Right? Yeah. And for a lot of vocalists or 712 00:29:10,945 --> 00:29:12,685 or music stars, that would be enough. 713 00:29:12,685 --> 00:29:13,685 Right. That would be all they would need. 714 00:29:13,685 --> 00:29:15,005 And, and in fact, people have built whole 715 00:29:15,005 --> 00:29:16,085 careers off of just that. 716 00:29:16,115 --> 00:29:17,685 Yeah. Crooning. Uh, 717 00:29:17,705 --> 00:29:21,765 but then he ends up being like an incredibly swinging Yeah. 718 00:29:22,045 --> 00:29:24,845 Vocalist who can take like, I mean, we, you know, the, 719 00:29:24,845 --> 00:29:27,565 I've got you under my skin, the come fly with me, 720 00:29:27,565 --> 00:29:29,245 we're gonna hear even more swinging versions. 721 00:29:29,275 --> 00:29:30,765 Yeah. That you make me feel so young. 722 00:29:31,265 --> 00:29:34,525 He is like phrasing in a way that is, uh, 723 00:29:34,525 --> 00:29:36,525 just really high level. 724 00:29:36,525 --> 00:29:37,845 Yeah. Really high level swing. 725 00:29:38,065 --> 00:29:41,045 And then put on top of that, Peter, he's like one 726 00:29:41,125 --> 00:29:42,565 of the coolest people on the planet. 727 00:29:42,615 --> 00:29:45,965 Right. He's just like confident I'm, you know, 728 00:29:46,065 --> 00:29:47,125 He was living in the right era. 729 00:29:47,225 --> 00:29:50,005 Um, he's literally a movie star. He's handsome. 730 00:29:50,435 --> 00:29:53,765 He's, you know, uh, just charismatic. He's funny. Yeah. 731 00:29:53,825 --> 00:29:55,925 You know, like, it, it's, he's really the total, he 732 00:29:55,925 --> 00:29:56,805 Knows how to dress. I mean, 733 00:29:56,805 --> 00:29:58,365 I'm, He knows how to drink. Captain 734 00:29:58,365 --> 00:29:59,365 Obvious here. Frank Sinatra 735 00:29:59,365 --> 00:30:00,485 is like a total entertainment. 736 00:30:00,485 --> 00:30:02,885 Frank Sinatra is cool. Thanks, man. But like, it's true. 737 00:30:02,915 --> 00:30:04,485 This is really like, but think about that. 738 00:30:04,515 --> 00:30:05,885 He's bigger than just like any 739 00:30:05,885 --> 00:30:07,365 of one thing. He's this entire, 740 00:30:07,795 --> 00:30:10,885 He's every man's man kind of, you know, women want to be 741 00:30:10,885 --> 00:30:12,725 with him and men want to be him or whatever. 742 00:30:12,795 --> 00:30:14,565 Sure, sure, Sure, sure, sure, sure. 743 00:30:14,565 --> 00:30:16,045 How you told me right before the show. Sure. 744 00:30:16,065 --> 00:30:17,765 That's what, that's why I say that a lot. Yeah. 745 00:30:18,305 --> 00:30:21,685 No, but it's, it's, it's also like, you know, testimony to 746 00:30:22,755 --> 00:30:25,405 Sinatra in that, like, think about this. 747 00:30:25,475 --> 00:30:27,805 Tony Bennett recorded 748 00:30:27,805 --> 00:30:30,005 with Basie like seven years before that. 749 00:30:30,005 --> 00:30:32,045 I think 1959 ever heard of 1959. 750 00:30:32,145 --> 00:30:34,925 We talk about 1966, maybe not the swinging this year 751 00:30:35,345 --> 00:30:36,805 for the record for pop music, 752 00:30:37,025 --> 00:30:39,525 but 1959 might've been the pinnacle of swing 753 00:30:39,665 --> 00:30:43,525 and jazz in the, in the public, uh, you know, arena. 754 00:30:44,185 --> 00:30:46,605 So Tony Bennett, you know who I, I mean, 755 00:30:46,725 --> 00:30:48,965 I don't think it's any shade on, on Sinatra to say 756 00:30:48,965 --> 00:30:50,685 that Tony Bennett is naturally a more, 757 00:30:51,325 --> 00:30:52,445 I, look, I'm associating them. 758 00:30:52,445 --> 00:30:55,605 They're both Italian American careful singers. No, they are. 759 00:30:55,605 --> 00:30:58,245 They're, but I mean, Tony Bennett is a lot more naturally 760 00:30:58,525 --> 00:31:00,085 swinging than Sinatra. Bennett, 761 00:31:00,085 --> 00:31:01,365 You say swings as, you know what 762 00:31:01,365 --> 00:31:02,365 I'm saying? For sure. But, so 763 00:31:02,365 --> 00:31:03,605 for Sinatra to do this, 764 00:31:03,705 --> 00:31:06,205 but he recorded with Count Basie in 59 Great Records. 765 00:31:06,205 --> 00:31:07,405 He actually did two records. Yeah. 766 00:31:07,465 --> 00:31:09,045 One for roulette, one for Columbia, yeah. 767 00:31:09,045 --> 00:31:10,045 For both of their different labels. 768 00:31:10,265 --> 00:31:11,725 And look, you're going with what's known 769 00:31:11,725 --> 00:31:13,125 as the Swinging This band. 770 00:31:13,385 --> 00:31:15,605 And, and at that time for, with a singer, even more 771 00:31:15,605 --> 00:31:18,045 so than Duke Ellington band, in a way for like, 772 00:31:18,045 --> 00:31:19,685 like if you're a singer going to Vegas, 773 00:31:19,835 --> 00:31:21,645 like you can't get a swing in her band than this. 774 00:31:21,785 --> 00:31:23,245 So that's a challenge for a singer. 775 00:31:23,515 --> 00:31:25,165 Like, that's like saying, oh, 776 00:31:25,325 --> 00:31:27,005 I think I can pitch, I'm gonna go with the St. 777 00:31:27,005 --> 00:31:28,725 Louis Cardinals or the Los Angeles Dodgers. You 778 00:31:28,725 --> 00:31:29,725 Know what would've been awesome to hear? 779 00:31:30,635 --> 00:31:34,005 Like someone who I think at this time would be the only 780 00:31:34,005 --> 00:31:35,125 rival to Sinatra, 781 00:31:35,125 --> 00:31:37,045 but the circumstances of the time wouldn't allow it. 782 00:31:37,465 --> 00:31:39,725 Who is probably better at him than almost all of this stuff, 783 00:31:39,725 --> 00:31:42,485 including like, the vibe and, and the looks and everything. 784 00:31:42,485 --> 00:31:44,685 Yeah. Nat Cole, Nat King Cole. Oh, well, yeah. 785 00:31:44,685 --> 00:31:46,525 Like the most swinging singer. Yeah. 786 00:31:46,585 --> 00:31:48,045 The most incredible ballad singer. 787 00:31:48,965 --> 00:31:50,685 Unbelievable pianist that Sinatra, the gear 788 00:31:50,845 --> 00:31:52,285 that Sinatra doesn't have is like the 789 00:31:52,445 --> 00:31:53,805 musicianship is right through the roof. 790 00:31:53,815 --> 00:31:56,845 Right. And charismatic hosted his own show, but Yeah. 791 00:31:56,915 --> 00:31:59,525 Yeah. Yeah. I Well, that's a ja I mean, well he kind of, 792 00:31:59,675 --> 00:32:01,205 it's almost like, but, but Nat 793 00:32:01,205 --> 00:32:03,405 and Cole kind of went to the pop world the way 794 00:32:03,405 --> 00:32:05,925 that Sinatra came from the pop world to the jazz world. 795 00:32:05,925 --> 00:32:07,365 That's a little bit of a risk for both of them. 796 00:32:07,365 --> 00:32:09,805 Yeah. But the circumstances of the, of the era was Nak 797 00:32:09,805 --> 00:32:11,645 and Cole had a, had a ceiling put upon him 798 00:32:11,645 --> 00:32:12,885 that Sinatra never did. 799 00:32:13,065 --> 00:32:14,205 Of course. Yeah. Yeah. And, 800 00:32:14,205 --> 00:32:16,485 and it's a shame that we didn't get to hear like Nak 801 00:32:16,485 --> 00:32:18,205 and Cole live at the Sands with the Basie orchestra. 802 00:32:18,205 --> 00:32:20,165 Right. You know what I'm saying? Right, right. Unbelievable. 803 00:32:20,225 --> 00:32:21,365 Of course. Um, 804 00:32:21,785 --> 00:32:23,325 but I mean, Sinatra knew that, like, 805 00:32:23,325 --> 00:32:25,685 it's one thing if you're kind like, okay, 806 00:32:25,685 --> 00:32:27,325 I'm gonna throw some, I know I keep saying no shade. 807 00:32:27,325 --> 00:32:29,725 Like Rod Stewart did like some standard records. Mm-hmm. 808 00:32:29,805 --> 00:32:30,445 They're not the greatest 809 00:32:31,085 --> 00:32:32,085 swinging hist thing. Can you believe 810 00:32:32,085 --> 00:32:33,445 That, rod? Come on the show. Defend 811 00:32:33,605 --> 00:32:34,605 Yourself. Love you, love 812 00:32:34,605 --> 00:32:35,965 me some Rod Stewart. But not those records. 813 00:32:36,345 --> 00:32:38,005 But it's kind of like you can approach playing 814 00:32:38,005 --> 00:32:40,245 with a big man as like, okay, I'm 50 now, 815 00:32:40,705 --> 00:32:41,885 I'm gonna go and go to Vegas. 816 00:32:42,025 --> 00:32:43,285 And like, you know, but, 817 00:32:43,285 --> 00:32:44,645 but Sinatra was just like, 818 00:32:44,825 --> 00:32:47,405 he understood like he was a huge admirer 819 00:32:47,405 --> 00:32:48,565 of Sarah Vaughn and Ella Fitzgerald. 820 00:32:48,875 --> 00:32:50,285 Yeah. No, he definitely, like, he knew. 821 00:32:50,545 --> 00:32:51,925 Not really. He knew it, but he respected 822 00:32:51,925 --> 00:32:52,925 It. No, I didn't mean to put 823 00:32:52,925 --> 00:32:54,245 any disrespect on Frank at all. 824 00:32:54,485 --> 00:32:57,205 I know. Because like, he, unbelievable. Unbelievable. 825 00:32:57,395 --> 00:32:59,805 It's hard to, like, the more, you know, the more, 826 00:33:00,075 --> 00:33:02,245 it's kinda like a jazz player being like, oh, 827 00:33:02,325 --> 00:33:03,405 I really know classical music. 828 00:33:03,505 --> 00:33:04,565 I'm just gonna jump over and do it. 829 00:33:04,565 --> 00:33:05,485 As opposed to like, oh, that's easy. 830 00:33:05,565 --> 00:33:06,205 I can just read the music. 831 00:33:06,225 --> 00:33:07,485 No, he can do it. He could actually do it. Yeah. 832 00:33:07,555 --> 00:33:10,605 Yeah. Um, cool. Alright. Good. Are we gonna 833 00:33:10,605 --> 00:33:11,605 Do the tea break? 834 00:33:12,825 --> 00:33:14,685 You, you're, you're pro, is that, 835 00:33:14,745 --> 00:33:15,845 is that your desert track? 836 00:33:15,845 --> 00:33:17,005 We're not doing the tea break. Is 837 00:33:17,005 --> 00:33:18,005 that your desert island track? 838 00:33:18,505 --> 00:33:20,765 Um, that's, we're saving that for what's age the worst, 839 00:33:22,665 --> 00:33:23,665 So. Yeah, exactly. 840 00:33:23,665 --> 00:33:24,685 Um, 841 00:33:25,005 --> 00:33:26,245 although relative to other, we, 842 00:33:26,245 --> 00:33:27,605 we, well anyway, we'll talk about it. Yeah. 843 00:33:27,645 --> 00:33:28,805 I mean, honestly of the time. 844 00:33:29,065 --> 00:33:30,085 Not terrible. Yeah. 845 00:33:30,305 --> 00:33:31,885 So I wanna check out Street 846 00:33:32,065 --> 00:33:33,685 of Dreams, which is the next track. 847 00:33:33,685 --> 00:33:35,405 And then we're gonna start skipping. I mean, there's man, 848 00:33:35,405 --> 00:33:36,685 everything is slamming on this record, 849 00:33:37,025 --> 00:33:38,365 but this is some really great 850 00:33:38,985 --> 00:33:39,925 Street of dreams. Good 851 00:33:39,925 --> 00:33:40,925 Street of dreams. 852 00:33:42,995 --> 00:33:44,645 There's Some good improv by the, 853 00:33:44,645 --> 00:33:45,645 by the chairman on this. 854 00:33:46,465 --> 00:33:49,685 Is there though? Yeah. I might have a quibble with that. 855 00:33:49,685 --> 00:33:50,685 Really? Yeah. 856 00:33:51,705 --> 00:33:56,325 Uh oh. Love laughs at a king 857 00:33:56,345 --> 00:33:57,285 That's killing. Yeah. 858 00:33:57,935 --> 00:34:02,885 Kings don't mean a thing on the street of dreams, 859 00:34:05,305 --> 00:34:06,305 Man. This were rages dreams 860 00:34:06,305 --> 00:34:06,525 861 00:34:07,505 --> 00:34:12,165 Broken into can be made like new, 862 00:34:12,715 --> 00:34:13,715 This kind of song. I 863 00:34:13,715 --> 00:34:16,485 don't think anyone can do, I don't think anyone can do it 864 00:34:16,485 --> 00:34:18,605 better than Frank Male vocalist, I 865 00:34:18,605 --> 00:34:19,605 Don't know. Gold, 866 00:34:19,605 --> 00:34:21,205 silver and 867 00:34:21,315 --> 00:34:22,315 Gold. Like with the great 868 00:34:22,315 --> 00:34:24,205 lyrics. Like he's, his delivery is 869 00:34:24,545 --> 00:34:28,765 All you can hold up there on a moon. 870 00:34:31,545 --> 00:34:32,645 Man. Sweet Edison 871 00:34:33,455 --> 00:34:34,455 Ain't nobody. 872 00:34:36,275 --> 00:34:37,485 Long as love is 873 00:34:55,945 --> 00:34:57,165 Got a Little shaky towards the end. 874 00:34:57,165 --> 00:34:59,245 That's true. I forgot about that. Well, that's good. 875 00:34:59,245 --> 00:35:00,485 We, no, it starts 876 00:35:00,705 --> 00:35:01,705 Off strong. A 877 00:35:01,705 --> 00:35:03,805 little shaky. It's not really his thing. 878 00:35:04,155 --> 00:35:06,205 It's not his, but he sticks on strong. Yeah. 879 00:35:06,385 --> 00:35:09,565 Um, no, but I think for this kind of, this kind of a song, 880 00:35:09,625 --> 00:35:11,205 man, Frank just, just kills 881 00:35:11,205 --> 00:35:12,485 It, obviously. Well, I totally agree. 882 00:35:12,485 --> 00:35:14,205 Every, everything outta here. But this was another thing, 883 00:35:14,205 --> 00:35:17,085 like Frank was such a like, control freak apparently. 884 00:35:17,465 --> 00:35:20,365 And like, so precision and, and detail oriented. 885 00:35:20,365 --> 00:35:22,485 It's like everything. He wanted to know exactly what to do, 886 00:35:22,485 --> 00:35:23,805 rehearse it a, a bunch. 887 00:35:23,885 --> 00:35:25,605 I know some people that work with him too later on. 888 00:35:25,765 --> 00:35:27,165 It was just like everything. Yeah. 889 00:35:27,425 --> 00:35:28,765 He really wanted it to be right. 890 00:35:28,865 --> 00:35:30,205 He came across as a, Hey, 891 00:35:30,705 --> 00:35:31,885 how are these people getting in my room? 892 00:35:32,225 --> 00:35:34,805 You know what's weird is I, this is so weird. 893 00:35:34,805 --> 00:35:37,765 Everybody who's at the highest level is like that. I know. 894 00:35:37,815 --> 00:35:39,605 Isn't that strange? It is weird. What a coincidence. 895 00:35:39,665 --> 00:35:41,805 It is weird. Everybody working at the highest 896 00:35:41,805 --> 00:35:43,045 level is super particular. 897 00:35:43,055 --> 00:35:44,285 Right. And works super hard. 898 00:35:44,345 --> 00:35:45,365 And once we around other people 899 00:35:45,365 --> 00:35:46,765 like Quincy Jones, like wild. That 900 00:35:46,765 --> 00:35:47,765 Wild? That's wild. How that works out. 901 00:35:47,765 --> 00:35:48,365 Yeah. We'll 902 00:35:48,365 --> 00:35:49,365 Go figure. Alright, let's check our notes. 903 00:35:49,365 --> 00:35:49,965 Um, 904 00:35:50,235 --> 00:35:51,245 alright, well this is crazy. 905 00:35:51,445 --> 00:35:53,125 'cause not we gotta listen to at least a little bit of this 906 00:35:53,125 --> 00:35:56,525 because, and this is Bill Miller. 907 00:35:57,545 --> 00:35:58,605 Go on. Bill Miller. And 908 00:35:58,605 --> 00:36:00,045 I think he was on a opera piano, a 909 00:36:00,045 --> 00:36:01,205 Program where we sing a drunk song, 910 00:36:01,565 --> 00:36:02,565 A drunk song. 911 00:36:02,625 --> 00:36:04,125 He talks a lot about drinking on this album 912 00:36:04,185 --> 00:36:05,125 And the way he talks about it, you 913 00:36:05,125 --> 00:36:06,765 can't talk about it like this anymore. Well, 914 00:36:07,055 --> 00:36:09,845 Drunk songs are usually done in small bars and bistros, 915 00:36:10,075 --> 00:36:11,805 Bistros, bistros Three hours of the morning 916 00:36:14,875 --> 00:36:18,085 usually talked or sung by a fellow who's got problems. 917 00:36:19,765 --> 00:36:21,725 I don't think he was Alcoholism broad. 918 00:36:21,745 --> 00:36:23,245 Flu to coop. Broad 919 00:36:23,305 --> 00:36:24,305 Flu to coop. Flu 920 00:36:24,305 --> 00:36:25,105 to coop 921 00:36:26,195 --> 00:36:27,565 With another guy and all the bread. 922 00:36:31,825 --> 00:36:36,085 So if, uh, you will assume the position 923 00:36:36,085 --> 00:36:37,125 of a bartender. 924 00:36:37,635 --> 00:36:40,405 Bartender. That's the way these guys behave. 925 00:36:43,625 --> 00:36:45,045 So apparently there was an upright piano 926 00:36:45,145 --> 00:36:46,565 and Cal Bey's Grand up there. 927 00:36:46,565 --> 00:36:48,565 Oh, interesting. Yeah, it was a show. It was a show. 928 00:36:48,715 --> 00:36:53,685 It's quoted a three. There's no one in the place. 929 00:36:54,635 --> 00:36:56,885 Bill Miller Gray Piano's Perfect company 930 00:36:56,985 --> 00:36:57,985 Set. You and me 931 00:36:57,985 --> 00:36:57,985 932 00:37:03,705 --> 00:37:04,245 Set him up. 933 00:37:04,345 --> 00:37:07,845 Joe, I got a little story. 934 00:37:09,425 --> 00:37:12,925 Mm-hmm. I think you should know 935 00:37:17,225 --> 00:37:22,045 we are drinking my friend to the end 936 00:37:23,865 --> 00:37:25,365 of a brief episode. 937 00:37:31,235 --> 00:37:32,765 Make it one for my baby 938 00:37:33,345 --> 00:37:36,405 Man And another 939 00:37:36,405 --> 00:37:38,445 One piano jacked up out tunes still sounds, 940 00:37:39,185 --> 00:37:41,125 Man, shout out Harold Harold Arland 941 00:37:41,125 --> 00:37:44,205 and Johnny Mercer for writing such an incredible song. 942 00:37:44,265 --> 00:37:46,965 The Punchline comes at this weird part. Yeah. 943 00:37:47,045 --> 00:37:49,245 Like the setup of it is, is amazing. 944 00:37:49,355 --> 00:37:52,645 Like, I, I honestly can't fathom writing a I know it's, 945 00:37:52,795 --> 00:37:54,205 it's a silly drunk song or whatever. 946 00:37:54,205 --> 00:37:57,005 Yeah. I can't fathom writing a song that is so sophisticated 947 00:37:57,005 --> 00:37:59,605 and structured that sets up that punchline so Well, it's 948 00:37:59,605 --> 00:38:00,605 Fantastic. Yeah. And it was, you 949 00:38:00,605 --> 00:38:00,925 know, first, 950 00:38:00,935 --> 00:38:03,445 first performed in the movie, sky's The Limit 951 00:38:03,465 --> 00:38:05,165 by Fred Astaire, who brought a whole 952 00:38:05,205 --> 00:38:07,405 nother kind of thing to it. Uh, but Harold 953 00:38:07,405 --> 00:38:10,325 Arland genius, Harold Ar incredible, and Johnny Mercer. 954 00:38:10,465 --> 00:38:12,325 And this was so, uh, good night and good luck. 955 00:38:12,325 --> 00:38:13,885 Diane Rees does a great version of this. 956 00:38:13,885 --> 00:38:17,045 And George Clooney as the credits are rolling in, in, um, 957 00:38:18,025 --> 00:38:20,085 uh, good night and good luck at the end of the movie. And 958 00:38:20,085 --> 00:38:21,085 She's, who's playing piano on that? 959 00:38:21,085 --> 00:38:22,925 I don't know who's playing, but he's, he's incredible. 960 00:38:23,145 --> 00:38:24,285 Sounds like Herbie Hancock. 961 00:38:24,285 --> 00:38:25,605 Sounds like a combination of not 962 00:38:25,605 --> 00:38:26,645 King Cole and Herbie Hancock. 963 00:38:26,915 --> 00:38:29,005 Yeah. A little king Kenny Kirkland. Throw it in. 964 00:38:29,425 --> 00:38:31,485 Uh, right. So, um, it's Peter Martin. 965 00:38:31,585 --> 00:38:32,885 Man, Peter Martin's playing on that. Man, 966 00:38:32,885 --> 00:38:34,325 This is really hard for me 967 00:38:34,325 --> 00:38:36,005 to skip any tracks on here so far. 968 00:38:36,125 --> 00:38:37,245 I did and I skipped over. 969 00:38:37,365 --> 00:38:38,925 I got a crush on you, the Gray Gershwin 970 00:38:38,925 --> 00:38:40,085 song earlier, which was, that's a good one. 971 00:38:40,225 --> 00:38:41,325 I'm gonna start playing just less one, 972 00:38:41,325 --> 00:38:43,365 but it's hard to, you know, this is Fly Me to the Moon. 973 00:38:43,835 --> 00:38:46,085 Does it gimme any more iconic strength than this? No. 974 00:38:46,225 --> 00:38:48,405 Johnny Mercer and Harold Allen. 975 00:38:49,715 --> 00:38:51,205 Okay. He sounds cool. 976 00:38:51,355 --> 00:38:54,045 Just saying Howard Allen, like the way he says it. 977 00:38:54,045 --> 00:38:55,325 Sorry, I didn't sound cool saying that, 978 00:38:55,465 --> 00:38:56,525 but check out the swing. 979 00:38:56,845 --> 00:38:57,725 Somebody's like tapping their 980 00:38:57,725 --> 00:38:59,045 foot or maybe it's just the vibe. 981 00:38:59,045 --> 00:39:01,245 Check, check out how much it's swinging before Count. 982 00:39:01,295 --> 00:39:02,565 Basie like as count. 983 00:39:02,785 --> 00:39:04,765 His comping is off the charts, but check it out. 984 00:39:06,425 --> 00:39:07,425 You hear that 985 00:39:08,065 --> 00:39:10,245 Johnny Mercer and Harold Allen. 986 00:39:11,545 --> 00:39:11,765 Oh. 987 00:39:17,395 --> 00:39:19,445 Like, you can't come in, not swinging at with this 988 00:39:19,645 --> 00:39:20,645 Entrance. Now this man here, 989 00:39:20,645 --> 00:39:24,245 uhoh Uhoh is gonna take me by the hand 990 00:39:25,745 --> 00:39:27,445 and he going to lead me down the right path. 991 00:39:27,705 --> 00:39:32,405 Oh. To Righteousness and all that other mother jazz. 992 00:39:33,315 --> 00:39:35,085 Another time in the right tempo. 993 00:39:35,265 --> 00:39:38,205 Norman Keenan To the moon. 994 00:39:39,975 --> 00:39:42,405 Lemme swing among those stars. 995 00:39:45,105 --> 00:39:46,205 See, bring a ding 996 00:39:46,205 --> 00:39:46,645 Ding. Right. 997 00:39:46,785 --> 00:39:49,765 Is like on chopping the wood. 998 00:39:49,765 --> 00:39:53,365 We chop in the woods. We man chop in the wood. Okay. 999 00:39:53,905 --> 00:39:56,045 We, we might have to get like a Mount Rushmore 1000 00:39:56,045 --> 00:39:57,045 of just swing. 1001 00:39:57,645 --> 00:40:00,005 I forgot how, I mean, we're coming in. That hurts my face. 1002 00:40:00,145 --> 00:40:02,845 The swing so hard. No, this is like a stank my face. 1003 00:40:02,985 --> 00:40:05,365 But I think that all this lead up to it though. 1004 00:40:05,505 --> 00:40:07,205 He gonna lead me down this anticipation. 1005 00:40:07,445 --> 00:40:08,725 I don't know about all this. I don't know about 1006 00:40:08,725 --> 00:40:10,765 that. You're talking 1007 00:40:10,765 --> 00:40:11,845 To Lake Ju talking about jazz. 1008 00:40:12,245 --> 00:40:13,605 I don't know what that is, but I mean, 1009 00:40:13,605 --> 00:40:15,925 when they starts walking, bassy 1010 00:40:16,375 --> 00:40:20,285 Slimy to the moon and Frank swinging. Frank is 1011 00:40:20,405 --> 00:40:21,405 Swinging. Swing among those 1012 00:40:21,405 --> 00:40:21,765 stars. 1013 00:40:23,195 --> 00:40:27,125 Whoever's playing on Flu. See what spring is like. Chop 1014 00:40:27,125 --> 00:40:28,125 It. Chopping. You're right. 1015 00:40:28,125 --> 00:40:28,325 1016 00:40:29,265 --> 00:40:32,485 Oh, in other words, 1017 00:40:34,665 --> 00:40:35,885 Oh, When the band comes in, 1018 00:40:38,385 --> 00:40:39,885 we Freddie Green again. Oh, 1019 00:40:39,885 --> 00:40:40,885 Freddie. In other words, 1020 00:40:40,885 --> 00:40:43,645 Bodu baby. 1021 00:40:43,995 --> 00:40:45,565 Yeah. Listen to the rule of three here. 1022 00:40:45,565 --> 00:40:46,845 Like, listen to what's going on. 1023 00:40:48,835 --> 00:40:50,685 Fill my heart in song. 1024 00:40:51,905 --> 00:40:54,645 Let me sing forever more. 1025 00:40:56,425 --> 00:40:57,565 Man, this could 1026 00:40:57,565 --> 00:40:58,565 Be so corny too. 1027 00:40:58,565 --> 00:40:59,965 If you don't deliver on this thought. 1028 00:41:00,005 --> 00:41:01,325 I wish it could be so Cheesy 1029 00:41:01,905 --> 00:41:05,005 In, in other 1030 00:41:05,005 --> 00:41:08,805 words, to be true. 1031 00:41:12,785 --> 00:41:16,845 In other words, I love you. 1032 00:41:18,465 --> 00:41:18,685 Oh 1033 00:41:26,385 --> 00:41:27,385 Man. This trumpet section. 1034 00:41:27,385 --> 00:41:27,605 1035 00:41:32,665 --> 00:41:33,845 So Quincy's gonna move this 1036 00:41:33,845 --> 00:41:36,205 melody to all these different colors. 1037 00:41:36,235 --> 00:41:36,525 Yeah. 1038 00:41:41,795 --> 00:41:44,205 Back to the trumpet. Oh, to Basie the 1039 00:41:44,205 --> 00:41:46,925 Flute led the earlier To the saxophones. 1040 00:41:49,455 --> 00:41:50,455 Drums To the trumpet. 1041 00:41:53,185 --> 00:41:55,965 Why Don't you feel my heart with song? 1042 00:41:56,705 --> 00:41:58,445 Let The s is underneath it 1043 00:41:58,795 --> 00:41:59,805 Forever more. And 1044 00:41:59,805 --> 00:42:00,965 In these little stabs by the bra. 1045 00:42:01,445 --> 00:42:05,285 'cause you are all I long for all I 1046 00:42:05,435 --> 00:42:06,885 That anticipation Frank doing 1047 00:42:06,985 --> 00:42:08,925 And I adore Francis. 1048 00:42:09,505 --> 00:42:10,505 In other words, 1049 00:42:12,545 --> 00:42:14,005 Please be true. 1050 00:42:17,905 --> 00:42:22,485 In other words. In other 1051 00:42:22,485 --> 00:42:24,685 words, ah, 1052 00:42:25,305 --> 00:42:28,685 For this part, I, I 1053 00:42:28,995 --> 00:42:30,965 Love, That's such a weird pull. 1054 00:42:34,225 --> 00:42:36,885 You, Oh, sorry. We had to fade out. Automatic fade out. 1055 00:42:37,165 --> 00:42:39,645 I didn't do that. I didn't do that. What are you doing? 1056 00:42:39,995 --> 00:42:43,485 What are you doing? I just caught a wave. Oh man. 1057 00:42:43,665 --> 00:42:46,525 Man, it's so, I mean, I think that track, 1058 00:42:46,735 --> 00:42:51,365 especially like I almost forget that they're in a, you know, 1059 00:42:51,385 --> 00:42:53,645 the Copa room, what could be considered a little cheesy, 1060 00:42:53,825 --> 00:42:55,085 little mid-century modern. 1061 00:42:55,145 --> 00:42:57,445 That's probably cool. The Copa room, uh, 1062 00:42:57,465 --> 00:42:59,365 at the Sands Hotel in Las Vegas 1063 00:42:59,635 --> 00:43:01,125 with a bunch of people from Peoria. 1064 00:43:01,395 --> 00:43:02,445 Like, I, I start think, 1065 00:43:02,905 --> 00:43:04,645 the reason I'm saying this is why do you keep saying 1066 00:43:04,705 --> 00:43:05,705 Peoria? I don't why 1067 00:43:05,705 --> 00:43:07,685 slander for mid Illinois? 1068 00:43:08,055 --> 00:43:11,085 Shout out a, a famous person from, um, 1069 00:43:12,865 --> 00:43:14,885 oh, Richard Pryor from Peoria. 1070 00:43:14,955 --> 00:43:16,125 Look, I just say Peoria. 1071 00:43:16,455 --> 00:43:18,005 Shout out Richard Pryor's from Peoria. 1072 00:43:18,385 --> 00:43:22,845 Um, no, I said Chesterfield too earlier. Clayton Kirk, 1073 00:43:22,845 --> 00:43:24,165 Nobody knows about Chesterfield 1074 00:43:24,165 --> 00:43:25,805 Clayton, and unless they live in St. Louis, Missouri, 1075 00:43:26,125 --> 00:43:27,125 Everyone knows Peoria. No. 1076 00:43:27,125 --> 00:43:29,285 The idea of like, the way they're playing on this, 1077 00:43:29,635 --> 00:43:32,125 this sounds like the Basie band. 1078 00:43:32,865 --> 00:43:35,165 It sounds great. We all know that Sinatra. 1079 00:43:35,165 --> 00:43:38,405 So, but like the precision that they're executing on is 1080 00:43:38,425 --> 00:43:40,365 so a plus level for sure. 1081 00:43:40,435 --> 00:43:42,365 It's like the opposite of like, like if, 1082 00:43:42,365 --> 00:43:43,925 like what's the most derogatory thing? 1083 00:43:44,025 --> 00:43:45,765 Oh, they sounded like an old Vegas band. 1084 00:43:46,265 --> 00:43:47,685 You know, like we would use that as a little bit 1085 00:43:47,845 --> 00:43:48,965 der you know, some okay. 1086 00:43:49,205 --> 00:43:50,205 Musicians, but they're just kind of going 1087 00:43:50,205 --> 00:43:52,005 through the motions in the background while 1088 00:43:52,005 --> 00:43:53,125 the slot machines are going. 1089 00:43:53,345 --> 00:43:56,525 But like, this sounds like, like I, I almost forgot 1090 00:43:56,665 --> 00:43:58,325 how great of a band, the basic, 1091 00:43:58,565 --> 00:43:59,685 'cause we always think of Duke Ellington, 1092 00:43:59,705 --> 00:44:01,125 of course the Duke Ellington band. 1093 00:44:01,505 --> 00:44:02,645 That's the mo. But I mean, 1094 00:44:02,645 --> 00:44:04,325 count Basie band is right there in terms 1095 00:44:04,325 --> 00:44:05,845 of like individual players. 1096 00:44:05,945 --> 00:44:08,325 The section, I mean, Harry Sweet's Edison holds this thing 1097 00:44:08,485 --> 00:44:11,165 together with the, with his improv on this count bass. 1098 00:44:11,165 --> 00:44:13,285 He's comping Sonny Payne. Sonny Payne. Yeah. 1099 00:44:13,325 --> 00:44:14,645 I mean he doesn't get any better than that. Yeah. 1100 00:44:14,645 --> 00:44:16,485 And then Frank Sinatra is like his phrasing 1101 00:44:16,485 --> 00:44:18,925 and the little like, when he's doing those anticipations 1102 00:44:19,145 --> 00:44:21,005 and it's all great stuff. It's 1103 00:44:21,005 --> 00:44:22,005 Amazing. It's amazing. And 1104 00:44:22,005 --> 00:44:23,365 that, that song written 1105 00:44:23,365 --> 00:44:25,245 by Bart Howard in 1954. 1106 00:44:25,305 --> 00:44:27,325 So this song is only like 12 years old. I know. It's funny. 1107 00:44:27,325 --> 00:44:28,565 It'd be like a song written in 20, 1108 00:44:28,565 --> 00:44:30,525 thir in 2013 that we would play today. 1109 00:44:31,085 --> 00:44:33,365 Like a, like a a Taylor Swift standard. Yeah. 1110 00:44:33,365 --> 00:44:34,925 It would be like playing a Taylor Swift song. Okay. 1111 00:44:34,925 --> 00:44:38,245 But it's just made for Frank Sinatra when he comes in with 1112 00:44:38,245 --> 00:44:40,005 that first Fly Me to the Moon. 1113 00:44:40,115 --> 00:44:44,565 Yeah, it is. So like, his quarter note feels amazing. Yeah. 1114 00:44:44,625 --> 00:44:46,805 And his, the richness of his voice right now 1115 00:44:46,895 --> 00:44:50,725 after what I'm guessing is 40 years of drinking and smoking. 1116 00:44:51,385 --> 00:44:52,805 But see he was 50. Yeah. Probably 1117 00:44:52,805 --> 00:44:53,805 About four. Yeah, he is incredible. 1118 00:44:53,805 --> 00:44:55,485 I mean he growing up in the 1119 00:44:55,515 --> 00:44:57,845 tenements in Hoboken, you know what I mean? Uh, 1120 00:44:57,985 --> 00:44:59,125 Hey, hey. Can't say tenement, 1121 00:44:59,855 --> 00:45:02,925 Can't say everything, but, um, man. Yeah. Incredible. 1122 00:45:02,955 --> 00:45:05,765 Yeah. So good. Um, okay, I can't skip over this track, 1123 00:45:05,865 --> 00:45:06,885 but we're gonna go quick here. 1124 00:45:06,885 --> 00:45:08,445 This is, this is a cool thing. 1125 00:45:08,445 --> 00:45:10,285 They had a band number, they actually used 1126 00:45:10,285 --> 00:45:11,405 to do a whole band set, 1127 00:45:11,405 --> 00:45:12,965 like a warmup set. I dunno if they did on 1128 00:45:12,965 --> 00:45:13,965 This show. I listen to the warmup set in 1129 00:45:13,965 --> 00:45:13,965 1130 00:45:13,965 --> 00:45:14,965 preparation is really great. Oh, 1131 00:45:14,965 --> 00:45:15,965 Did they do it on this show? There's 1132 00:45:15,965 --> 00:45:18,405 a double album that contains a whole basey set 1133 00:45:18,405 --> 00:45:19,725 before this, which is fantastic. Yeah. 1134 00:45:19,725 --> 00:45:20,565 It's called like before, like 1135 00:45:20,615 --> 00:45:21,885 Sands Before Frank or something. 1136 00:45:21,885 --> 00:45:23,605 Yeah. It's great. But this is one I think 1137 00:45:31,345 --> 00:45:32,245 Can we, can, can 1138 00:45:32,245 --> 00:45:33,245 We just go back Yeah. 1139 00:45:35,155 --> 00:45:37,445 Real quick. I'm gonna go, I'm actually going 1140 00:45:37,445 --> 00:45:38,845 to take this a little bit. 1141 00:45:40,005 --> 00:45:42,245 I don't like what we have. Our system here is amazing. 1142 00:45:42,465 --> 00:45:44,045 It never fails except when it does. 1143 00:45:44,745 --> 00:45:46,765 Um, but I wanna just put this on. 1144 00:45:49,165 --> 00:45:51,495 Boom. Look at him moving, look at him, uh, 1145 00:45:52,675 --> 00:45:56,215 On Spotify so that we can hear the transition. Okay. 1146 00:45:56,755 --> 00:45:57,935 Oh Right, right, right, right. It's 1147 00:45:57,935 --> 00:45:59,015 super, oh, it's perfect. 1148 00:45:59,155 --> 00:46:00,255 At the end of Fly Me to the Moon 1149 00:46:04,105 --> 00:46:05,105 Words, words. 1150 00:46:08,115 --> 00:46:09,115 In other words, 1151 00:46:10,215 --> 00:46:11,375 I love his pullback here. 1152 00:46:12,475 --> 00:46:14,375 Hi. So effective. 1153 00:46:14,775 --> 00:46:16,775 I love, But listen to how quickly 1154 00:46:20,075 --> 00:46:22,855 You Yeah. 1155 00:46:23,075 --> 00:46:24,775 Oh yeah. Right David, it's a show. 1156 00:46:24,845 --> 00:46:27,455 It's a show. Like, 1157 00:46:27,475 --> 00:46:30,335 So Frank is Obviously still taking his vows here. 1158 00:46:30,335 --> 00:46:31,855 Yeah, yeah. One o'clock jump 1159 00:46:41,325 --> 00:46:42,775 just to throw a little bit that in there. 1160 00:46:42,775 --> 00:46:44,415 Yeah, absolutely. And then the whole thing's a show. 1161 00:46:44,475 --> 00:46:46,015 The whole thing's a show. It's a show. And then right 1162 00:46:46,015 --> 00:46:48,175 after the one o'clock jump on the album is the Tea break, 1163 00:46:48,175 --> 00:46:50,415 which is 11 minutes of Frank Sinatra doing it. 1164 00:46:50,415 --> 00:46:51,455 Basically a standup. Let's 1165 00:46:51,455 --> 00:46:51,895 Just listen to it. Right. 1166 00:46:52,215 --> 00:46:56,015 A standup routine. A standup routine that doesn't, I mean, 1167 00:46:56,285 --> 00:46:59,015 some of it is actually pretty funny. His delivery, 1168 00:46:59,125 --> 00:47:00,125 It's pretty funny, Is hilarious. Some 1169 00:47:00,125 --> 00:47:02,935 of it is, is not, uh, doesn't hold up well 1170 00:47:02,955 --> 00:47:04,455 to modern standards of whatever, 1171 00:47:04,475 --> 00:47:06,895 but it's, he's entertaining as hell. 1172 00:47:06,895 --> 00:47:08,695 The audience is super into it. He is. 1173 00:47:08,715 --> 00:47:11,295 And look like everybody, there's probably like, you know, 1174 00:47:11,295 --> 00:47:13,295 there's the time, there's contradictions, whatever. 1175 00:47:13,295 --> 00:47:15,015 But I just wanna say, I mean this is well documented 1176 00:47:15,015 --> 00:47:16,895 and was a big part of Frank Sinatra's life. 1177 00:47:17,595 --> 00:47:20,175 And um, like his work 1178 00:47:20,315 --> 00:47:23,255 for the Civil rights movement was like, was, was 1179 00:47:23,775 --> 00:47:25,935 apparently very selfless and well documented. 1180 00:47:26,195 --> 00:47:28,695 And especially in particular in Las Vegas. 1181 00:47:29,305 --> 00:47:32,205 You know, he somewhat single handedly changed the way 1182 00:47:32,745 --> 00:47:35,005 the African Americans entertainers 1183 00:47:35,005 --> 00:47:36,605 who were already being employed of course, 1184 00:47:37,185 --> 00:47:40,525 in full force at the casinos, um, you know, 1185 00:47:40,825 --> 00:47:42,125 as entertainers they had 1186 00:47:42,125 --> 00:47:43,845 to stay at different hotels on the other side of town. 1187 00:47:43,845 --> 00:47:45,245 They couldn't go out on the floor and stuff. 1188 00:47:45,425 --> 00:47:46,965 And Frank not really made a stand 1189 00:47:46,965 --> 00:47:48,205 and was like, this isn't right. 1190 00:47:48,465 --> 00:47:50,285 And then even had some of his bodyguards, 1191 00:47:50,695 --> 00:47:53,845 bodyguards his guys, you know, you know, going 1192 00:47:53,845 --> 00:47:56,165 with the musicians and the stars, Ella Fitzgerald 1193 00:47:56,165 --> 00:47:57,165 and stuff out into the thing. 1194 00:47:57,165 --> 00:47:58,845 It's like if anybody messes with him telling 'em they're 1195 00:47:58,845 --> 00:47:59,885 messing with Frank Sinatra 1196 00:48:00,105 --> 00:48:01,325 and a lot of the the, um, 1197 00:48:01,425 --> 00:48:03,445 mob Up bosses were running the hotels and stuff. 1198 00:48:03,445 --> 00:48:05,685 We're like, we're not changing stuff. And Sinatra was like, 1199 00:48:05,685 --> 00:48:06,605 cool, I'm going back to la 1200 00:48:06,605 --> 00:48:07,725 You're not gonna have your boy anymore. 1201 00:48:07,865 --> 00:48:09,845 Wow. You know, good for him. Talk, talk to your boy. 1202 00:48:10,505 --> 00:48:12,965 That's For next week. So look, we're no experts on this 1203 00:48:12,965 --> 00:48:14,885 and I'm sure there was all sorts of different, um, 1204 00:48:14,885 --> 00:48:15,885 things along the lines, 1205 00:48:15,985 --> 00:48:18,485 but there's always a couple of different sides to the thing. 1206 00:48:18,785 --> 00:48:20,125 And actually this would probably be a good time. 1207 00:48:20,125 --> 00:48:22,605 This is Quincy Jones talking about Sinatra. 1208 00:48:22,605 --> 00:48:26,245 This is him talking, I believe in 1964. 1209 00:48:26,425 --> 00:48:27,485 So Quincy first worked 1210 00:48:27,485 --> 00:48:30,685 with him like 59 60 when he was living in Europe studying 1211 00:48:31,165 --> 00:48:32,565 Quincy was living in Paris, studying 1212 00:48:32,565 --> 00:48:36,565 with nad Nadia Bullinger, the, uh, composer pianist. 1213 00:48:36,585 --> 00:48:38,845 And, and was, and Sinatra first kind 1214 00:48:38,845 --> 00:48:39,885 of, it wasn't his first big break. 1215 00:48:40,245 --> 00:48:42,285 Quincy had been doing stuff, but it was his first really, 1216 00:48:42,285 --> 00:48:44,005 really big break in high 1217 00:48:44,005 --> 00:48:44,645 Profile. Yeah. 1218 00:48:45,045 --> 00:48:47,365 I was sitting in my office one day in New York in 1219 00:48:47,365 --> 00:48:49,285 64 and the phone rang. 1220 00:48:49,285 --> 00:48:51,045 Okay. I picked it up. 1221 00:48:51,565 --> 00:48:54,365 I heard him say, this is Frank Sinatra. 1222 00:48:55,365 --> 00:48:56,925 I like what you and basically did together 1223 00:48:57,025 --> 00:49:00,005 and I'd like you to arrange and conduct my next album. 1224 00:49:00,385 --> 00:49:01,845 It might as well be swing. 1225 00:49:03,195 --> 00:49:06,125 That call from Frank was a major turning point in my 1226 00:49:06,125 --> 00:49:07,285 career and my life. 1227 00:49:08,305 --> 00:49:09,525 And then this is Sinatra. 1228 00:49:09,875 --> 00:49:10,885 Working with AC 1229 00:49:11,145 --> 00:49:15,285 and Quincy was the most exciting engagement I have ever done 1230 00:49:15,285 --> 00:49:16,725 in my life since I've been performing. 1231 00:49:18,795 --> 00:49:23,645 Jump Cue Quincy had 1232 00:49:23,725 --> 00:49:25,165 a key to the Basie band 1233 00:49:25,835 --> 00:49:28,125 more than any other orchestrator that I know of. 1234 00:49:33,065 --> 00:49:34,965 And I began to realize that he was a giant. 1235 00:49:38,235 --> 00:49:39,525 Yeah. So that's kind of, you know, 1236 00:49:39,745 --> 00:49:40,925 in their own words as we would 1237 00:49:40,925 --> 00:49:41,925 Say. Amazing. Yeah. Amazing 1238 00:49:41,925 --> 00:49:42,485 to hear. 1239 00:49:43,225 --> 00:49:47,205 Um, let's get to a few, um, Categories. Yeah. 1240 00:49:47,205 --> 00:49:49,325 Categories. Yeah. Desert Island tracks. 1241 00:49:49,325 --> 00:49:50,885 Peter, I've got one and it's actually the 1242 00:49:50,885 --> 00:49:52,045 next song after the tea break. 1243 00:49:52,045 --> 00:49:54,205 Yeah. Uh, after the the standup monologue. Yeah. 1244 00:49:54,765 --> 00:49:58,125 I, I don't know what it is. You know, this song is good. 1245 00:49:58,355 --> 00:49:59,605 It's not my favorite song. 1246 00:50:00,275 --> 00:50:02,165 There's something about the, the some 1247 00:50:02,165 --> 00:50:03,245 of the parts on this one. 1248 00:50:03,725 --> 00:50:04,925 I, I don't know. There's some real 1249 00:50:04,925 --> 00:50:06,005 juice in this performance. 1250 00:50:06,105 --> 00:50:08,325 Yes. That I can't get enough of this recording. 1251 00:50:08,505 --> 00:50:10,165 Oh, you're talking about, uh, you make me feel so young. 1252 00:50:10,165 --> 00:50:11,605 You make me feel so young. I Agree. I think this is 1253 00:50:11,605 --> 00:50:15,605 kind of a situation where Frank Sinatra turns this from a 1254 00:50:15,605 --> 00:50:17,165 good song into a great song like It 1255 00:50:17,485 --> 00:50:18,485 Delivery on it's a fine song. It's, 1256 00:50:18,485 --> 00:50:20,365 it's really well written. But there's something 1257 00:50:20,365 --> 00:50:21,925 special about this version 1258 00:50:22,225 --> 00:50:24,485 Now I think I better sing before I turn 51. 1259 00:50:25,685 --> 00:50:27,200 I mean 29, excuse me. Me. 1260 00:50:29,865 --> 00:50:31,045 Did they know how to come in swinging? 1261 00:50:31,345 --> 00:50:32,605 Was that like on their contract? 1262 00:50:33,825 --> 00:50:35,525 You make me feel so young. 1263 00:50:37,385 --> 00:50:41,645 You make me feel like spring sprung every time 1264 00:50:42,405 --> 00:50:45,845 I see you grin such a happy 1265 00:50:47,015 --> 00:50:50,285 individual the moment that you speak. 1266 00:50:52,405 --> 00:50:55,125 I wanna run and play high and see. 1267 00:50:56,445 --> 00:51:01,045 I wanna go and bounce the moon just like a toy. Come on. 1268 00:51:01,045 --> 00:51:05,445 Balloon. You and I 1269 00:51:05,845 --> 00:51:06,845 Swinging out. 1270 00:51:07,175 --> 00:51:09,565 We're just like a couple of tots. 1271 00:51:10,445 --> 00:51:11,645 I love the way he says tot Yeah. 1272 00:51:11,645 --> 00:51:13,805 Running around a lot of big four on this too. 1273 00:51:14,755 --> 00:51:17,925 Picking up all those, forget to me nuts. 1274 00:51:18,705 --> 00:51:20,685 You make me feel so young. 1275 00:51:22,545 --> 00:51:25,645 You make me feel there are songs to be sung 1276 00:51:27,065 --> 00:51:29,885 to be rung and a wonderful ling to be. 1277 00:51:32,345 --> 00:51:33,565 And even when I'm old 1278 00:51:33,585 --> 00:51:37,485 and great, I'm gonna feel the way I do 1279 00:51:39,135 --> 00:51:40,445 today tag 1280 00:51:40,835 --> 00:51:45,325 because you make me feel so young. 1281 00:51:47,375 --> 00:51:48,485 We're gonna keep going on this. 1282 00:51:50,105 --> 00:51:53,365 You make me young Transposition Harry, she 1283 00:51:53,605 --> 00:51:54,765 Edison. Make me think that spring 1284 00:51:55,185 --> 00:51:57,365 My leg won't stop moving. I know, man. Every 1285 00:51:57,365 --> 00:51:59,565 Time I see you Stuck. 1286 00:51:59,905 --> 00:52:01,645 And pretty soon we're actually gonna get to my, 1287 00:52:01,665 --> 00:52:03,645 um, apex moment of the album. I think 1288 00:52:04,265 --> 00:52:07,445 The moment that you speak Chopping the wood again. 1289 00:52:07,465 --> 00:52:09,165 Oh, chopping. Chopping the hell out of that 1290 00:52:09,165 --> 00:52:13,045 Wood Sassy. 1291 00:52:13,185 --> 00:52:15,005 The saxophones are playing sassy. 1292 00:52:15,155 --> 00:52:16,245 Just like a big 1293 00:52:17,255 --> 00:52:18,255 Sassy saxy. Okay. My 1294 00:52:18,255 --> 00:52:19,965 apex moment is from this 1295 00:52:19,965 --> 00:52:21,325 bridge all the way to the end. 1296 00:52:22,505 --> 00:52:24,245 We are just, he starts building 1297 00:52:24,955 --> 00:52:28,645 Tots, tots Running around the, 1298 00:52:29,105 --> 00:52:30,325 And the way they set up this last 1299 00:52:30,425 --> 00:52:32,965 Snatch it up, all those forget me. 1300 00:52:36,275 --> 00:52:40,085 Make young, you make me feel There are songs 1301 00:52:40,185 --> 00:52:42,965 to these song like of bes to be rung 1302 00:52:43,745 --> 00:52:45,325 and a wonderful fling to be. 1303 00:52:47,865 --> 00:52:49,445 And even When I'm old 1304 00:52:49,585 --> 00:52:53,045 and I'm gonna do, 1305 00:52:57,185 --> 00:52:59,685 you make, so 1306 00:53:11,225 --> 00:53:11,445 So 1307 00:53:21,425 --> 00:53:23,365 Get The shell on, come on, run into it, man. 1308 00:53:23,545 --> 00:53:25,045 Get into the casino. Go start gambling. Gambling. 1309 00:53:25,235 --> 00:53:26,645 I'll tell you what I know. To me that's like, 1310 00:53:26,645 --> 00:53:27,765 there's a bunch of moments like that. 1311 00:53:27,785 --> 00:53:28,805 But to me that's the one. 1312 00:53:28,805 --> 00:53:30,925 You know, I'll tell you what, there's not many times 1313 00:53:31,015 --> 00:53:33,645 where like I want to be anything other than a pianist. 1314 00:53:33,725 --> 00:53:35,005 I love playing the piano. Yeah. 1315 00:53:35,045 --> 00:53:36,765 I think it's the king of all instruments. Yeah. 1316 00:53:36,945 --> 00:53:38,525 But when I listen to that, 1317 00:53:38,765 --> 00:53:40,485 I wish I could play drums in a band like that. 1318 00:53:40,765 --> 00:53:42,885 I wish I could play. Just like, just like 1319 00:53:43,625 --> 00:53:45,405 You, you, you're, you're, you're the driver. 1320 00:53:45,665 --> 00:53:47,485 You're driving. It would, I mean it's like Frank's driving 1321 00:53:47,485 --> 00:53:49,805 it, but Sonny's kind of actually driving it. 1322 00:53:49,965 --> 00:53:52,965 Yeah. To to be Sonny Payne on that track would be like, 1323 00:53:53,305 --> 00:53:54,525 it has to feel amazing. 1324 00:53:54,665 --> 00:53:55,845 Oh man. You know what I mean? Nothing like it. 1325 00:53:55,845 --> 00:53:57,565 Nothing like it. Cool. Yeah. So that's my apex moment. 1326 00:53:57,565 --> 00:53:58,685 That's your desert island track. 1327 00:53:58,785 --> 00:54:01,245 My desert island track is actually come fly with me. Oh. 1328 00:54:01,395 --> 00:54:02,645 It's just, I mean, you know, 1329 00:54:02,675 --> 00:54:04,965 it's the iconic, it's, it's everything. What's 1330 00:54:04,965 --> 00:54:05,965 Your apex moment? So my apex moment 1331 00:54:05,965 --> 00:54:07,405 happens at at one minute 1332 00:54:07,425 --> 00:54:10,245 and 11 seconds of All of Me, which is an instrumental. 1333 00:54:10,355 --> 00:54:12,445 It's the next track on the album actually. Yes. 1334 00:54:12,625 --> 00:54:15,565 Uh, all of me classic standard written in 1931 1335 00:54:15,565 --> 00:54:17,205 by Gerald Marks and Seymour Simons 1336 00:54:17,985 --> 00:54:22,885 and Basie plays in some beautiful stuff on the entire track 1337 00:54:23,145 --> 00:54:24,405 and, and actually starts with melody. 1338 00:54:24,405 --> 00:54:25,805 We can listen to the whole thing up 1339 00:54:25,805 --> 00:54:26,885 until the, the one that break. 1340 00:54:26,885 --> 00:54:28,405 Wow. I'll start kind of in the middle 'cause we're 1341 00:54:29,025 --> 00:54:31,725 But the horn 32nd, the horn chorus that happens 1342 00:54:31,725 --> 00:54:34,045 after Basie states the first chorus of melody. 1343 00:54:34,075 --> 00:54:35,075 Yeah. 1344 00:54:38,785 --> 00:54:40,845 Woo. That's tight. 1345 00:54:42,905 --> 00:54:43,925 Why people talking man, 1346 00:54:44,585 --> 00:54:46,125 Now they're laughing because of that. 1347 00:54:49,065 --> 00:54:53,445 Woo. Counterpoint. Much count. 1348 00:54:56,465 --> 00:54:58,085 But you're right. People are mingling right now. 1349 00:54:58,235 --> 00:54:58,525 Yeah. 1350 00:55:08,135 --> 00:55:08,645 Right here. 1351 00:55:14,585 --> 00:55:14,805 Ah, 1352 00:55:20,355 --> 00:55:22,205 This is Quincy Jones at his finest career. 1353 00:55:22,315 --> 00:55:22,605 Yeah. 1354 00:55:39,035 --> 00:55:40,035 Back to basic. 1355 00:55:42,465 --> 00:55:45,165 So again, The line is going to whatever colors. 1356 00:55:45,435 --> 00:55:48,805 Yeah. The Arranger Quincy Jones is dictating 1357 00:55:48,905 --> 00:55:50,885 and it moves us emotionally in this way. 1358 00:55:50,885 --> 00:55:51,885 That's 1359 00:55:53,715 --> 00:55:54,715 That. Laying back on 1360 00:55:54,715 --> 00:55:55,045 that 1361 00:55:58,625 --> 00:55:59,625 Woo. I told 1362 00:55:59,625 --> 00:55:59,925 you. 1363 00:56:04,765 --> 00:56:05,245 Slutty pound. 1364 00:56:05,585 --> 00:56:08,485 That's it. Oh it's all good. The whole track is killing. 1365 00:56:08,505 --> 00:56:10,925 But that, that little horn chorus that happens in there, 1366 00:56:11,045 --> 00:56:13,285 I think is some of the best arranging on the whole album. 1367 00:56:13,985 --> 00:56:16,405 And it's great. Just, just beautiful to listen to 1368 00:56:17,165 --> 00:56:19,485 Quincy weave the melody through all 1369 00:56:19,485 --> 00:56:21,525 of the different sections and all these different dynamics, 1370 00:56:21,525 --> 00:56:25,045 all these different, uh, textures. 1371 00:56:25,045 --> 00:56:26,765 Just a real genius. 1372 00:56:27,185 --> 00:56:28,925 That's so great. So I've got that. 1373 00:56:28,995 --> 00:56:30,085 Okay, so I gotta fill this in. 1374 00:56:30,085 --> 00:56:32,045 I got a kind of secondary apex moment too. 1375 00:56:32,325 --> 00:56:33,885 I fell back 'cause Frank's not even on the, 1376 00:56:33,885 --> 00:56:36,005 this is making Whoopi another instrumental 1377 00:56:36,185 --> 00:56:38,765 but Al Grace plunger solo on this. 1378 00:56:44,445 --> 00:56:45,445 I am gonna play the beginning then I'll make 1379 00:56:45,445 --> 00:56:46,765 That I kind of steal the record a little bit. 1380 00:56:46,845 --> 00:56:47,925 A little bit sometimes. Or 1381 00:56:47,925 --> 00:56:48,925 Harry Sweet Edison. 1382 00:56:54,185 --> 00:56:57,645 Woo. I think Sonny Payne stole the record. 1383 00:56:58,295 --> 00:56:58,925 Sonny Payne, 1384 00:57:04,115 --> 00:57:04,805 Freddie Gray, 1385 00:57:11,065 --> 00:57:13,045 the cl they're clearing off the prime rib. 1386 00:57:13,715 --> 00:57:14,715 Yeah. 1387 00:57:18,435 --> 00:57:21,165 Dessert was definitely covered in gelatin of some kind. 1388 00:57:23,785 --> 00:57:26,765 FTC yellow number seven. Exactly. 1389 00:57:28,305 --> 00:57:29,485 Man Qs riding On this. 1390 00:57:29,605 --> 00:57:30,965 A lot of cigarette cases in the house. 1391 00:57:38,025 --> 00:57:40,005 So I gotta jump to end 'cause this is a long track. 1392 00:57:40,225 --> 00:57:43,205 But man, what they do at the end, this is, 1393 00:57:59,995 --> 00:58:01,645 this is some of the best pl plunger. 1394 00:58:02,795 --> 00:58:06,365 It's an actual plunger with the bell of the trombone. 1395 00:58:07,565 --> 00:58:09,045 I know. People are like, whatcha talking about plunger? 1396 00:58:10,315 --> 00:58:11,165 It's this right here. 1397 00:58:35,465 --> 00:58:36,465 And the riding here. 1398 00:58:47,515 --> 00:58:47,805 Yeah. 1399 00:59:02,145 --> 00:59:04,325 Really? That's pretty good. That's pretty good. That's 1400 00:59:04,325 --> 00:59:05,325 Pretty good. What about a bespoke playlist? 1401 00:59:05,325 --> 00:59:05,925 Peter, do you have anything? 1402 00:59:05,925 --> 00:59:07,885 Because I, I've got a good one. I think I got 1403 00:59:07,885 --> 00:59:09,045 Jazz meets the Slots. 1404 00:59:09,275 --> 00:59:11,125 Jazz meets the slots. Careful there swinging 1405 00:59:11,125 --> 00:59:12,125 At the slots. Uh, 1406 00:59:12,125 --> 00:59:13,965 I have Vegas, baby Vegas. 1407 00:59:14,415 --> 00:59:16,845 Vegas, baby Vegas. I like it. I like it. 1408 00:59:17,265 --> 00:59:19,005 Um, now you said we're not quibble bidding 1409 00:59:19,125 --> 00:59:20,125 Anything here. So instead of qui, 1410 00:59:20,125 --> 00:59:21,285 qui quibble bits, because I 1411 00:59:21,285 --> 00:59:23,205 Can quibble bit some of the, So we may 1412 00:59:23,205 --> 00:59:24,365 or may not have stole some of the spoken words, 1413 00:59:24,605 --> 00:59:26,125 quibble bits from the Great Movie podcast. 1414 00:59:26,305 --> 00:59:27,405 The re watchable. Never heard of that. 1415 00:59:27,405 --> 00:59:29,005 I thought we would heard of it. A category, 1416 00:59:29,005 --> 00:59:30,565 which is what's h the worst? 1417 00:59:31,825 --> 00:59:35,405 Oh, Some of the commentary is, yeah. 1418 00:59:35,545 --> 00:59:36,765 Is blue, it goes a little blue. 1419 00:59:36,905 --> 00:59:38,285 Not terrible. It's not like the 1420 00:59:38,365 --> 00:59:39,365 T break. I mean, you're 1421 00:59:39,365 --> 00:59:40,245 talking about what track 1422 00:59:40,265 --> 00:59:41,605 or what, what element 1423 00:59:41,665 --> 00:59:42,665 In General? Yeah, so 1424 00:59:42,665 --> 00:59:43,365 I think like 1425 00:59:43,705 --> 00:59:45,005 The talking during the 1426 00:59:45,005 --> 00:59:46,445 instrumentals age, the works for me. 1427 00:59:46,475 --> 00:59:47,765 Yeah. That has not age. Yeah, 1428 00:59:47,765 --> 00:59:48,765 For sure. Um, but 1429 00:59:48,765 --> 00:59:49,565 I mean, I think in terms 1430 00:59:49,565 --> 00:59:53,005 of like the playing the vocal, I mean, man, this stuff is, 1431 00:59:53,355 --> 00:59:57,785 it's very, it's different like aging versus like, 1432 00:59:57,785 --> 00:59:59,585 this definitely sets it at a certain 1433 00:59:59,585 --> 01:00:00,785 time, like from the beginning. 1434 01:00:00,785 --> 01:00:02,505 Yeah. Like it's a place in time, 1435 01:00:02,845 --> 01:00:04,745 but it doesn't, it's not like corny. 1436 01:00:04,775 --> 01:00:07,465 It's, it's, it's of, it's 1966, 1437 01:00:07,465 --> 01:00:10,385 but it's kind of 1956 almost in a way. It 1438 01:00:10,385 --> 01:00:11,385 Is, you're Right. You, you know, it's 1439 01:00:11,385 --> 01:00:13,905 so, but it's executed so well. 1440 01:00:13,965 --> 01:00:17,985 You don't care if it was 1936 or, or 2006. Yeah. 1441 01:00:17,985 --> 01:00:19,145 Uh, it's so well done. 1442 01:00:19,165 --> 01:00:22,185 But I think the whole tea break is kind of, you know, the, I 1443 01:00:22,185 --> 01:00:23,505 Was gonna say there's some sound issues 1444 01:00:23,505 --> 01:00:25,025 that I kind of have with some of Yes. Well, 1445 01:00:25,095 --> 01:00:26,345 Like There's it 1446 01:00:26,415 --> 01:00:29,905 that has like if this was recorded today, even live. 1447 01:00:30,015 --> 01:00:32,065 Yeah, I think it would, like you could tell it's, 1448 01:00:32,065 --> 01:00:33,905 they're sounds more full in the room than 1449 01:00:33,905 --> 01:00:35,425 what we're hearing sometimes. Right. 1450 01:00:35,425 --> 01:00:37,705 And it's a little uneven, like, track to track. Agreed. 1451 01:00:37,905 --> 01:00:39,785 I I, I guess they use different sets 1452 01:00:39,785 --> 01:00:41,145 and I mean, so like, that's, that's 1453 01:00:41,145 --> 01:00:42,305 to be expected, but Yeah. 1454 01:00:42,305 --> 01:00:43,385 Mean kind of minor stuff. 1455 01:00:43,745 --> 01:00:45,625 S ter, what do you Got? I mean, I got a one, 1456 01:00:45,945 --> 01:00:48,025 I rarely go one on this, but it's gotta be a one, right? 1457 01:00:48,165 --> 01:00:49,425 I'm just, uh, shocked. That's 1458 01:00:49,425 --> 01:00:50,545 correct. What do you got? I got a three. 1459 01:00:51,455 --> 01:00:53,545 What if it's a three of my, well be a five. 1460 01:00:53,695 --> 01:00:56,185 Okay. Uh, Is it, why, why not a one? Why a three? 1461 01:00:56,185 --> 01:00:57,185 Tell me you're thinking on that. 1462 01:00:57,205 --> 01:00:58,265 Um, you know what? 1463 01:00:58,295 --> 01:01:00,985 Because I think if you're really into big band music 1464 01:01:00,985 --> 01:01:02,825 or really into Frank Sinatra, this is great. 1465 01:01:03,305 --> 01:01:05,785 I think if you're just a general populace person from 1466 01:01:05,885 --> 01:01:07,745 Peoria, Illinois who doesn't know anything about, Hey, 1467 01:01:07,745 --> 01:01:08,905 Hey, why Shade on Peoria, man, 1468 01:01:08,905 --> 01:01:09,905 Come on. No shade on Pure. 1469 01:01:09,905 --> 01:01:13,305 But if, if like, like Sinatra 1470 01:01:13,305 --> 01:01:14,745 or big band music isn't your thing. 1471 01:01:14,945 --> 01:01:17,875 I think it's a lot. This is a lot. 1472 01:01:18,505 --> 01:01:20,235 It's a, it's, we're getting hit over the head 1473 01:01:20,235 --> 01:01:21,635 with some really like Thanks. 1474 01:01:21,635 --> 01:01:23,155 Yeah. Which is cool. 1475 01:01:23,275 --> 01:01:25,275 I mean, I love it, but I, that's the only reason I got, 1476 01:01:25,375 --> 01:01:26,595 and I still think it's really accessible. 1477 01:01:26,595 --> 01:01:28,395 I think of all of this stuff. It's really great. Yeah. 1478 01:01:28,395 --> 01:01:29,635 But that's the only reason why I was thinking. 1479 01:01:30,025 --> 01:01:32,635 It's just a lot of the, you know, ring and ding ding. Yeah. 1480 01:01:32,855 --> 01:01:36,035 Is it better than kind of blue? No. No. Uh, Aku months. 1481 01:01:36,175 --> 01:01:37,755 You got a nine? I got a nine. I 1482 01:01:37,755 --> 01:01:38,755 Got a nine. I mean, and, 1483 01:01:38,755 --> 01:01:40,675 and I think a nine is a 10 at this. Where? 1484 01:01:40,675 --> 01:01:42,115 Where's the cover? You got the cover here. 1485 01:01:42,375 --> 01:01:44,155 You know, one thing I wanna point out that's interesting, 1486 01:01:44,155 --> 01:01:46,435 and look, this is on Reprise, which is Frank Sinatra. 1487 01:01:46,435 --> 01:01:48,435 That's he's chairman of the board because he's the founder 1488 01:01:48,455 --> 01:01:50,195 and CEO of Reprice. 1489 01:01:50,195 --> 01:01:51,995 That's where his, I think he originally got his name, 1490 01:01:52,415 --> 01:01:54,595 but, um, no, no. The actual cover. 1491 01:01:54,715 --> 01:01:55,715 I don't have The actual cover. Okay. 1492 01:01:55,715 --> 01:01:57,235 We don't have the actual cover. What are we doing here? 1493 01:01:57,335 --> 01:01:59,355 Oh, here it is. Sorry. Interesting thing 1494 01:01:59,355 --> 01:02:00,635 about this and we'll show. So, 1495 01:02:00,635 --> 01:02:02,995 So was the cover, uh, printed out black and white? 1496 01:02:03,335 --> 01:02:05,035 Pdf f Yes. I couldn't, I didn't know if we had any colored 1497 01:02:05,035 --> 01:02:06,035 to toner back there, 1498 01:02:06,415 --> 01:02:10,075 but, um, no basses in the foreground, which is like, 1499 01:02:10,075 --> 01:02:11,115 I love the composition of 1500 01:02:11,115 --> 01:02:11,915 This. Yeah, it's a beautiful picture. 1501 01:02:12,015 --> 01:02:12,955 But I mean, shout out to, 1502 01:02:13,015 --> 01:02:14,275 I'm assuming Frank Sinatra had some, 1503 01:02:14,275 --> 01:02:15,915 We'll have Caleb put up the actual cover, but Yeah. 1504 01:02:15,985 --> 01:02:17,955 Yeah. Had some, but it'd be very easy for it just 1505 01:02:17,955 --> 01:02:21,405 to be Sinatra and like of course Basie was, you know, 1506 01:02:21,505 --> 01:02:22,965 not a household name like Sinatra. 1507 01:02:22,965 --> 01:02:24,725 I mean, he's famous and he's known. Yeah. 1508 01:02:24,725 --> 01:02:26,485 But a little bit of like, you know, Sinatra, 1509 01:02:26,485 --> 01:02:28,765 like really literally sharing the spotlight. 1510 01:02:28,995 --> 01:02:31,045 Yeah. With Count Basie, which is great. Yeah. Awesome. 1511 01:02:31,065 --> 01:02:32,045 And Count Basie Orchestra 1512 01:02:32,075 --> 01:02:33,685 arranging conducted by Quincy Jones. 1513 01:02:33,685 --> 01:02:35,085 Great. Incredible topography. 1514 01:02:35,745 --> 01:02:37,605 Up next, what do you got? Uh, next? 1515 01:02:37,845 --> 01:02:39,365 I mean, I got, uh, we talked about Bennett 1516 01:02:39,385 --> 01:02:41,525 and Basie strike up the band 1959. 1517 01:02:41,525 --> 01:02:43,485 Very cool. It was also called Basie Swings. 1518 01:02:43,485 --> 01:02:45,205 Basie sings a great record and they did another one called 1519 01:02:45,225 --> 01:02:47,325 In Person that I'm not as familiar with, same year. 1520 01:02:47,325 --> 01:02:48,725 But it's really great stuff too. 1521 01:02:48,995 --> 01:02:50,405 I've got, uh, atomic Basie, 1522 01:02:50,875 --> 01:02:53,805 just another swing in Basie album. You like how Basie? 1523 01:02:53,965 --> 01:02:55,485 I Do like Count Basie quite a lot, 1524 01:02:55,865 --> 01:02:56,885 but Atomic Basie is great. 1525 01:02:56,885 --> 01:02:58,805 Peter, um, why don't you read this off? 1526 01:02:59,545 --> 01:03:00,725 Um, I'm Peter Martin. 1527 01:03:00,745 --> 01:03:02,605 And we wanna say thank you to our producer, editor, 1528 01:03:02,745 --> 01:03:05,205 and drummer, Kaleb Kirby. Sound engineer, 1529 01:03:05,425 --> 01:03:06,965 Sam Maul. Videographer 1530 01:03:07,185 --> 01:03:11,085 Andrew Steven, his government name. Designer Ian Martin, 1531 01:03:11,405 --> 01:03:12,405 producer Liz Hames. 1532 01:03:12,735 --> 01:03:14,165 Shout out and thank you to all these folks 1533 01:03:14,425 --> 01:03:17,045 and thank you to Bob DeBoo on base. 1534 01:03:17,745 --> 01:03:20,445 And, uh, next week it is our season finale. 1535 01:03:20,445 --> 01:03:22,085 We're finally doing it. Peter, what are we doing? 1536 01:03:22,085 --> 01:03:23,125 Prince? Woo. 1537 01:03:23,455 --> 01:03:24,925 Until next time, you'll Hear it.