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Or is it Peta?

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No. Is it Petum? Nope. It's not Petoa.

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It is not. Well, is it Adum? No.

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Adomia. I Don't think so.

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E pluribus Adameas. I

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Don't believe it is. Is

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it Mingah? Mm-hmm. Is it Mingum? No. It's Mingus.

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Boom.

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I am Adam Maness. And I'm Peter Martin.

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And you're listening to the You'll Hear podcast

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Music, Explored. Explored

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brought to today by Open Studio.

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Go to open studiojazz.com for all

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your jazz lesson needs. Yeah. Yeah.

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What's happening over at Open Studio? There's

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A lot happening. So, first of all,

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we have a new course from

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probably my favorite pianist making music right now,

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which is Sullivan Fortner,

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a new course from Sullivan, dropping within weeks.

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Peter, we are weeks away.

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I've been, I've been taking some peeks at it.

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It's awesome. It's amazing. Yeah. Sullivan's great.

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We also have some wonderful courses from yours. Yours truly

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Mine. Truly

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yours

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Truly. Yeah. We got the Harmony Games.

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Harmony Games. Unlimited.

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Unlimited. Right. Meaning there's a new

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lesson every single week.

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And we've got the Jazz Piano Method from you. Yeah.

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New lesson every week. We also,

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if you've never played jazz piano,

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we have a brand new course dropping called

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Jazz Piano Primer.

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Yes. Which is designed to teach you how

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to play jazz piano if you've never played jazz piano.

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That's taught by wonderful New York City bass pianist named

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Caili O'Doherty one

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of our Open Studio pro instructors. So

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We've also got Jazz Piano

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Jumpstart that we collaborated on.

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If you like us collaborating like this.

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And you're jazz piano curious or just piano curious.

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Come on over. 'cause we have a 14 day free trial,

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so it's like, you know, you can

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try us out if you don't like us.

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Come back to the pod. Where do they or take

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Both? Where do they go

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again?

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openstudiojazz.com. Thank you,

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Peter. Yeah.

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Exciting. That was an ad read. I know. High

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Five. I know. We never

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do these.

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Did we get in some comments about, we got some comments,

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guys, for guys like sponsor your own show.

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This podcast is honestly just an extension of Open Studio.

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Yeah. All we do here is like, talk about music we love

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and talk about how to play it.

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Yeah. But this show is all about listening

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to the music we love, including today's album, which is,

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Charles Mingus is 1959 Mingus. Ah. Um,

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And it's not called Mingus mga

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mgu, but we're gonna get into that.

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Could have been called, that could have been,

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Could have been called. Uh,

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first of all, what a great title. That's great. Come on.

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Yeah. I have to, I'm gonna up my accoutrement score just based

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upon that, but we'll get to that later as well.

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Yeah. Oh, such, such, such a great album. Okay.

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Let's talk about a certain year,

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1959. 1959.

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Have we ever mentioned that we might have's

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A great year? It's a giant

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steps here,

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Kind of, kind of 1959, probably not just

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for Columbia records of which this album is on,

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but just talking about Columbia Records.

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We got day Brubeck timeout. Yep. Yep. 1959.

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Little thing called kind of blue,

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maybe you've heard us call it KOB

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by Miles Davis. Miles Davis kind

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Of blue on Columbia Records. That's

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right. Uh, Mingus Ah Um. All these records were recorded

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with a lot of overlap, if not total overlap, actually,

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of the studio, the producer, the record label for sure.

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A couple of 'em with the same, um, graphic designer or, and

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or photographer on the cover.

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Like, this was really a huge year for Columbia Jazz

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and really for kind of, dare I say, if I'm allowed

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to say commercialized jazz.

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Yeah. Not smooth jazz. Well, no,

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I mean, there are all kinds of jazz. Yeah.

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I mean, you also have Ornette

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Coleman's the Shape of Jazz to Come. Yep. Which is the

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Most commercial free jazz record I ever made in my

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Book. Yeah. Well, and that's coming

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to this show very, very soon.

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Ooh. Uh, but you have even like, some, some lesser known,

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but equally like important ones.

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Thelonious Monk, Thelonious. Oh.

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Alone in San Francisco, one of our favorite albums. I

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Think that's his finest, uh, solo

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Piano record. It's incredible.

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You've got, uh,

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you've got things from Horace Silver Blowing the Blues Away

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and Finger Popping two albums that year, I believe.

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Portraits and Jazz, uh, portraits of Jazz, bill Evans

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Portrait and Jazz from Bill Evans, uh, is this year,

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it was 59 as year as well as Kelly Blue, one

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of my favorite Wynton Kelly albums.

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So great. So an incredible year. Yeah. For the music.

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And this album sits on top of that heap.

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I mean, this is one of the Mount,

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when you talk about the most important albums of that year.

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Yeah. This is in that top four

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that usually people talk about, kind of blue timeout,

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Mingus a, um, and probably Portrait in Jazz

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or Shape of Jazz to Come, depending on

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how you wanna frame it.

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But man, what an album.

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Yeah. And actually I'm thinking like Mingus,

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a show has showed up for years, uh,

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which I think is super interesting, uh, on these lists

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of like the 10 greatest jazz albums of all time.

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And sometimes even just like the a hundred

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greatest albums ever made.

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I mean, this is really a beloved iconic album,

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and it's been so much fun for me to kind of go back

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and listening to this over the last couple days

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and be reminded why.

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But this is a very adventurous album.

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Super. I forgot how like, this is a deep record.

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Well, and it, it's so different from

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everything else on the list.

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I mean, it's closest might be Time Out just as far

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as like its conception Yeah.

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Of the music as it's almost like a soundtrack

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to a movie that doesn't exist.

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You know what I mean? Yeah. It's like, it's very, very,

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uh, visual almost.

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Yeah. You can hear things happening, which is by the way,

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a consistent theme in a lot of Mingus music.

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He's so good at sort of like using arranging

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as a soundscape, which I want to get into here.

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Yeah. But Mingus himself, man, if we can just build up

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to this album, like where he was.

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Yeah. The first gig he ever got

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as a professional musician was in Lionel Hampton's band,

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where he immediately was a standout.

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And he started writing music,

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including this tune called Mingus Fingers, which was sort

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of his feature in Lionel Hampton's band.

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Check it out.

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You could already hear, right? Yes. Swing it in. Weird.

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Ah, that sound already.

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How great is that? Ah,

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and that's, so this is pre like

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Duke Ellington pre late forties.

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Exactly. So he goes from Bird, right? Yeah.

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Next up we got is Bird actually. Okay.

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So he starts playing with, uh, bud Powell. Yeah.

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Charlie Parker, max Roach, dizzy Gillespie, sort

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of those fathers of of Bebop.

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Yeah. They make this live album, uh, under,

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I think it's under Bud Powell's name, live at Massey Hall.

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It was actually under, it was just called The Quintet.

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It was the Quintet. Yeah. That's right. Yep.

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And so what's interesting about this recording, Peter, uh,

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we're gonna listen to Perdido from that, is

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that this MCUs started a record label Perdido,

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Did you say Perdido Perdido Perdido

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Perdido Per diem per, um,

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I call it Perdido Mingus Ming Ming.

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Exactly. Per per diem. Per per diem.

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Uh, no, but this is with Charlie Parker.

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Disney Gilles Bud po.

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What's interesting is, like, so Mingus put this on a

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label as a young man.

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He created this own record label. Yeah.

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Put this album on a label, this a version

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of this album on a label.

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And he rerecorded his bass.

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'cause it's from a live recording, right? That's right.

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He rerecorded retraced his bass part, which was not like now

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with Pro Tools where you just punch it in.

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No, it would've been an incredible undertaking to do.

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And he did it. And he, I'm thinking it probably would've

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included physically playing the record while he recorded.

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I think so. 'cause there was no like,

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multi-track punch in situation.

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But this version became the version,

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the popular version of the album

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Max, That bass.

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Yeah.

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Hey, when you own the Label, that's what you do.

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This is what bass players love to do.

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Anyway, I love highlighting that

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because I just, it just goes to show like Charles Mingus.

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I think when I think about him as a musician,

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I think about someone who was constantly

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thinking outside of the box.

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Yes. Was constantly sort of swimming upstream,

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going against the grain, whatever you wanna call it.

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Mm-hmm. If, if a bunch of people were into it, he was like,

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nah, I'm gonna do my own thing.

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I I wanna make the music I wanna make.

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He was a very intense individual. Yeah.

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And could be, I think a handful

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for like a band leader especially.

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Yeah. When you hear about like,

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his interactions with Duke Ellington.

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Yeah. Um, and some other

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folks that we'll talk about, I'm sure.

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But what, uh, an incredibly huge personality.

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A an incredibly, uh, a genius musician

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and a very thoughtful forward-thinking musician on one

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of his very first, uh, albums.

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Is that, I'm sorry. I just wanted, just as a side note on

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that live at Massey Hall, uh, that record.

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Like, I think Mingus became sort of like,

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there was this lore about him

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as being like the bebop bass

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player just because of that record.

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That was an important record. It was the last time Dizzy

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and Byrd played together.

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Yeah. Um, or at least record.

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I believe it was the last time they played together too.

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But Mingus was not like the bebop bass player. Actually.

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He was, I mean, he came in at the tail end of that.

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He was super young. Um, like

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that was never his main kind of a thing.

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He could do it. He could do it. Yeah. Yeah.

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But I mean, he was, and I remember when I was coming up

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and I, that was the first record I heard

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of Charlie Mingus, that record.

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And I was like, oh my God. In fact, I heard this story.

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This is back when lore and myths and, and

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and stuff were flying around.

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I heard that the bass was so loud. This was pre-internet.

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I don't know if you knew this, Adam.

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I grew up before the internet.

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Really? Unlike some people.

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No, but I was told the story by some St. Louis musicians.

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They're like, oh, he had a portable tape recorder.

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And the bass was so loud. 'cause he had it set up

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by the base, which is of course we find out later.

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It's not true. He overdubbed it

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and it was recorded by the Canadian Jazz

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Society or something like that. Amazing. It's a great

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Record though. Amazing. It's

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a great record. Also

254
00:10:21,805 --> 00:10:22,885
Fun fact about the record, it was supposed

255
00:10:22,885 --> 00:10:25,085
to be Lenny Tristano on piano, and,

256
00:10:25,145 --> 00:10:28,045
but Lenny told them when he heard the lineup

257
00:10:28,045 --> 00:10:29,325
and what they were gonna do, he's like,

258
00:10:29,405 --> 00:10:31,205
I think Bud Powell would be better if you can get him.

259
00:10:31,365 --> 00:10:32,485
I think Lenny was right. Yeah.

260
00:10:32,825 --> 00:10:35,485
Um, next up, this is one of, from one, from one

261
00:10:35,485 --> 00:10:37,605
of his very first albums as a leader.

262
00:10:37,985 --> 00:10:39,485
And this again shows you sort

263
00:10:39,485 --> 00:10:41,125
of the creativity that we're working with here.

264
00:10:41,125 --> 00:10:42,765
Someone who's not afraid to mix things up. Show me what

265
00:10:42,765 --> 00:10:43,765
You working with.

266
00:10:44,435 --> 00:10:46,245
It's called All the Things You Can See Sharp.

267
00:10:47,145 --> 00:10:52,085
Oh yeah. This is like music to a silent movie.

268
00:10:52,435 --> 00:10:54,005
Very theatrical. Very cinematic.

269
00:10:55,385 --> 00:10:55,605
Oh,

270
00:11:00,245 --> 00:11:01,205
A little rock mounted off.

271
00:11:01,275 --> 00:11:04,365
Yeah. And a little Jerome Kern. Yeah.

272
00:11:04,365 --> 00:11:06,845
Mixed together A little Charlie Parker, dizzy Gillespie.

273
00:11:07,105 --> 00:11:08,565
And what year was this Ish?

274
00:11:08,595 --> 00:11:10,205
This would've been in the early fifties. Okay.

275
00:11:10,205 --> 00:11:13,285
This is it from an album called, uh, Mingus The Bohemia.

276
00:11:13,385 --> 00:11:16,525
Oh, yeah. Yeah. I think 1953, I believe. 54. Nice.

277
00:11:16,595 --> 00:11:18,965
Yeah. Isn't that cool though? Yeah.

278
00:11:19,065 --> 00:11:21,685
So cool. So he's like 20 years old, or 21

279
00:11:21,685 --> 00:11:22,685
Or so. 21. Yeah.

280
00:11:22,685 --> 00:11:24,165
Wow. Incredible.

281
00:11:24,515 --> 00:11:25,845
Well, apparently when he was a teenager,

282
00:11:25,905 --> 00:11:29,085
he was already writing a lot of what later would be coined

283
00:11:29,085 --> 00:11:30,165
as third stream music.

284
00:11:30,865 --> 00:11:34,085
Um, you know, ALA Miles birthday, cool.

285
00:11:34,085 --> 00:11:35,765
Gunther Schuller, all that kind of stuff.

286
00:11:35,995 --> 00:11:38,045
Like Mingles was doing that in the forties as a teenager.

287
00:11:38,505 --> 00:11:40,485
His big breakout though, was on this album,

288
00:11:44,555 --> 00:11:45,645
Pithecanthropus Erectus.

289
00:11:45,985 --> 00:11:48,125
I'm glad you said it. Never that. Correct.

290
00:11:59,075 --> 00:12:00,925
Traffic Traffic Jam. New York City

291
00:12:02,785 --> 00:12:04,365
Or London, England.

292
00:12:05,805 --> 00:12:09,205
I see a mate. No, Australia. Sorry.

293
00:12:15,155 --> 00:12:17,325
Yeah. The Woo. Birds are out.

294
00:12:24,785 --> 00:12:25,765
You know what's interesting,

295
00:12:30,425 --> 00:12:32,045
man, that dancing baseline.

296
00:12:32,185 --> 00:12:33,185
Oh,

297
00:12:38,875 --> 00:12:40,245
Just the traffic continues.

298
00:12:40,245 --> 00:12:41,245
Yeah.

299
00:12:44,995 --> 00:12:46,845
Like, I think we're gonna see this like

300
00:12:46,845 --> 00:12:49,805
as we get into Mingus a like the big mystery for me

301
00:12:50,385 --> 00:12:53,485
has always been like how some of his records

302
00:12:53,785 --> 00:12:55,285
and his, not so much his music.

303
00:12:55,525 --> 00:12:58,165
'cause he's got some incredibly accessible, beautiful, some

304
00:12:58,165 --> 00:12:59,965
of the most beautiful jazz standards,

305
00:12:59,965 --> 00:13:01,725
of which a couple at least we're gonna be listening

306
00:13:01,725 --> 00:13:05,245
to today, were written by Charlie Mingus, Charles Mingus.

307
00:13:05,705 --> 00:13:10,445
Um, but a lot of his performances, um, were very out there.

308
00:13:10,575 --> 00:13:13,325
Right. And especially at a time when like jazz was, I mean,

309
00:13:13,325 --> 00:13:14,965
this is still kind of the big band era.

310
00:13:15,345 --> 00:13:16,925
You know, we're gonna get into the Duke Ellington

311
00:13:16,925 --> 00:13:18,405
connection and this kind of a thing.

312
00:13:18,665 --> 00:13:20,765
But like, he was very aggressive in terms of like,

313
00:13:20,765 --> 00:13:22,605
expectations of the audience almost in a way

314
00:13:22,605 --> 00:13:24,445
that like modern classical music

315
00:13:24,445 --> 00:13:25,565
might have been at that time.

316
00:13:26,145 --> 00:13:29,605
Um, but I think the fact that he was able to, like,

317
00:13:30,315 --> 00:13:33,605
he's obviously firmly, you know, steeply, um,

318
00:13:34,585 --> 00:13:36,925
firmly steeped in the bebop tradition in terms

319
00:13:36,925 --> 00:13:38,685
of like his line and how he approaches things.

320
00:13:38,785 --> 00:13:40,845
That's why he fits in so good with Max Roach. Sure.

321
00:13:40,845 --> 00:13:43,685
But like Max Roach always looking around the corner too.

322
00:13:43,965 --> 00:13:47,205
Right? That's right. And we're gonna get into, into that.

323
00:13:47,865 --> 00:13:51,165
Um, like Max Roach, you know, the main influence for

324
00:13:51,165 --> 00:13:54,445
that part of their, their artistic minds was Duke Ellington.

325
00:13:54,445 --> 00:13:56,285
Yes. Who Mingus played very

326
00:13:56,285 --> 00:13:57,725
briefly in Duke Ellington's band.

327
00:13:57,725 --> 00:13:58,965
We're gonna talk about that a little bit later

328
00:13:59,125 --> 00:14:01,565
'cause it's a great story we're gonna get to here in a bit.

329
00:14:02,025 --> 00:14:06,525
But, uh, that last foggy day, that's from 1956,

330
00:14:07,385 --> 00:14:11,645
um, the Pithecanthropus Erectus is from 1956.

331
00:14:11,705 --> 00:14:14,565
Yep. And just three years later in, there's,

332
00:14:14,565 --> 00:14:16,605
there's the clown that happens in between, there's a couple

333
00:14:16,605 --> 00:14:18,245
of other things that happen, which are really, really great.

334
00:14:18,625 --> 00:14:22,725
But this album, uh, Mingus, um, is the one that sort

335
00:14:22,725 --> 00:14:26,445
of like cements his legacy as a forward thinking.

336
00:14:26,905 --> 00:14:29,205
Really. I mean, New York City legend too.

337
00:14:29,265 --> 00:14:31,125
Can we be honest here? Like, this is just like a,

338
00:14:31,125 --> 00:14:32,285
this everything he does.

339
00:14:32,345 --> 00:14:34,405
You said New York as soon as you heard the Foggy Day. Yeah.

340
00:14:34,465 --> 00:14:37,125
It all feels very downtown Manhattan, doesn't it? Right.

341
00:14:37,125 --> 00:14:38,925
I mean, there's, and also like, the fact that he was like

342
00:14:40,315 --> 00:14:42,685
friends with Fran Lebowitz. Oh yeah.

343
00:14:42,945 --> 00:14:44,765
Who still, who still talks about it. I know. Yeah.

344
00:14:44,825 --> 00:14:47,645
To this day, like in Martin Scorsese documentaries, like,

345
00:14:48,145 --> 00:14:50,685
uh, it just, he just feels like a very east coast

346
00:14:50,685 --> 00:14:52,685
personality to me as a Midwest boy.

347
00:14:52,705 --> 00:14:54,805
I'm like, man, that's like how people in New York are,

348
00:14:54,865 --> 00:14:57,685
are like intense and gruff and like committed to their art

349
00:14:57,705 --> 00:14:58,925
and like doing things outside

350
00:14:58,925 --> 00:15:00,125
of the box. You know what I mean? Yeah.

351
00:15:00,125 --> 00:15:01,805
And it's, I mean, he came across in his personality

352
00:15:02,025 --> 00:15:04,845
and most importantly in the personality of his instrument,

353
00:15:05,305 --> 00:15:07,805
his, you know, his riding for sure.

354
00:15:07,825 --> 00:15:09,885
But even you just hear him walk in the baselines.

355
00:15:09,885 --> 00:15:11,045
It's different, you know, for sure.

356
00:15:11,105 --> 00:15:13,285
But it's fun fact, he grew up in LA That's

357
00:15:13,285 --> 00:15:14,325
the amazing thing about it too.

358
00:15:14,425 --> 00:15:17,045
He, he is, he's such a New York presence,

359
00:15:17,045 --> 00:15:18,125
but he grew up in Los Angeles.

360
00:15:18,185 --> 00:15:20,925
And Watts, I believe was born in, um, Arizona

361
00:15:21,385 --> 00:15:23,925
and just had a very, very interesting lineage.

362
00:15:24,045 --> 00:15:27,485
A lot of different ethnicities, um, of more

363
00:15:27,485 --> 00:15:29,285
of which than we can list here

364
00:15:29,285 --> 00:15:31,725
and understand what, when it's his kind of personal lineage

365
00:15:31,725 --> 00:15:33,925
of his family, uh, ties and stuff.

366
00:15:34,105 --> 00:15:35,485
So that's, that's his pedigree right there.

367
00:15:35,565 --> 00:15:37,685
I mean, he, he really, he played with all the greats.

368
00:15:37,685 --> 00:15:39,685
He played with Lionel Hampton, Charlie Parker,

369
00:15:40,145 --> 00:15:41,485
bud Powell, duke Ellington.

370
00:15:41,485 --> 00:15:44,245
He co-founded debut records with Max Roach in 52

371
00:15:44,265 --> 00:15:47,845
and was already a, a business person, already an an artist

372
00:15:48,145 --> 00:15:49,925
and executive in this industry

373
00:15:50,185 --> 00:15:51,445
by the time he made this album.

374
00:15:52,065 --> 00:15:53,445
Uh, this album comes out

375
00:15:53,445 --> 00:15:56,365
and it begins with, um, something

376
00:15:56,365 --> 00:15:59,405
that we've heard a lot here on this podcast from a lot

377
00:15:59,405 --> 00:16:00,525
of different kinds of music.

378
00:16:00,585 --> 00:16:03,085
And that is church. Yes. It starts with church.

379
00:16:03,625 --> 00:16:07,365
You know, whether that's, we've heard it from all corners

380
00:16:07,665 --> 00:16:09,525
of the music that we've listened to that Yeah.

381
00:16:09,915 --> 00:16:12,605
That church music just, uh, well,

382
00:16:12,605 --> 00:16:14,165
it gets in your soul. Yeah. Doesn't it?

383
00:16:14,705 --> 00:16:16,405
You better. Well, Good one.

384
00:16:22,775 --> 00:16:26,925
Horace Parlan piano. Amazing. Horace Parlan.

385
00:17:34,385 --> 00:17:34,605
Oh,

386
00:17:43,905 --> 00:17:45,165
The backgrounds on this song.

387
00:17:45,505 --> 00:17:46,845
All the backgrounds on this album.

388
00:17:46,905 --> 00:17:48,405
All the solo so intricate.

389
00:17:48,405 --> 00:17:51,525
Yeah, you're right. The whole album Yeah.

390
00:17:51,525 --> 00:17:55,005
Is full of like, very precisely arranged Yes.

391
00:17:55,005 --> 00:17:56,765
Backgrounds and timed. Yeah.

392
00:18:04,425 --> 00:18:07,285
And going into the walking here, the walking baseline,

393
00:18:07,655 --> 00:18:09,245
we're still in three or in six.

394
00:18:09,315 --> 00:18:13,685
Yeah. 2, 4, 5, 6, 1 2. Yeah.

395
00:18:13,705 --> 00:18:16,885
But that's that underlying bead. Now we're back to it.

396
00:18:17,055 --> 00:18:18,055
Horace Parlan.

397
00:18:21,185 --> 00:18:23,645
Woo. I want

398
00:18:23,645 --> 00:18:25,125
to put a pin in this 'cause I want to talk about Yes.

399
00:18:25,435 --> 00:18:29,125
Real quick. I wanna put a pin in this

400
00:18:29,125 --> 00:18:30,325
and apply it to all my playing.

401
00:18:30,705 --> 00:18:31,705
For sure.

402
00:18:32,585 --> 00:18:32,805
Woo.

403
00:18:39,545 --> 00:18:42,165
Is that Mingus yelling out as he's playing?

404
00:18:42,325 --> 00:18:43,725
I always thought it was. I thought it was too.

405
00:18:43,725 --> 00:18:46,645
I don't know who's yelling at though. Yeah. I just assume

406
00:19:28,635 --> 00:19:31,925
this is very different from a lot of those other 1959

407
00:19:33,715 --> 00:19:37,965
jazz records in that there's so much just like vamp.

408
00:19:38,075 --> 00:19:40,285
Like this is not really, I mean this is kind of solo,

409
00:19:41,185 --> 00:19:42,805
but it's more like shout stuff.

410
00:19:43,415 --> 00:19:45,245
Collective improv. That's what I'm saying.

411
00:19:45,245 --> 00:19:47,885
It's not about going from solo to solo to solo.

412
00:19:47,945 --> 00:19:49,925
That's what makes it so appealing for Right.

413
00:19:49,925 --> 00:19:51,365
It's not all of blue, which is great too.

414
00:19:51,805 --> 00:19:52,805
I love this breakdown.

415
00:20:00,625 --> 00:20:00,845
Hm.

416
00:20:14,595 --> 00:20:14,885
Bebo.

417
00:20:21,305 --> 00:20:21,525
Woo.

418
00:20:27,185 --> 00:20:28,125
That's the correct way.

419
00:20:34,875 --> 00:20:36,805
This Is the blues, of course, in six

420
00:20:36,955 --> 00:20:38,085
with the gospel groove.

421
00:20:39,465 --> 00:20:43,565
But you got all that bebop in there because of the tempo

422
00:20:44,625 --> 00:20:46,445
and because Mingus goes into the walking.

423
00:20:47,385 --> 00:20:48,385
Um,

424
00:20:55,705 --> 00:20:57,325
Oh, Dannie Richmond.

425
00:21:02,225 --> 00:21:04,045
But the form on this is, is like the,

426
00:21:04,065 --> 00:21:05,805
the almost every track on here,

427
00:21:05,805 --> 00:21:07,525
there's a couple more conventional ones,

428
00:21:08,225 --> 00:21:11,845
but, um, this drone on that edge,

429
00:21:11,905 --> 00:21:14,045
The drone is so sick, man. The drone is so

430
00:21:14,045 --> 00:21:15,045
Sick. Oh, the dynamics

431
00:21:15,045 --> 00:21:15,765
they're playing there.

432
00:21:17,785 --> 00:21:19,605
Oh man, it's got that ding tank sting.

433
00:21:22,235 --> 00:21:23,845
He's playing around with that two against

434
00:21:23,845 --> 00:21:25,645
three or four and six

435
00:21:28,105 --> 00:21:29,105
Correspondents.

436
00:21:31,905 --> 00:21:36,285
2, 3, 4, 3, 3, 4, 5, 6.

437
00:21:39,825 --> 00:21:42,805
So Imagin, it's so simple. It's so imaginative.

438
00:21:44,225 --> 00:21:45,965
And then this is like a Max Roach bebop

439
00:21:45,965 --> 00:21:47,045
soul kind of. Totally.

440
00:21:47,075 --> 00:21:48,685
Yeah. Totally. Great. Call Lakey

441
00:21:50,305 --> 00:21:51,305
Man.

442
00:21:54,785 --> 00:21:56,085
Ugh. This is nasty.

443
00:21:56,995 --> 00:22:00,685
Then back to, and then like a variation on the drone

444
00:22:10,065 --> 00:22:11,125
and then the chanting.

445
00:22:11,285 --> 00:22:12,285
I mean,

446
00:22:16,385 --> 00:22:17,325
And You could tell this was

447
00:22:17,365 --> 00:22:18,525
a straight through recorded track.

448
00:22:19,195 --> 00:22:22,965
Like I, I will, I'll put that flag pole in the sand.

449
00:22:29,325 --> 00:22:30,725
I mean, they did have editing at that time,

450
00:22:30,745 --> 00:22:31,765
but you can just feel it.

451
00:22:31,765 --> 00:22:32,765
Right. There's some other stuff

452
00:22:32,765 --> 00:22:33,645
on the album that's edited.

453
00:22:33,715 --> 00:22:37,085
Yeah. But not this. No, probably. But I mean,

454
00:22:37,315 --> 00:22:40,285
Because of how like complex the form is

455
00:22:40,315 --> 00:22:41,365
with the different sections.

456
00:22:41,485 --> 00:22:43,285
I don't know if he was queuing that as he went.

457
00:22:43,605 --> 00:22:45,005
I don't think they have that written out where

458
00:22:45,005 --> 00:22:46,445
It's like, they sound so tight with this.

459
00:22:46,585 --> 00:22:48,525
Too tight. It sounds so natural and smooth.

460
00:22:50,595 --> 00:22:51,965
It's almost like going through a church service

461
00:22:51,965 --> 00:22:52,965
where like everybody knows.

462
00:22:53,115 --> 00:22:54,685
Yeah. You don't know what's gonna happen,

463
00:22:54,825 --> 00:22:56,845
but you know what's gonna cue the next part.

464
00:22:57,195 --> 00:22:58,245
This is the Blues Bridge.

465
00:23:00,955 --> 00:23:05,605
4 1 2 5.

466
00:23:05,905 --> 00:23:06,325
Simple.

467
00:23:17,745 --> 00:23:18,745
Oh, Woo.

468
00:23:18,875 --> 00:23:20,245
Come on. Now. They're just letting it

469
00:23:20,245 --> 00:23:21,245
Break down. Seven and a half

470
00:23:21,245 --> 00:23:23,045
minutes. Genius. The bottom there. So

471
00:23:23,045 --> 00:23:24,045
Good on that. Bottom F. Yeah.

472
00:23:24,045 --> 00:23:24,405

473
00:23:25,505 --> 00:23:26,505
How long Is it? Seven

474
00:23:26,505 --> 00:23:27,405
and a half minutes. Yeah,

475
00:23:27,405 --> 00:23:30,725
but it flies by, there's so much little amen at the end.

476
00:23:31,065 --> 00:23:33,325
So good. It's so good. One thing I just wanna point out

477
00:23:33,585 --> 00:23:38,005
for all the nerds out there is Nerd Nook is like, you know,

478
00:23:38,075 --> 00:23:39,205
it's a blues form Yeah.

479
00:23:39,205 --> 00:23:40,285
When they get into it, right.

480
00:23:41,225 --> 00:23:45,740
And you can hear Horace Parlan doing this kind of thing.

481
00:23:45,755 --> 00:23:48,125
Yeah. Or this going up sort

482
00:23:48,125 --> 00:23:50,045
of f major try and the B flat thing. Right.

483
00:23:50,195 --> 00:23:52,605
Like a little inlaid one to four. Right.

484
00:23:53,065 --> 00:23:54,725
Ah, amen. Reverse. Ah, amen.

485
00:23:55,145 --> 00:23:56,165
But I want everyone

486
00:23:56,165 --> 00:23:57,805
to notice if you're a beginner piano player out,

487
00:23:57,805 --> 00:23:59,325
when when they go to the four court, he doesn't go

488
00:24:00,705 --> 00:24:01,485
No, no. He

489
00:24:01,515 --> 00:24:02,765
Goes to, That would be corny.

490
00:24:03,205 --> 00:24:04,325
F minor, essentially.

491
00:24:05,545 --> 00:24:06,725
Yep. Right.

492
00:24:06,955 --> 00:24:10,005
Same, same little melodic riff, but major to minor. It's

493
00:24:10,005 --> 00:24:11,045
Something you hear again and again

494
00:24:11,235 --> 00:24:12,565
with great blues musicians.

495
00:24:12,685 --> 00:24:14,085
I mean, they're treating that four chord

496
00:24:14,145 --> 00:24:15,565
as almost like it's one minor.

497
00:24:15,755 --> 00:24:17,685
Yeah. In the language that they're playing

498
00:24:17,705 --> 00:24:19,245
and the voicings that they're playing around it.

499
00:24:19,275 --> 00:24:20,885
Just something that you should note.

500
00:24:20,905 --> 00:24:22,605
It doesn't have to be as cookie cutter

501
00:24:22,605 --> 00:24:24,485
as like F seven B flat seven.

502
00:24:24,915 --> 00:24:26,925
It's really about this push and pull. Always

503
00:24:27,225 --> 00:24:28,225
We, using my voice. You

504
00:24:28,225 --> 00:24:29,605
imitating my voice a little bit. Talk like

505
00:24:29,605 --> 00:24:30,605
That a little bit. A little bit. But,

506
00:24:30,605 --> 00:24:31,125
but the push

507
00:24:31,125 --> 00:24:32,725
and pull between that major and minor all the time.

508
00:24:32,725 --> 00:24:36,085
Yeah. And the four chord in, uh, can be used as just like

509
00:24:36,085 --> 00:24:38,205
that one minor in a lot of situations.

510
00:24:38,465 --> 00:24:40,685
And and also the five chord. Yeah.

511
00:24:40,685 --> 00:24:43,045
Playing like F minor over that cc Oh, absolutely.

512
00:24:43,065 --> 00:24:44,965
In the bass all the time. It sounds incredible. Yeah.

513
00:24:45,175 --> 00:24:47,405
Great stuff. I mean, I think you're already hearing it on,

514
00:24:47,625 --> 00:24:50,525
on this track, probably the most

515
00:24:50,525 --> 00:24:52,045
consistently of any track on here.

516
00:24:52,045 --> 00:24:54,165
But, but it, but it permeates the entire album.

517
00:24:54,645 --> 00:24:57,765
I think Mingus ability to set the table, I mean,

518
00:24:57,905 --> 00:25:00,245
in the side side man on this are incredible.

519
00:25:00,245 --> 00:25:01,445
Obviously we're gonna talk about them,

520
00:25:01,865 --> 00:25:03,805
but I mean, Mingus in terms of the composition,

521
00:25:03,805 --> 00:25:04,925
he wrote everything on this record,

522
00:25:05,265 --> 00:25:09,925
but he had that ability to combine blues, gospel jazz,

523
00:25:10,225 --> 00:25:13,405
but specifically in terms of jazz, like bebop in a way

524
00:25:13,405 --> 00:25:15,325
that's actually very tricky on something like this.

525
00:25:15,325 --> 00:25:17,925
Like he's pushing the tempo a little bit on this.

526
00:25:17,955 --> 00:25:19,805
It's, it's not like typically like kind of a,

527
00:25:20,005 --> 00:25:22,365
I mean this could be at as a church group, it could be a lot

528
00:25:22,365 --> 00:25:24,085
of different tempos, but typically this be like,

529
00:25:27,435 --> 00:25:30,525
like that kind of a thing, you know? Oh, that

530
00:25:30,585 --> 00:25:32,325
Little, all the all blues kind of situation.

531
00:25:32,515 --> 00:25:34,205
Another another instance of, by the way,

532
00:25:34,205 --> 00:25:36,085
the one minor on the for chord, kinda

533
00:25:36,085 --> 00:25:37,085
Exactly. Exactly.

534
00:25:37,085 --> 00:25:37,925
With, with a three

535
00:25:37,925 --> 00:25:39,525
or a six as opposed to a two or four.

536
00:25:39,585 --> 00:25:41,565
But I mean, he's pushing it.

537
00:25:41,585 --> 00:25:43,205
So, and then he's pushing into

538
00:25:43,205 --> 00:25:44,965
that walking baseline pretty quickly,

539
00:25:45,055 --> 00:25:46,205
Which is great. And then

540
00:25:46,205 --> 00:25:48,445
He brings it back as like this part of the story.

541
00:25:48,515 --> 00:25:50,525
Yeah. And then everybody's picking up in terms

542
00:25:50,525 --> 00:25:52,205
of like bebop language and stuff.

543
00:25:52,545 --> 00:25:55,085
And so it's very, actually very hard

544
00:25:55,085 --> 00:25:58,965
to seamlessly combine all those different styles without it

545
00:25:58,965 --> 00:26:01,565
sounding like, like a corny kind of thing of like,

546
00:26:01,565 --> 00:26:03,645
now I'm doing jazzy, now I'm doing bluesy,

547
00:26:03,945 --> 00:26:05,485
now I'm doing r and b or whatever.

548
00:26:05,515 --> 00:26:06,925
Like, it's just kind of his thing.

549
00:26:07,125 --> 00:26:08,245
I mean, there's a lot you could say about

550
00:26:08,245 --> 00:26:10,125
Gospel's, kind of the overlay. Maybe there's

551
00:26:10,125 --> 00:26:11,365
A lot you could say about Charles Mingus,

552
00:26:11,365 --> 00:26:13,005
but Corny is not one of Thoses.

553
00:26:13,105 --> 00:26:15,445
No. Kind of the opposite of corny.

554
00:26:15,635 --> 00:26:16,845
He's sort of the ultimate, like, he

555
00:26:16,845 --> 00:26:18,125
Might pull a shotgun out on you, cool

556
00:26:18,125 --> 00:26:19,125
Guy, guy. Calm, corny. You

557
00:26:19,125 --> 00:26:20,285
know what I'm saying? Um,

558
00:26:20,555 --> 00:26:21,605
alright, next up is,

559
00:26:21,665 --> 00:26:25,045
But there was such like the beauty, like his intonation,

560
00:26:25,425 --> 00:26:26,645
the playing, the dynamics.

561
00:26:26,665 --> 00:26:28,685
He was, he was a tough guy. We have all the legendary

562
00:26:28,685 --> 00:26:30,925
stories, which might have been overblown a little

563
00:26:30,925 --> 00:26:32,245
bit, but I mean Yeah.

564
00:26:32,665 --> 00:26:36,045
But he had this like, beautiful, nuanced approach to music.

565
00:26:36,055 --> 00:26:38,605
We're gonna hear that for sure on the next track.

566
00:26:38,875 --> 00:26:40,925
That really was obviously a huge part

567
00:26:40,925 --> 00:26:43,005
of his musical personality as well.

568
00:26:43,945 --> 00:26:46,685
So the next track is called Goodbye Pork Pie Hat.

569
00:26:46,685 --> 00:26:49,725
This is a tribute to Lester Young, who had passed away

570
00:26:50,315 --> 00:26:52,885
just a couple of months before they recorded this album.

571
00:26:53,035 --> 00:26:54,485
Yeah. Uh, Lester Young,

572
00:26:54,585 --> 00:26:55,965
if you haven't heard much Lester Young,

573
00:26:55,965 --> 00:26:57,045
go listen to Net Lester Young.

574
00:26:57,085 --> 00:26:58,445
I recommend the Lester Young Trio.

575
00:26:58,445 --> 00:26:59,925
I'm with Nat King Cole and Buddy Rich,

576
00:26:59,925 --> 00:27:03,565
which is like, unbelievable. Unbelievable. That'd

577
00:27:03,565 --> 00:27:04,565
Be a fun one. Um, we

578
00:27:04,565 --> 00:27:08,045
should do that actually at some point. Um, but, uh,

579
00:27:08,605 --> 00:27:11,725
Les Young was so great that other saxophonists nominated

580
00:27:11,745 --> 00:27:12,965
him and called him President.

581
00:27:12,965 --> 00:27:13,925
That's right. Was that was his

582
00:27:14,005 --> 00:27:15,125
nickname. Was president. Was President. That's

583
00:27:15,125 --> 00:27:16,125
Right. Um, I love

584
00:27:16,125 --> 00:27:18,885
this song so much, man. And yeah.

585
00:27:18,885 --> 00:27:20,005
Let's have a listen by the way.

586
00:27:20,165 --> 00:27:21,925
I just wanna, but I wanna point out too, this is the first

587
00:27:22,105 --> 00:27:26,285
of, I think 80% of this album, the titles, the,

588
00:27:26,285 --> 00:27:28,965
the songs themselves are written about someone.

589
00:27:29,155 --> 00:27:31,325
Yeah. So there, there's tribute to Lester Young.

590
00:27:31,325 --> 00:27:32,405
There's an open letter to Duke.

591
00:27:32,405 --> 00:27:34,005
There's bird calls about bird calls. Charlie Parker.

592
00:27:34,005 --> 00:27:36,085
Charlie Parker. There's even like some, you know, the fables

593
00:27:36,085 --> 00:27:37,805
of Faubus, which is not Oh, yeah.

594
00:27:37,845 --> 00:27:39,005
A flattering picture

595
00:27:39,005 --> 00:27:40,165
Of this. But it's about somebody specific.

596
00:27:40,165 --> 00:27:42,405
There's a call song called Jelly Roll. Right.

597
00:27:42,405 --> 00:27:44,525
There's Jelly. There's even self-portrait in Three Colors

598
00:27:44,525 --> 00:27:46,045
about Mingus himself, a song

599
00:27:46,045 --> 00:27:47,245
called Pussycat Dos, which we don't know.

600
00:27:47,245 --> 00:27:48,205
We know who that's for. Know who

601
00:27:48,205 --> 00:27:49,445
that's for. We're not gonna one.

602
00:27:49,445 --> 00:27:52,165
So was speculate on that last Young had he just died when

603
00:27:52,165 --> 00:27:53,885
they made the record, or when he wrote this or something?

604
00:27:54,085 --> 00:27:56,125
I mean, I know it's it's a good buy,

605
00:27:56,125 --> 00:27:58,045
so I'm assuming it was Yeah.

606
00:27:58,065 --> 00:27:59,605
No, he died. He had just died

607
00:27:59,605 --> 00:28:00,685
before the recording of this album.

608
00:28:00,685 --> 00:28:04,125
Okay. He died in March of 1959. Oh, wow. He was Goodbye. My,

609
00:28:38,625 --> 00:28:39,685
And Then they're gonna split.

610
00:28:52,585 --> 00:28:52,665
Hmm.

611
00:28:59,565 --> 00:29:02,825
Now they're in octaves. Oh, such great. Arranging simple.

612
00:29:03,245 --> 00:29:05,025
You know, what I love about this one too, is like,

613
00:29:05,545 --> 00:29:09,065
I consider these two contemporary composers to be some

614
00:29:09,065 --> 00:29:12,265
of the most Im important composers of this era of music.

615
00:29:12,975 --> 00:29:15,185
Charles Mingus and Felonious Monk. Yeah.

616
00:29:15,325 --> 00:29:16,345
And like this,

617
00:29:16,565 --> 00:29:19,745
the Monk has written ballads in this sort of style Yeah.

618
00:29:19,745 --> 00:29:21,585
And this sort of feel, and they're completely different.

619
00:29:21,585 --> 00:29:24,105
They're like, yeah. Completely opposite harmonically,

620
00:29:24,335 --> 00:29:25,865
melodically what they choose to do.

621
00:29:26,365 --> 00:29:30,585
But somehow, like they, there's a authenticity to both

622
00:29:30,585 --> 00:29:32,985
of them as artists that is really so appealing.

623
00:29:32,985 --> 00:29:34,225
Like, you can hear the Mingus one

624
00:29:34,225 --> 00:29:35,505
and just know like, that's the Mingus thing.

625
00:29:35,525 --> 00:29:37,185
Yes. It's like he does all those like dominant

626
00:29:37,365 --> 00:29:38,545
sevens down a minor third.

627
00:29:38,565 --> 00:29:40,945
You know what I mean? Yeah. And the melodies are

628
00:29:41,505 --> 00:29:44,325
always very singable, always very memorable.

629
00:29:44,325 --> 00:29:45,485
Not that monks aren't, but Monk,

630
00:29:45,485 --> 00:29:46,765
you can hear just like rhythmically,

631
00:29:46,875 --> 00:29:49,285
he's got harmonic concepts that just bring 'em out.

632
00:29:49,365 --> 00:29:51,525
I consider those two to just be like, uh,

633
00:29:51,525 --> 00:29:54,365
they're working on a same similar plane in their own

634
00:29:54,555 --> 00:29:55,565
sandboxes kind of.

635
00:29:55,565 --> 00:29:57,245
Yes. I mean, really. Really. I don't even know.

636
00:29:57,245 --> 00:29:58,525
Did they ever play together? I don't

637
00:29:58,855 --> 00:29:59,855
Think. I'm sure

638
00:29:59,855 --> 00:30:01,045
they did. I I can't think.

639
00:30:01,065 --> 00:30:03,685
I'm, I'm sure they would've crossed paths, but no, I we're

640
00:30:03,685 --> 00:30:04,965
Definitely swinging and missing on that.

641
00:30:05,025 --> 00:30:06,725
Put in the comments if there's been a Monk

642
00:30:07,245 --> 00:30:08,485
Mingus, I know it's probably gonna be like

643
00:30:08,485 --> 00:30:09,485
Yeah. It'll be, oh, you remember the,

644
00:30:09,485 --> 00:30:10,925
the Great Monk Mingus duo

645
00:30:10,925 --> 00:30:13,005
at, at Mossy Hall in Montreal.

646
00:30:13,005 --> 00:30:14,245
Totally. Totally. Yeah.

647
00:30:14,245 --> 00:30:15,925
And I mean, like, you, you touched on it a little bit,

648
00:30:15,925 --> 00:30:18,325
but like, there's a lot

649
00:30:18,325 --> 00:30:20,325
of this Sharp nine, which is really, yeah.

650
00:30:20,325 --> 00:30:23,205
Yeah. And blues, there's a lot of blues inflection in terms

651
00:30:23,265 --> 00:30:27,045
of how Mingus you can hear it when he's improvising his

652
00:30:27,485 --> 00:30:28,685
baselines on all of his stuff.

653
00:30:28,685 --> 00:30:30,485
Yeah. Like, that was a deep part of his thing.

654
00:30:30,945 --> 00:30:32,845
But what you alluded to in terms of like the dominant

655
00:30:33,615 --> 00:30:35,165
chord movement was very unique.

656
00:30:35,195 --> 00:30:38,405
Like with this, that's like e-flat, uh,

657
00:30:38,455 --> 00:30:39,645
seven to go up to the four.

658
00:30:39,715 --> 00:30:42,125
Like he did, that's a very gospel kind of blues thing.

659
00:30:42,225 --> 00:30:43,845
But then he goes down Yeah.

660
00:30:44,145 --> 00:30:46,685
To that DFL seven, which is like, that's kind

661
00:30:46,685 --> 00:30:48,245
of like later on was like a Stevie Wonder.

662
00:30:48,245 --> 00:30:50,285
Like Stevie Wonder loves to do. Yeah. At this time.

663
00:30:50,285 --> 00:30:52,765
That was a little bit, um, I mean, it just,

664
00:30:52,945 --> 00:30:55,685
it really gives the personality of like how he heard music,

665
00:30:55,705 --> 00:30:57,805
how he'd float those melodies on top.

666
00:30:57,905 --> 00:30:59,565
And then also, man, the details

667
00:30:59,835 --> 00:31:02,005
with having the two saxophones in unison for

668
00:31:02,005 --> 00:31:03,925
that whole melody and then split and then splitting 'em.

669
00:31:03,985 --> 00:31:05,045
And they have one note.

670
00:31:05,425 --> 00:31:07,085
And I'm thinking that it was just one

671
00:31:07,085 --> 00:31:08,125
of 'em made a little mistake.

672
00:31:08,145 --> 00:31:09,885
But I love it so much in that first melody

673
00:31:09,975 --> 00:31:11,205
where they're not in unison,

674
00:31:11,205 --> 00:31:12,485
but I'm also like, maybe Mingus

675
00:31:12,485 --> 00:31:13,685
wrote it like that. I don't know.

676
00:31:13,745 --> 00:31:15,685
We don't know. It works. I love that

677
00:31:15,685 --> 00:31:16,845
that stayed on the record.

678
00:31:17,035 --> 00:31:19,365
Yeah. And is like part of it, you know, I mean, like,

679
00:31:19,365 --> 00:31:20,725
when you play it, do you have to do that?

680
00:31:20,825 --> 00:31:22,885
No. No. But I mean, like, that's part of the moment.

681
00:31:23,065 --> 00:31:24,685
And I mean, the level and,

682
00:31:24,785 --> 00:31:25,965
and shout out,

683
00:31:26,105 --> 00:31:27,965
we didn't shout out enough on, I think on one of the others.

684
00:31:27,965 --> 00:31:29,405
First of all, Teo Ero Yeah.

685
00:31:29,925 --> 00:31:31,925
Producer on this, who also at least

686
00:31:31,925 --> 00:31:33,365
co-produced both those other records.

687
00:31:33,465 --> 00:31:34,925
We talk about Columbia in 1959,

688
00:31:35,035 --> 00:31:36,445
timeout and kind of blue and kind of blue.

689
00:31:36,705 --> 00:31:38,845
And also Fred Lau who engineered all of 'em.

690
00:31:39,025 --> 00:31:40,245
The sound is just stellar.

691
00:31:40,245 --> 00:31:43,045
Shout out Fred and shout out 30th Street, Columbia Studio.

692
00:31:43,185 --> 00:31:44,965
The church where they, where, I mean,

693
00:31:45,145 --> 00:31:47,005
you can hear how beautifully it's captured. Yeah. And

694
00:31:47,005 --> 00:31:48,485
The band on this too is pretty ridiculous.

695
00:31:48,485 --> 00:31:50,445
We got Dannie Richmond on the drums. We've Dannie

696
00:31:50,645 --> 00:31:51,885
Richmond. Bad Bad dude.

697
00:31:51,985 --> 00:31:53,605
Bad dude. We've already talked about Horace Parlan,

698
00:31:53,605 --> 00:31:55,525
which I wanna talk about more on the next song.

699
00:31:55,555 --> 00:31:57,405
Yeah. Uh, John Handy, the third on the Ounce

700
00:31:57,405 --> 00:31:59,085
of Saxophone, who is still with us?

701
00:31:59,265 --> 00:32:01,605
Yes. I believe he's, is he the only one on here?

702
00:32:01,965 --> 00:32:03,085
Probably still with us. I think so.

703
00:32:03,365 --> 00:32:04,405
I apologize if I'm, if

704
00:32:04,565 --> 00:32:05,645
somebody on this record, but I think so.

705
00:32:05,645 --> 00:32:08,765
He's 92 years old. Shout out to the Great John Handy.

706
00:32:09,465 --> 00:32:12,125
Um, yeah. Ho Parley, you know where Horace Parlan is from?

707
00:32:12,705 --> 00:32:14,775
Pittsburgh? Pa Pittsburgh pa,

708
00:32:15,105 --> 00:32:16,895
which we know is a great music town.

709
00:32:16,895 --> 00:32:18,575
Incredible. But Piano

710
00:32:18,645 --> 00:32:19,645
Town In Incre.

711
00:32:19,695 --> 00:32:20,935
I mean, yeah. I'm always thinking about all the great

712
00:32:21,215 --> 00:32:22,415
musicians, but just the pianist.

713
00:32:22,695 --> 00:32:24,055
I compiled a little list. Okay.

714
00:32:24,275 --> 00:32:27,055
Am I, am I, am I, am I even getting into some people

715
00:32:27,055 --> 00:32:29,015
that just traveled through Pittsburgh airport?

716
00:32:29,175 --> 00:32:31,335
I don't think so. No. Sonny Clark ever heard of

717
00:32:31,335 --> 00:32:32,535
Him? One of my face. Oh,

718
00:32:32,755 --> 00:32:35,095
You want go to a, a real big dog? How about Errol

719
00:32:35,095 --> 00:32:35,735
Garner? That's

720
00:32:35,735 --> 00:32:36,735
A big dog. That's a big dog. Yeah.

721
00:32:36,735 --> 00:32:37,815
Johnny Costa,

722
00:32:38,235 --> 00:32:38,815
Uh, Mr. Right.

723
00:32:39,205 --> 00:32:40,245
Drew fans. It doesn't get any more

724
00:32:40,245 --> 00:32:41,445
Pittsburgh than that big dog.

725
00:32:41,755 --> 00:32:44,445
Ahad Jamal. Um, often associated with Chicago,

726
00:32:44,465 --> 00:32:45,245
But one of the greatest

727
00:32:45,245 --> 00:32:46,485
artists who ever lives. Yeah. Yeah.

728
00:32:46,665 --> 00:32:47,845
Oh. Oh, well, you know what?

729
00:32:47,845 --> 00:32:49,765
Let's go, let's go even more og.

730
00:32:49,935 --> 00:32:51,485
Let's, let's go up even higher.

731
00:32:51,765 --> 00:32:52,885
I like where you're going. Earl

732
00:32:53,125 --> 00:32:54,205
Hines father, the father

733
00:32:54,605 --> 00:32:55,685
considered the father of jazz piano.

734
00:32:55,865 --> 00:32:58,525
Of course. Earl Hyz from Pittsburgh. Oh, I'm sorry.

735
00:32:58,525 --> 00:33:03,325
Let's go to even more legendary. Mary Lou Williams. What?

736
00:33:03,335 --> 00:33:06,365
Pittsburgh? Yeah. That one I'm almost sure is correct.

737
00:33:06,505 --> 00:33:08,685
I'm on right side on that one. No, I think it is. We'll

738
00:33:08,685 --> 00:33:09,685
Get letters. Oh. Send

739
00:33:09,685 --> 00:33:10,725
'em to johnny costa.com.

740
00:33:10,735 --> 00:33:13,445
Let's just talk about just great composers in general. Oh.

741
00:33:13,445 --> 00:33:15,245
And they're also great jazz panels from Pittsburgh.

742
00:33:15,245 --> 00:33:17,005
Sure, sure, sure. But legends. Yeah. Like

743
00:33:17,005 --> 00:33:18,005
Who?

744
00:33:20,675 --> 00:33:21,685
William Strayhorn.

745
00:33:21,685 --> 00:33:23,245
William Strayhorn. Billy Strayhorn. Billy Stray.

746
00:33:23,295 --> 00:33:25,085
Jerry Allen. This is the one I'm not sure about.

747
00:33:25,165 --> 00:33:27,405
I love Jerry. We love Jerry Allen. J Jerry Allen.

748
00:33:27,425 --> 00:33:28,845
One of the greatest jazz pianists of the class.

749
00:33:28,845 --> 00:33:30,085
Could be from Pittsburgh, Either.

750
00:33:30,085 --> 00:33:32,165
Well, she definitely taught there and hung out.

751
00:33:32,445 --> 00:33:33,525
I believe she's from Pittsburgh.

752
00:33:33,725 --> 00:33:35,405
I just love saying her name. Anyway. And,

753
00:33:35,405 --> 00:33:36,205
And yeah, shout out

754
00:33:36,205 --> 00:33:37,605
Jerry Allen. Man, the little list. Sammy,

755
00:33:37,605 --> 00:33:38,605
Sammy Nest. Okay.

756
00:33:38,605 --> 00:33:41,165
Sorry. Now I'm just naming names. But yeah, this all

757
00:33:41,165 --> 00:33:42,165
Pittsburgh. Keep going.

758
00:33:42,165 --> 00:33:45,045
Uh, and Horace Parlan is one of them. Yeah.

759
00:33:45,425 --> 00:33:48,405
And you know, Horace Parlan born in Pittsburgh, uh, in his

760
00:33:49,175 --> 00:33:51,925
first year on this earth was stricken with polio.

761
00:33:51,925 --> 00:33:52,925
Yeah. That was the polio Time.

762
00:33:53,025 --> 00:33:56,045
And that resulted in a partial crippling of his right hand.

763
00:33:56,045 --> 00:33:58,765
Which if you play piano, you know, kind

764
00:33:58,765 --> 00:33:59,765
of an important hand.

765
00:33:59,765 --> 00:34:02,045
Yeah. I mean, they're both pretty important. Yeah.

766
00:34:02,145 --> 00:34:03,445
The right hand though, especially.

767
00:34:03,665 --> 00:34:06,925
Um, but partial only had partial use of his right hand.

768
00:34:06,925 --> 00:34:10,485
Yeah. Which he made into his sound, which like,

769
00:34:10,905 --> 00:34:14,245
it just goes to show you stop using excuses.

770
00:34:14,615 --> 00:34:17,405
Right. I know. Like Horace Parlan sounds amazing. Yeah.

771
00:34:17,625 --> 00:34:19,205
And he was crippled on his right hand

772
00:34:19,205 --> 00:34:20,405
with polio when he was a child.

773
00:34:20,435 --> 00:34:21,845
Yeah. And developed his own sound.

774
00:34:21,845 --> 00:34:25,045
Became this whole, this whole artist unto himself had an

775
00:34:25,045 --> 00:34:26,445
amazing life, amazing career.

776
00:34:27,145 --> 00:34:28,525
Um, and this is Bookie

777
00:34:28,525 --> 00:34:29,605
Stop Shuffle, which we're gonna hear a little

778
00:34:29,765 --> 00:34:30,645
Horse. David Sandborn too.

779
00:34:31,345 --> 00:34:33,165
That's right. David Sandborn also

780
00:34:33,875 --> 00:34:34,925
from Polio. Correct. Yeah.

781
00:34:34,925 --> 00:34:38,005
Yeah. Ey Stop Shelf.

782
00:34:43,825 --> 00:34:44,045
Ah,

783
00:34:50,385 --> 00:34:51,385
Oh. As Duke

784
00:34:51,385 --> 00:34:52,965
Ellington right there. Influence.

785
00:34:54,065 --> 00:34:54,285
Woo.

786
00:35:00,855 --> 00:35:03,645
Dannie Richmond So much Duke Ellington in Mingus.

787
00:35:03,765 --> 00:35:05,045
I mean, Mingus talks about this too.

788
00:35:05,465 --> 00:35:08,245
His primary compositional influence.

789
00:35:10,835 --> 00:35:14,645
Keeping that line going underneath. Ooh. Counter point.

790
00:35:16,585 --> 00:35:20,205
Ah, Oh, can Minga swing

791
00:35:20,205 --> 00:35:21,205
When he walked?

792
00:35:21,225 --> 00:35:24,325
Yes. What a sound too big bass sign.

793
00:35:41,605 --> 00:35:44,725
I mean, the comping is just continuing the lines.

794
00:35:44,985 --> 00:35:47,765
So genius Bass and piano.

795
00:35:50,305 --> 00:35:53,805
Oh, More background sipping. Right. Go to swing.

796
00:35:53,825 --> 00:35:54,685
But with the background,

797
00:36:01,985 --> 00:36:02,925
we start rushing there.

798
00:36:02,925 --> 00:36:03,925
And I, I'm here for it.

799
00:36:05,665 --> 00:36:07,285
Mia, Mia threw, had a rush. Not a problem.

800
00:36:08,035 --> 00:36:09,605
Some of our favorite bass players. That's right.

801
00:36:10,025 --> 00:36:11,125
Our Famous rushers.

802
00:36:11,945 --> 00:36:14,645
Oh, Again, more of that blues thing.

803
00:36:15,065 --> 00:36:17,165
Oh, Horace Parlan.

804
00:36:17,265 --> 00:36:18,085
Oh, the background.

805
00:36:22,825 --> 00:36:23,045
Ah,

806
00:36:28,505 --> 00:36:29,685
oh, play. So tasteful

807
00:36:30,455 --> 00:36:32,805
Piano, Not pianist mode. Not piano.

808
00:36:33,705 --> 00:36:37,965
Ah, Swing

809
00:36:38,115 --> 00:36:38,725
activated

810
00:36:44,295 --> 00:36:46,565
blues has been activated. Been done activated.

811
00:36:47,265 --> 00:36:51,365
Oh, That reminder.

812
00:36:51,625 --> 00:36:54,165
Oh yeah. Hell, that's a pro Move. That's right.

813
00:36:54,225 --> 00:36:55,645
You gotta be advanced to pull that off. You

814
00:36:55,645 --> 00:36:58,165
Gotta be ready to be like, Yeah, yeah, yeah.

815
00:36:58,705 --> 00:37:01,085
So just for our listener here about what just happened. So

816
00:37:01,825 --> 00:37:03,245
That's what we were saying he didn't do

817
00:37:03,245 --> 00:37:04,325
before. Yeah, yeah. No, but he

818
00:37:04,325 --> 00:37:05,325
Waited on it. But what we, yeah. What

819
00:37:05,325 --> 00:37:05,885
we said before.

820
00:37:05,885 --> 00:37:07,765
But he, he just picked a right moment, didn't he?

821
00:37:08,025 --> 00:37:12,485
So, uh, uh, a b flat minor Blues. Right. Yeah. Right.

822
00:37:12,625 --> 00:37:14,045
So all minor. Yeah. Minor Blues minor.

823
00:37:14,305 --> 00:37:18,125
So, uh, and on that one time,

824
00:37:18,125 --> 00:37:19,765
on the four court, he goes up to

825
00:37:19,765 --> 00:37:21,045
The blue scale of the four. He goes,

826
00:37:21,045 --> 00:37:22,845
Amazing, amazing stuff. So good.

827
00:37:23,225 --> 00:37:24,965
Um, yeah. And this one's so cool too

828
00:37:25,085 --> 00:37:28,525
'cause it's obviously, uh, it's called Boogie Stop Shuffle.

829
00:37:28,905 --> 00:37:32,365
So it's, it's got like bebop undertones.

830
00:37:32,515 --> 00:37:35,005
It's bluesy, obviously it's even got some churchy stuff.

831
00:37:35,435 --> 00:37:36,725
It's not really a shuffle,

832
00:37:36,745 --> 00:37:41,005
but like Dannie Richmond is so like, flexible with, with it.

833
00:37:41,005 --> 00:37:42,005
It's got the undertones of that

834
00:37:42,005 --> 00:37:43,645
and then it's got this Boogie Woogie line.

835
00:37:43,645 --> 00:37:47,045
But it's not like your typical like, oh, you know,

836
00:37:47,145 --> 00:37:50,765
um, down there.

837
00:37:50,765 --> 00:37:52,205
Yeah, yeah, yeah. It's, it's up here. Right.

838
00:37:55,865 --> 00:37:58,765
You know, it, it's, man, it's just like all woven together

839
00:37:58,865 --> 00:38:00,365
and it's very, man, this could be like,

840
00:38:00,635 --> 00:38:02,525
this could be like a Chase scene in,

841
00:38:02,525 --> 00:38:04,125
in like the French Riviera in North

842
00:38:04,125 --> 00:38:06,405
by Northwest Alfred Hitchcock or something.

843
00:38:06,425 --> 00:38:07,885
You know, where they got like the slick car.

844
00:38:08,665 --> 00:38:10,445
I'm glad you mentioned that because the next track on the

845
00:38:10,445 --> 00:38:11,725
album Self portrait in, why are We taking

846
00:38:11,725 --> 00:38:12,765
A trip To France together? We

847
00:38:12,765 --> 00:38:13,765
Could. Glad you mentioned that. Take

848
00:38:13,765 --> 00:38:13,885
it.

849
00:38:13,885 --> 00:38:15,045
Open Studio France.

850
00:38:15,865 --> 00:38:18,045
Uh, the next track is self portrait in Three Colors,

851
00:38:18,045 --> 00:38:19,925
which is originally written for the film shadows,

852
00:38:19,925 --> 00:38:22,645
but wasn't included due to budgetary concerns.

853
00:38:23,115 --> 00:38:26,005
Come on. And we are all the Hollywood, we're all the benefit

854
00:38:26,005 --> 00:38:28,405
because I'm sure you watch Shadows a couple times a year.

855
00:38:28,405 --> 00:38:30,765
Like we all do. Wow. Never heard of it, of it either,

856
00:38:30,785 --> 00:38:33,005
But we No, but John Caves isn't this John

857
00:38:33,175 --> 00:38:35,445
Caves actually movie, I think. Yeah. But

858
00:38:35,445 --> 00:38:36,765
Self-Portrait in Three Colors.

859
00:38:37,465 --> 00:38:39,085
We listen to all the time. Gorgeous song.

860
00:38:39,555 --> 00:38:41,245
This would've been good. I haven't seen a movie.

861
00:38:41,555 --> 00:38:43,525
Hold on, check my imdb real quick.

862
00:38:43,665 --> 00:38:45,205
Is that the John? I think so.

863
00:38:47,745 --> 00:38:52,405
Unison Melody again. Of course.

864
00:38:52,665 --> 00:38:53,665
Marlin.

865
00:38:58,915 --> 00:39:01,205
Yeah. John Ca Shadow. You're totally right.

866
00:39:01,205 --> 00:39:03,125
Yeah. Actually this movie looks dope.

867
00:39:03,825 --> 00:39:05,485
He was an actor too. He was in a bunch of,

868
00:39:06,185 --> 00:39:07,925
did he direct this or was he starring in it?

869
00:39:08,725 --> 00:39:09,845
I don't know. He

870
00:39:10,165 --> 00:39:11,165
Directed It. Yeah. But he was an

871
00:39:11,165 --> 00:39:11,525
actor too.

872
00:39:11,685 --> 00:39:14,165
I, I can't remember what It's big stuff. Big stuff.

873
00:39:18,395 --> 00:39:21,045
Yeah. This was around that period where there was like jazz

874
00:39:21,185 --> 00:39:23,005
and this kind of thing.

875
00:39:23,085 --> 00:39:24,645
I could see like, 'cause you got Anatomy

876
00:39:24,665 --> 00:39:26,605
of a Murder I believe was right around this maybe the year

877
00:39:26,665 --> 00:39:28,165
before Duke Ellington.

878
00:39:28,485 --> 00:39:30,405
I mean, shout out Auto Preminger, shadow Out

879
00:39:30,405 --> 00:39:31,405
Shadows. I'm gonna go look

880
00:39:31,405 --> 00:39:32,845
it up on Tuby tonight and tell you what

881
00:39:33,635 --> 00:39:34,805
Tuby Sponsor maybe

882
00:39:35,335 --> 00:39:36,335
Never heard of it. So

883
00:39:36,335 --> 00:39:37,765
is that Netflix?

884
00:39:40,915 --> 00:39:43,125
It's so, man, you, you really nailed it. The beginning.

885
00:39:43,695 --> 00:39:47,765
Jimmy Neper, you nailed it

886
00:39:47,765 --> 00:39:49,165
with is Mingles.

887
00:39:49,165 --> 00:39:52,405
Like, is he on the m Mount Rushmore of the little big band

888
00:39:52,785 --> 00:39:54,765
of like, small, small,

889
00:39:54,765 --> 00:39:56,125
what would you call it? Small big band arrange

890
00:39:56,125 --> 00:39:57,125
Would have to be, yeah. But

891
00:39:57,125 --> 00:39:59,925
yeah, for, for such a small quote unquote

892
00:39:59,955 --> 00:40:01,085
band of just Yeah.

893
00:40:01,095 --> 00:40:03,085
Three or four horns and a rhythm section.

894
00:40:03,885 --> 00:40:06,765
I mean, the colors that he's able to get. Yeah.

895
00:40:06,765 --> 00:40:10,285
I mean in this tune specifically three. But in general.

896
00:40:10,745 --> 00:40:13,125
In general, so many different colors to all of this.

897
00:40:13,145 --> 00:40:15,525
And he learned it, Peter from his mentor,

898
00:40:16,185 --> 00:40:17,205
the great two Ellington,

899
00:40:17,345 --> 00:40:20,325
Edward Kennedy Ellington, Edward Kennedy Ellington.

900
00:40:20,325 --> 00:40:22,765
And the next track is a tribute to that open letter to Duke.

901
00:40:22,765 --> 00:40:24,445
Well, we don't know if it's a tribute, it's an open letter

902
00:40:24,765 --> 00:40:26,165
because they had

903
00:40:26,675 --> 00:40:28,645
Checkered Pad quite a relationship.

904
00:40:28,825 --> 00:40:32,005
So, uh, Mingus joined Duke's band and,

905
00:40:32,105 --> 00:40:35,285
and was fired from Duke's band all in 1953. All in

906
00:40:35,285 --> 00:40:36,725
Like a couple weeks I think for

907
00:40:36,725 --> 00:40:40,605
Allegedly swinging an ax at Trombonist, Juan Teel, who,

908
00:40:41,305 --> 00:40:45,325
uh, in MGA's defense might have called Mingus a racial

909
00:40:45,435 --> 00:40:46,485
slur and pulled out a knife.

910
00:40:46,625 --> 00:40:48,965
We don't know, because there's several different accounts

911
00:40:49,065 --> 00:40:50,565
of the interaction.

912
00:40:50,635 --> 00:40:53,445
There's one from Mingus. Yeah. There's one from Juan Teel.

913
00:40:53,445 --> 00:40:55,045
Yeah. There's one from Duke Ellington.

914
00:40:55,045 --> 00:40:56,605
And there's even one from the trumpet player,

915
00:40:56,785 --> 00:40:57,885
one of the trumpet players in the band.

916
00:40:58,185 --> 00:40:59,685
St. Louis, his own Clark Terry. I'm gonna

917
00:40:59,685 --> 00:41:00,445
Trust Clark Terry. I

918
00:41:00,605 --> 00:41:02,045
Actually would trust Clark as well, because he's

919
00:41:02,075 --> 00:41:03,125
kind of a, he's

920
00:41:03,125 --> 00:41:04,925
The only one of those that I knew a little bit in

921
00:41:04,925 --> 00:41:05,925
Real life. He's an angel cartoon.

922
00:41:05,925 --> 00:41:07,685
Yes. Yeah. So it,

923
00:41:08,105 --> 00:41:09,885
But the only thing in common with all those stories,

924
00:41:10,045 --> 00:41:14,645
I think, was that Char Charles Mingus swung a large iron

925
00:41:14,745 --> 00:41:17,125
or steel object at Juan Tessel.

926
00:41:17,125 --> 00:41:18,485
Like that's not in dispute. Everybody,

927
00:41:19,115 --> 00:41:21,125
Including Mingus, that he grabs something.

928
00:41:21,215 --> 00:41:24,365
Right. And Acts, some say it was a piece of iron, something

929
00:41:24,365 --> 00:41:25,765
Like from the state on the side of the stage.

930
00:41:25,765 --> 00:41:27,525
On the side of the stage. Yeah. But, uh,

931
00:41:27,535 --> 00:41:30,285
there was apparently an altercation about, uh,

932
00:41:30,755 --> 00:41:34,765
Juan Teel playing something of Duke's or writing.

933
00:41:34,865 --> 00:41:36,365
He had written something. Yeah. And he didn't, like,

934
00:41:36,425 --> 00:41:38,605
he said something to Mingus about, you're not reading it.

935
00:41:38,605 --> 00:41:40,965
Right. But apparently it went back deeper than that.

936
00:41:40,965 --> 00:41:42,725
Like when Mingus was coming up, he really wanted

937
00:41:42,725 --> 00:41:44,685
to play cello and some other instruments too.

938
00:41:44,715 --> 00:41:47,765
Yeah. And like, because of, you know, the times

939
00:41:47,825 --> 00:41:50,845
and everything, he wasn't afforded, um, in,

940
00:41:50,865 --> 00:41:53,525
in equal musical education, even though he really wanted it.

941
00:41:53,525 --> 00:41:56,245
So he didn't learn to read real Well. He did later on.

942
00:41:56,905 --> 00:41:59,325
But he could play, he could write, he could arrange,

943
00:41:59,345 --> 00:42:01,045
but he had some of these barriers put up.

944
00:42:01,545 --> 00:42:03,965
And um, so he might have had a little chip on his shoulder

945
00:42:04,225 --> 00:42:05,685
as you would for people saying,

946
00:42:05,685 --> 00:42:07,245
oh, you can't read that correctly. What you mean

947
00:42:07,735 --> 00:42:08,735
Music Sheet music read. Yeah.

948
00:42:08,735 --> 00:42:10,365
Right. Notation. He's like, oh really?

949
00:42:10,375 --> 00:42:12,285
Lemme go get this, um, steel pipe

950
00:42:12,345 --> 00:42:14,245
and see if you can read that buddy.

951
00:42:14,665 --> 00:42:16,285
Um, but We are not jazz,

952
00:42:16,545 --> 00:42:17,725
we are not journalists, by the way.

953
00:42:17,785 --> 00:42:19,205
So No, but, but let's put that out there.

954
00:42:19,625 --> 00:42:22,605
But, uh, duke, apparently, the way I love this part

955
00:42:22,605 --> 00:42:24,045
of the story too, the way that Duke fired him.

956
00:42:24,205 --> 00:42:26,245
Mingus said, you feel like he just like shook your hand

957
00:42:26,245 --> 00:42:27,845
and said some nice things about you

958
00:42:27,865 --> 00:42:29,605
and you felt great about it. Which like, and

959
00:42:29,605 --> 00:42:30,605
He resigned. Yeah. And then,

960
00:42:30,605 --> 00:42:31,325
yeah, and then he resigned.

961
00:42:31,325 --> 00:42:32,925
But that's so tracks for

962
00:42:32,925 --> 00:42:34,925
what everybody would say about Duke Ellington was he was,

963
00:42:35,185 --> 00:42:36,525
he was just the UAEs man.

964
00:42:36,545 --> 00:42:38,805
The most like, incredible gentleman in the world.

965
00:42:39,305 --> 00:42:40,845
Uh, Mingus loved Duke so much.

966
00:42:41,265 --> 00:42:43,445
Uh, the aforementioned Fran Leitz, who

967
00:42:44,105 --> 00:42:46,565
is New York City icon author Fran.

968
00:42:46,925 --> 00:42:49,525
It says that Mingus used to say to that, uh,

969
00:42:49,765 --> 00:42:51,205
Ellington could get away with things

970
00:42:51,205 --> 00:42:53,045
that no one ever could like calling him Charlie.

971
00:42:53,325 --> 00:42:55,285
Apparently he Mingus hated when people call him Charlie.

972
00:42:55,285 --> 00:42:56,285
Yeah, I know. I said it earlier. I was like, yeah,

973
00:42:56,315 --> 00:42:58,085
he's gonna, he might, he might take that out. Andy,

974
00:42:58,085 --> 00:42:59,325
Chuck Don't, don't use Chuck for

975
00:42:59,325 --> 00:43:00,325
Sure. And he'd let, he'd

976
00:43:00,325 --> 00:43:01,805
let, he'd even let Duke Ellington steal

977
00:43:01,815 --> 00:43:04,125
bites out of his dinner, which he would else.

978
00:43:04,425 --> 00:43:06,365
I'm not sure the validity of that,

979
00:43:06,665 --> 00:43:08,285
of Fran's recollection, but, but a

980
00:43:08,285 --> 00:43:12,325
Couple years after this was, um, the money jungle.

981
00:43:12,595 --> 00:43:14,725
Well, which is such an interesting, we don't have to Well,

982
00:43:14,725 --> 00:43:15,885
I mean, we can divert if you'd like

983
00:43:16,065 --> 00:43:17,065
One of the tracks. So Money

984
00:43:17,065 --> 00:43:19,205
Jungle is Duke Ellington Max Roach. Yeah.

985
00:43:19,205 --> 00:43:20,805
So the guy that Mingus started the label

986
00:43:20,805 --> 00:43:24,245
with incredible bebop drummer, uh, and Mingus recorded

987
00:43:24,265 --> 00:43:26,645
One of the greatest trio on Low Key, one

988
00:43:26,645 --> 00:43:28,645
of the greatest Trio piano Trio records ever made.

989
00:43:28,845 --> 00:43:30,165
I think it's such a great record. It's such

990
00:43:30,165 --> 00:43:31,285
a weird, weird record.

991
00:43:31,285 --> 00:43:32,605
It's a record. It's awesome. Should do that.

992
00:43:32,825 --> 00:43:34,165
And what I love about it, are we

993
00:43:34,165 --> 00:43:35,445
Gonna become a jazz podcast again?

994
00:43:35,665 --> 00:43:36,965
We are. We, there's

995
00:43:36,965 --> 00:43:37,845
a little bit of a battle in the

996
00:43:37,925 --> 00:43:38,845
comments. Go on. So let us know.

997
00:43:39,075 --> 00:43:40,605
It's always guys with bebop in their

998
00:43:40,605 --> 00:43:41,805
names though, that are And

999
00:43:41,805 --> 00:43:42,805
With Fedor. No,

1000
00:43:42,805 --> 00:43:43,765
not a Fedor Beret.

1001
00:43:43,765 --> 00:43:46,165
Yeah, no. But, um, what's interesting about Money Jungle,

1002
00:43:46,345 --> 00:43:48,085
one of the tracks that they put on this album,

1003
00:43:49,035 --> 00:43:50,605
Juan Teal's Caravan.

1004
00:43:50,665 --> 00:43:53,325
Oh, that's right. What best track. I know

1005
00:43:53,435 --> 00:43:54,525
They put Caravan on

1006
00:43:54,525 --> 00:43:55,685
It. What is that all about?

1007
00:43:55,685 --> 00:43:57,205
Maybe Megan said had he buried the

1008
00:43:57,205 --> 00:43:58,605
hatchet, buried the steel pipe. Right.

1009
00:43:58,615 --> 00:44:00,845
Can't say that. You can't say that here. We can't.

1010
00:44:00,845 --> 00:44:05,325
Sorry. This is Money Jungle from 1963.

1011
00:44:06,025 --> 00:44:07,365
Man, dude, duke, Dude. Killing.

1012
00:44:07,605 --> 00:44:09,765
I know we should do Money Jungle. Honestly,

1013
00:44:10,065 --> 00:44:11,845
One of the most aggressive, beautiful,

1014
00:44:12,005 --> 00:44:14,045
weirdest jazz trio records ever.

1015
00:44:14,145 --> 00:44:15,205
But great, but great

1016
00:44:15,205 --> 00:44:18,685
Incredible Actually approach.

1017
00:44:19,035 --> 00:44:20,765
This is what you have to love about Duke Care.

1018
00:44:20,765 --> 00:44:22,525
Like that record shouldn't have worked as good as it did.

1019
00:44:22,605 --> 00:44:23,805
I love records like that. Can we just say

1020
00:44:23,805 --> 00:44:26,165
That almost the entire last 15 years

1021
00:44:26,165 --> 00:44:28,285
of Duke Ellington's recording career shouldn't have worked.

1022
00:44:28,405 --> 00:44:30,365
I know. And some of his best stuff. Yeah.

1023
00:44:30,605 --> 00:44:32,565
I mean, talk about a visionary and you can see Orleans

1024
00:44:32,655 --> 00:44:33,655
Suite. That's a weird,

1025
00:44:33,655 --> 00:44:35,005
that's a weird piece. That

1026
00:44:35,045 --> 00:44:37,005
Duo album with Ray Brown is so odd.

1027
00:44:37,105 --> 00:44:38,125
That's in the seventies. I

1028
00:44:38,125 --> 00:44:40,045
Think Incre in the seventies, right before he passed away.

1029
00:44:40,365 --> 00:44:41,845
Passed away. But this is

1030
00:44:41,845 --> 00:44:44,005
where I think you can tell Mingus is inspired

1031
00:44:44,145 --> 00:44:46,085
by his hero is from this kind of stuff.

1032
00:44:46,085 --> 00:44:47,845
Like making these really interesting things

1033
00:44:47,845 --> 00:44:49,365
that are not straight down the middle,

1034
00:44:49,635 --> 00:44:51,485
that are curve balls. And both even

1035
00:44:51,485 --> 00:44:52,885
Duke Ellington and John Coltrane

1036
00:44:52,915 --> 00:44:55,485
shouldn't have worked as good as it did. It worked so well.

1037
00:44:56,045 --> 00:44:57,685
I feel a Duke Ellington streak coming

1038
00:44:57,685 --> 00:44:58,845
on for next season, Peter.

1039
00:44:59,025 --> 00:45:03,605
So, um, anyway, this is, uh, uh, MGA's open letter to Duke.

1040
00:45:05,515 --> 00:45:07,525
This Swinging is hail by

1041
00:45:07,525 --> 00:45:09,965
The, okay.

1042
00:45:10,495 --> 00:45:12,885
Pause. Sorry, I haven't done that in a while.

1043
00:45:12,885 --> 00:45:14,485
We're gonna go back and listen to the beginning again,

1044
00:45:14,485 --> 00:45:15,925
because a bunch of, first of all,

1045
00:45:15,925 --> 00:45:17,245
the way this whole record starts

1046
00:45:17,675 --> 00:45:19,525
with better get in your soul, like, kind of,

1047
00:45:19,595 --> 00:45:21,045
it's very like, what's going on?

1048
00:45:21,225 --> 00:45:24,005
Almost like voodoo where it's just kind of like congeals

1049
00:45:24,005 --> 00:45:25,685
and what's gonna happen now.

1050
00:45:26,355 --> 00:45:28,245
Just like, what's Going on? Yeah. What's going on?

1051
00:45:28,365 --> 00:45:30,005
I mean, for like one of the most popular jazz records

1052
00:45:30,025 --> 00:45:32,045
of all time, it's crazy, but this track,

1053
00:45:32,045 --> 00:45:34,965
like MGA's decision now, did he make it at that moment?

1054
00:45:35,105 --> 00:45:36,245
Was it calculated? Who cares?

1055
00:45:36,425 --> 00:45:38,605
But his decision to wait to come in

1056
00:45:38,605 --> 00:45:41,645
and start walking kill to me just like draws you in.

1057
00:45:41,665 --> 00:45:43,725
And it's like, oh yes, I'm here for it. I

1058
00:45:43,725 --> 00:45:46,405
Mean, this is the run of the album of this album that I,

1059
00:45:46,565 --> 00:45:48,005
I think makes it so immortal.

1060
00:45:48,005 --> 00:45:49,925
Yeah. Is the open letter to Duke Bird calls and,

1061
00:45:49,925 --> 00:45:52,565
and fables of Fabi, I think takes, it's the meat of it.

1062
00:45:52,825 --> 00:45:54,165
It breaks open the album. Yeah.

1063
00:45:54,165 --> 00:45:55,325
I mean, the first four tracks are

1064
00:45:55,325 --> 00:45:56,445
amazing. They're also, they're all great.

1065
00:45:56,865 --> 00:45:58,125
The first three, I would say, well,

1066
00:45:58,125 --> 00:45:59,885
really the first two are like the most I can

1067
00:45:59,885 --> 00:46:01,325
understand why they put those first.

1068
00:46:01,585 --> 00:46:03,845
All nine of these tracks Peter are incredible, honestly.

1069
00:46:03,925 --> 00:46:06,005
Yeah. But I'm saying the first two are the most like

1070
00:46:06,195 --> 00:46:08,405
potentially crossing over to anybody that for sure.

1071
00:46:08,605 --> 00:46:09,925
I don't know if I like jazz. Okay. I like

1072
00:46:09,925 --> 00:46:10,605
That. This is good jazz.

1073
00:46:11,035 --> 00:46:13,925
Yeah, yeah, yeah. The s nter starts very high or very

1074
00:46:13,925 --> 00:46:14,925
Low. We're not stretching. It starts very

1075
00:46:14,925 --> 00:46:15,045
low,

1076
00:46:15,185 --> 00:46:16,685
but now it starts to get high. 'cause this s**t is,

1077
00:46:16,745 --> 00:46:17,925
But the way he comes, just check out

1078
00:46:17,925 --> 00:46:19,085
you guys when Mingus comes in.

1079
00:46:22,945 --> 00:46:24,605
Oh, Little countdown.

1080
00:46:24,605 --> 00:46:27,085
Foreshadowing. Yeah. Little countdown.

1081
00:46:27,085 --> 00:46:28,245
Fores. Same here. Well,

1082
00:46:28,245 --> 00:46:28,605
Next year,

1083
00:46:33,245 --> 00:46:34,765
M lets Dannie Richmond coming.

1084
00:46:34,905 --> 00:46:35,905
Oh,

1085
00:46:37,705 --> 00:46:42,165
Ah. Dannie

1086
00:46:42,325 --> 00:46:43,325
Richmond still. Horse Parley here too.

1087
00:46:43,325 --> 00:46:43,645
Yeah.

1088
00:46:45,945 --> 00:46:48,405
Are Horse Parley and Dannie Richmond the most underrated

1089
00:46:48,405 --> 00:46:50,885
rhythm section players probably.

1090
00:46:50,995 --> 00:46:51,285
Yeah.

1091
00:47:04,175 --> 00:47:05,525
Don't sleep on open letter to Duke.

1092
00:47:05,525 --> 00:47:08,005
That is just Yeah. And it goes so many different places.

1093
00:47:08,005 --> 00:47:09,525
This is almost like a mini suite, the whole

1094
00:47:09,525 --> 00:47:10,525
Track. And it's something that

1095
00:47:10,525 --> 00:47:12,125
we kind of haven't had yet. Right?

1096
00:47:12,125 --> 00:47:13,645
We've had all this like, intricate backgrounds

1097
00:47:13,705 --> 00:47:15,525
and these back and forths between the rhythm section

1098
00:47:15,625 --> 00:47:17,165
and the horns and dropping out and clapping.

1099
00:47:17,355 --> 00:47:19,405
Yeah. And now we just get like, no, we're just gonna burn.

1100
00:47:19,705 --> 00:47:20,885
We can also tip. Right.

1101
00:47:20,885 --> 00:47:23,485
You know, but the way they come in, man, I, I can't, like,

1102
00:47:23,545 --> 00:47:25,125
I'm always, whenever I hear something else,

1103
00:47:25,165 --> 00:47:27,725
I remember I was like, oh, little silly things

1104
00:47:28,385 --> 00:47:29,765
are actually actually super important.

1105
00:47:29,765 --> 00:47:30,765
Like, when do you come in?

1106
00:47:30,765 --> 00:47:32,085
When does like, 'cause we,

1107
00:47:32,165 --> 00:47:33,205
I mean, how would we have done this?

1108
00:47:33,205 --> 00:47:36,245
We probably be like one, two altogether. Bam, you know?

1109
00:47:36,445 --> 00:47:37,885
Yeah, yeah. Which is fine. But,

1110
00:47:38,305 --> 00:47:39,765
So next up is bird calls.

1111
00:47:39,945 --> 00:47:42,005
Now Peter, we mentioned that this is a tribute

1112
00:47:42,005 --> 00:47:44,485
to Charlie Parker, however not true. Did you know that?

1113
00:47:45,085 --> 00:47:46,605
I didn't, I never totally assumed.

1114
00:47:46,845 --> 00:47:48,245
I mean, I, I always assumed it was,

1115
00:47:48,245 --> 00:47:50,165
but I've never had any definitive Oh,

1116
00:47:50,165 --> 00:47:51,885
so we are jazz journalists. Is that what you're saying?

1117
00:47:51,915 --> 00:47:53,725
This is not a tribute to Charlie Parker. Lemme see

1118
00:47:53,725 --> 00:47:54,725
Your card. Lemme see

1119
00:47:54,725 --> 00:47:55,445
your jazz police card.

1120
00:47:55,475 --> 00:47:57,365
Hold on. I got it right here. Hold on. I got my badge.

1121
00:47:57,565 --> 00:48:01,365
A badge. It's a badge. Uh, this is, uh, bird call. Yeah.

1122
00:48:03,505 --> 00:48:06,165
Can it have a dual meaning? I always

1123
00:48:06,165 --> 00:48:07,525
just assumed it was about Bird.

1124
00:48:07,635 --> 00:48:08,635
Yeah.

1125
00:48:09,385 --> 00:48:13,885
Oh, Definitely about

1126
00:48:13,885 --> 00:48:15,125
bird. Both birds.

1127
00:48:15,605 --> 00:48:16,365
I think so. Yeah.

1128
00:48:19,785 --> 00:48:20,965
Why do you say it's not about Charlie Parker?

1129
00:48:22,875 --> 00:48:25,325
Because That's what my, that's what our producer

1130
00:48:25,965 --> 00:48:26,965
Thoughts here. Am I

1131
00:48:26,965 --> 00:48:27,625
supposed to be reading this?

1132
00:48:29,065 --> 00:48:31,565
No. Shout out Liz, our producer for the, the research

1133
00:48:31,565 --> 00:48:33,685
that us knuckleheads don't

1134
00:48:33,685 --> 00:48:34,685
Do. She is a jazz journal.

1135
00:48:34,685 --> 00:48:35,445
I don't know about

1136
00:48:35,445 --> 00:48:37,165
that. You know, maybe it is.

1137
00:48:37,395 --> 00:48:38,765
It's gotta be in there somewhere. I mean,

1138
00:48:38,925 --> 00:48:41,485
Mingus probably said, nah, that's not for Charlie Parker.

1139
00:48:41,595 --> 00:48:42,595
Yeah, but come on, you.

1140
00:48:44,395 --> 00:48:47,045
Next up. So this is, I think probably when people think

1141
00:48:47,045 --> 00:48:49,565
of this album, they probably think of this song as one

1142
00:48:49,565 --> 00:48:51,365
of the quintessential songs of the album.

1143
00:48:51,625 --> 00:48:56,085
Fables of Fbu, which was a protest against Arkansas Governor

1144
00:48:56,755 --> 00:48:57,885
Orville Fbu.

1145
00:48:58,225 --> 00:48:59,285
He sounds shady.

1146
00:48:59,765 --> 00:49:02,045
I don't know a lot about Orville Fbu just, I mean,

1147
00:49:02,165 --> 00:49:03,565
I like Orville Redden Barker.

1148
00:49:03,585 --> 00:49:04,685
So he makes some fine popcorn.

1149
00:49:04,865 --> 00:49:05,885
It sounds like the Orville

1150
00:49:05,885 --> 00:49:07,525
Falba sounds like he was up to some bad

1151
00:49:07,525 --> 00:49:08,525
Things. He sounds like the bad

1152
00:49:08,525 --> 00:49:10,525
guy In a John Grisham novel, uh,

1153
00:49:10,665 --> 00:49:12,885
he sent the National Guard to prevent black students.

1154
00:49:12,985 --> 00:49:14,005
The Little Rock nine. Yeah.

1155
00:49:14,005 --> 00:49:15,925
From attending Little Rock Central High School in

1156
00:49:16,085 --> 00:49:17,685
1957. Fun fact.

1157
00:49:17,685 --> 00:49:20,405
The Little Rock nine, one of the the children

1158
00:49:21,305 --> 00:49:24,365
was a young girl, um, whose name, I apologize,

1159
00:49:24,545 --> 00:49:26,285
I'm forgetting, but she used to, I saw her for years.

1160
00:49:26,285 --> 00:49:29,445
She was PBS NewsHour. One of the original anchors. Yeah.

1161
00:49:29,825 --> 00:49:32,245
Um, she's retired now. Was wonderful.

1162
00:49:32,305 --> 00:49:33,285
She was actually one of the little

1163
00:49:33,715 --> 00:49:35,045
Orville, you're f*****g up man.

1164
00:49:35,045 --> 00:49:37,085
Come on. Son of a b***h.

1165
00:49:37,505 --> 00:49:38,885
Oh. So the original had lyrics,

1166
00:49:38,885 --> 00:49:40,325
but Columbia wouldn't allow Mingus

1167
00:49:40,325 --> 00:49:41,605
to publish the song with lyrics.

1168
00:49:41,605 --> 00:49:43,645
So they released it as an instrumental. Come on, Columbia.

1169
00:49:43,645 --> 00:49:45,085
Yeah. Come on. Stand up Columbia. See,

1170
00:49:45,085 --> 00:49:46,285
We're always like 1959.

1171
00:49:46,285 --> 00:49:47,525
What a glorious year. We

1172
00:49:47,525 --> 00:49:48,525
Forget. Yeah. Not quite. No.

1173
00:49:48,525 --> 00:49:50,165
But Mingus did release a version of it

1174
00:49:50,165 --> 00:49:52,005
with the lyrics the following year as

1175
00:49:52,645 --> 00:49:54,325
original Faubus fables.

1176
00:49:54,325 --> 00:49:57,085
He started off the song saying it's dedicated to the first

1177
00:49:57,225 --> 00:49:59,645
or second or third, all American heel.

1178
00:49:59,955 --> 00:50:04,805
Heel. HEEL. This is by the, I'm now I'm gonna stop,

1179
00:50:05,275 --> 00:50:06,275
Stop it.

1180
00:50:06,915 --> 00:50:09,365
This is one of the greatest compositions of the fifties.

1181
00:50:09,475 --> 00:50:11,965
This is an incredible piece of music. Yeah. I'll say that.

1182
00:50:31,605 --> 00:50:32,285
Orchestration we

1183
00:50:32,285 --> 00:50:33,285
Have.

1184
00:50:34,035 --> 00:50:36,685
It's tell the story too, right?

1185
00:50:40,045 --> 00:50:41,805
Orchestration. Damn.

1186
00:50:41,905 --> 00:50:44,525
But there's like a, there's a little bit of a

1187
00:50:45,445 --> 00:50:48,285
military action element to this.

1188
00:50:48,945 --> 00:50:49,165
Ah,

1189
00:50:55,175 --> 00:50:55,845
sharp knives.

1190
00:51:07,545 --> 00:51:07,765
Ah,

1191
00:51:08,285 --> 00:51:09,285
Unbelievable. MEUs Master

1192
00:51:09,285 --> 00:51:11,245
the segue. Unbelievable. I mean,

1193
00:51:11,705 --> 00:51:12,965
And that's a, it's not a

1194
00:51:12,965 --> 00:51:14,285
complicated thing you just did there.

1195
00:51:14,385 --> 00:51:18,445
No, it's very sophisticated though. Very effective.

1196
00:51:20,505 --> 00:51:22,685
The way the trombone comes in on the second note there.

1197
00:51:23,905 --> 00:51:25,005
Ah, Jimmy kn

1198
00:51:41,515 --> 00:51:43,125
mine with a major seven.

1199
00:51:44,585 --> 00:51:48,965
Oh, Unbelievable.

1200
00:51:48,985 --> 00:51:49,405
Mm-hmm.

1201
00:51:56,125 --> 00:51:57,765
I mean, you think this has influenced the

1202
00:51:57,925 --> 00:51:59,085
musicians over the I meanly how many,

1203
00:51:59,465 --> 00:52:00,725
And I mean, oh yeah.

1204
00:52:00,725 --> 00:52:05,005
This is, and I mean,

1205
00:52:05,065 --> 00:52:09,045
to make such a overt political statement

1206
00:52:10,105 --> 00:52:13,525
of such beauty, but there's also like, um,

1207
00:52:14,675 --> 00:52:17,245
there's a certain, is it mockery?

1208
00:52:18,675 --> 00:52:21,285
There's a disdain that's built into this even as beautiful.

1209
00:52:21,285 --> 00:52:23,125
It is. Yeah. You know, and he named it.

1210
00:52:23,125 --> 00:52:25,885
So this is not supposed to be like obscured or anything.

1211
00:52:26,025 --> 00:52:28,445
And jazz, the stands as, as a piece of beautiful art.

1212
00:52:28,625 --> 00:52:32,005
100%. Which is something that's always been in jazz.

1213
00:52:32,005 --> 00:52:33,045
Right? It's always been a part of the music.

1214
00:52:33,225 --> 00:52:34,605
Is it still, is it

1215
00:52:34,795 --> 00:52:35,795
Falling off? There's,

1216
00:52:35,795 --> 00:52:37,165
I mean, there's corners. We need more of this.

1217
00:52:37,165 --> 00:52:38,285
There's corners for Sure. Me

1218
00:52:38,285 --> 00:52:39,565
and Charlie Mingus out here.

1219
00:52:40,785 --> 00:52:43,365
Oh, it's a masterpiece.

1220
00:52:43,475 --> 00:52:44,565
It's a masterpiece. Yeah.

1221
00:52:47,845 --> 00:52:49,965
I love this horse, Parlan.

1222
00:52:51,225 --> 00:52:51,725
Oh yeah.

1223
00:52:59,225 --> 00:53:00,605
And when they come out of it, ah,

1224
00:53:05,865 --> 00:53:06,085
ah,

1225
00:53:11,515 --> 00:53:12,165
it's supposed to be

1226
00:53:12,165 --> 00:53:13,485
uncomfortable too, when they're like, it's

1227
00:53:13,485 --> 00:53:16,125
Not supposed to feel Smooth now.

1228
00:53:18,185 --> 00:53:20,445
Oh man. Thank you. Charles Mingus.

1229
00:53:33,545 --> 00:53:34,605
So right there, that effect

1230
00:53:34,605 --> 00:53:35,765
that he's getting is on the base.

1231
00:53:35,915 --> 00:53:37,365
He's slapping the base itself.

1232
00:53:37,475 --> 00:53:39,205
Yeah. Which has a whole history guard back

1233
00:53:39,455 --> 00:53:40,845
Jimmy Blanton pre that.

1234
00:53:41,025 --> 00:53:45,525
Um, ah, yeah.

1235
00:53:45,565 --> 00:53:49,445
I mean, Mingus had such a dramatic flare, like for

1236
00:53:50,965 --> 00:53:54,245
infusing the music with this like, drama,

1237
00:53:54,345 --> 00:53:57,285
but then also just very like, beautiful swinging stuff.

1238
00:53:57,505 --> 00:53:59,725
Bluesy, like, there's some, there's like comfort food,

1239
00:54:00,065 --> 00:54:01,325
but then it's like some really

1240
00:54:01,685 --> 00:54:02,765
challenging stuff put in there.

1241
00:54:06,725 --> 00:54:08,685
I mean, it, it helps this cause

1242
00:54:08,685 --> 00:54:10,445
that this band is so swinging.

1243
00:54:11,065 --> 00:54:14,005
It, it makes it, oh, you think? Yeah. No, I mean, oh, great.

1244
00:54:14,095 --> 00:54:15,565
Great. Players contribute to the, to the

1245
00:54:15,735 --> 00:54:17,685
expedition. You're

1246
00:54:17,685 --> 00:54:18,685
Mocking me now.

1247
00:54:19,155 --> 00:54:20,565
Like I am Orval. Th

1248
00:54:23,135 --> 00:54:24,135
Orval. Or come

1249
00:54:24,135 --> 00:54:24,805
on Orville.

1250
00:54:25,065 --> 00:54:27,605
Um, I do want to, I actually do wanna try to bring up the,

1251
00:54:27,665 --> 00:54:30,485
uh, version with lyrics because I think it's, oh yeah.

1252
00:54:30,585 --> 00:54:33,325
But how great it, so the orchestration of the beginning of

1253
00:54:33,325 --> 00:54:36,085
that with the, the Baba

1254
00:54:36,145 --> 00:54:38,685
and that trombone is not playing on the first note

1255
00:54:38,685 --> 00:54:40,605
of the phrase, but on the second notes of the phrase.

1256
00:54:40,945 --> 00:54:43,005
And you know, with orchestration, your goal is

1257
00:54:43,005 --> 00:54:45,885
to make new instruments by combining instruments.

1258
00:54:45,885 --> 00:54:48,125
Mm. And that's what Mingus is doing there.

1259
00:54:48,125 --> 00:54:50,685
Like any great orchestrator, whether it's

1260
00:54:50,685 --> 00:54:53,165
for an orchestra in classical music or for a film score,

1261
00:54:53,425 --> 00:54:56,125
or for a rock band or for this kind of music,

1262
00:54:56,765 --> 00:54:59,765
Mingus is top tier at getting new instruments.

1263
00:54:59,765 --> 00:55:01,885
Yeah. There's even a new, there's an instrument that happens

1264
00:55:02,355 --> 00:55:04,325
with those, uh, the comping that happens behind

1265
00:55:04,325 --> 00:55:06,965
that saxophone solo of, of Horace Parlan

1266
00:55:06,965 --> 00:55:09,325
and dun dun with the slap on the base

1267
00:55:09,325 --> 00:55:10,485
with the slap. Right. That's a new rhythm

1268
00:55:10,485 --> 00:55:12,765
Instrument That he's making by combining those things.

1269
00:55:13,325 --> 00:55:14,325
Absolutely.

1270
00:55:14,625 --> 00:55:16,205
Oh man, this is great. And I love,

1271
00:55:16,205 --> 00:55:18,245
like his first big label, big budget.

1272
00:55:18,685 --> 00:55:20,165
I know Columbia. He's like, we're going,

1273
00:55:20,305 --> 00:55:22,645
we we're going with, uh, FBU. Fables.

1274
00:55:22,945 --> 00:55:25,045
No Fear. Fables of Fbu.

1275
00:55:25,745 --> 00:55:28,485
All right. Here we go. Thank you ladies and gentlemen.

1276
00:55:28,725 --> 00:55:30,765
Remember no applause. And keep it down your drinks.

1277
00:55:30,855 --> 00:55:32,445
Don't rally your ice and your glasses.

1278
00:55:32,625 --> 00:55:35,405
And don't ring the cash. Richard, you got it covered.

1279
00:55:35,985 --> 00:55:38,885
All right. I'd like to, um, continue, continue,

1280
00:55:39,365 --> 00:55:42,765
continue this set with a competition dedicated to the first

1281
00:55:43,105 --> 00:55:45,685
or second or third, all American Hill fathers

1282
00:55:45,685 --> 00:55:48,365
and it's title, the Fables of Fathers. Oh

1283
00:55:48,795 --> 00:55:49,795
Lord. Don't

1284
00:55:49,795 --> 00:55:52,805
let us, oh Lord.

1285
00:55:53,695 --> 00:55:54,205
Don't let

1286
00:56:01,705 --> 00:56:02,165
no more

1287
00:56:03,745 --> 00:56:04,745
Mm. No more

1288
00:56:04,745 --> 00:56:08,285
squashes Doesn't seem like that big

1289
00:56:08,285 --> 00:56:09,365
of an ask. No,

1290
00:56:09,485 --> 00:56:10,485
I know. And I love

1291
00:56:10,485 --> 00:56:13,365
this, this kind of like militaristic undertone,

1292
00:56:13,705 --> 00:56:16,925
police state kind of a thing, even though it sounds great,

1293
00:56:17,025 --> 00:56:21,525
you know, gonna swing like that dichotomy.

1294
00:56:21,525 --> 00:56:26,165
Right? I mean, Mingus man a giant, not, not the voice

1295
00:56:26,165 --> 00:56:29,485
of an angel, we wouldn't say, but like he's he's singing it.

1296
00:56:29,595 --> 00:56:31,445
He's singing it while he's playing. Uh,

1297
00:56:31,555 --> 00:56:33,685
Next up Pussycat dos.

1298
00:56:35,625 --> 00:56:36,625
Oh Yeah.

1299
00:56:40,715 --> 00:56:41,525
He's a great track.

1300
00:57:01,025 --> 00:57:03,605
The sound of this album to and shout out to

1301
00:57:06,745 --> 00:57:08,485
And, uh, Fred Plow. Yeah.

1302
00:57:09,435 --> 00:57:12,365
Shut out Freddy. Hard pan on those horns. I love it.

1303
00:57:15,225 --> 00:57:15,445
Ah,

1304
00:57:25,065 --> 00:57:27,765
ah, that's,

1305
00:57:27,765 --> 00:57:30,605
that's a Mingus progression right there. Ah,

1306
00:57:31,575 --> 00:57:32,575
Incredible. Next

1307
00:57:32,575 --> 00:57:34,445
up is a tribute. Another tribute. This is the

1308
00:57:34,445 --> 00:57:35,445
Last track. This is the last

1309
00:57:35,445 --> 00:57:36,125
track track. We're

1310
00:57:36,125 --> 00:57:37,125
Moving through this album. Last

1311
00:57:37,125 --> 00:57:38,045
track on the album is a tribute

1312
00:57:38,045 --> 00:57:39,565
to Jelly Roll Morton called Jelly Roll.

1313
00:57:39,885 --> 00:57:41,325
I love playing this song.

1314
00:57:41,355 --> 00:57:42,605
I've got to do this album a little

1315
00:57:42,605 --> 00:57:43,685
bit with our own Bob Debu.

1316
00:57:44,265 --> 00:57:47,645
Uh, Bob hosted a 1959 day at our very own Jazz St.

1317
00:57:47,645 --> 00:57:50,245
Louis years. Did you play Giant Steps? We did not play Giant

1318
00:57:50,245 --> 00:57:52,365
Steps Now 'cause it was released 1960.

1319
00:57:53,105 --> 00:57:54,405
Um, question for you on this.

1320
00:57:54,425 --> 00:57:55,685
Are we gonna listen to,

1321
00:57:56,405 --> 00:57:57,765
'cause we can start to get into categories

1322
00:57:57,785 --> 00:57:58,845
or we can listen to this and then,

1323
00:57:58,945 --> 00:57:59,965
but I just want a question.

1324
00:57:59,965 --> 00:58:01,845
Are we gonna listen to the original version of this,

1325
00:58:02,305 --> 00:58:03,925
the four minute-ish version?

1326
00:58:04,565 --> 00:58:05,565
I, I don't,

1327
00:58:06,035 --> 00:58:08,565
Because this is like a Spotify thing where they kind of,

1328
00:58:09,285 --> 00:58:10,725
I think this is six minutes here. Yeah.

1329
00:58:10,725 --> 00:58:12,325
So this is not the original version. Yeah.

1330
00:58:12,325 --> 00:58:13,325
This is really good.

1331
00:58:15,125 --> 00:58:17,045
I get more slapping here on the base. This

1332
00:58:17,045 --> 00:58:18,045
Is so great.

1333
00:58:18,195 --> 00:58:20,085
Yeah. There was, in the original version, there was a,

1334
00:58:20,365 --> 00:58:22,805
a splice where like two minutes and 40 seconds was taken

1335
00:58:22,805 --> 00:58:23,805
Out. Yeah. It's like one of

1336
00:58:23,805 --> 00:58:24,085
the worst.

1337
00:58:24,085 --> 00:58:26,005
Well, I shouldn't say it's one of the worst for 1959.

1338
00:58:26,005 --> 00:58:27,245
It's not bad. It's my only equivalent

1339
00:58:27,245 --> 00:58:28,245
With They fixed it though. Yeah.

1340
00:58:28,245 --> 00:58:29,245
Well they,

1341
00:58:31,945 --> 00:58:33,205
but it's such a part of the record.

1342
00:58:35,105 --> 00:58:36,105
New Orleans

1343
00:58:37,275 --> 00:58:38,275
Very fancy. Yeah.

1344
00:58:38,275 --> 00:58:39,685
I'm gonna give Room Killed

1345
00:58:39,685 --> 00:58:40,685
At Age. I'm

1346
00:58:40,685 --> 00:58:42,285
already, we on one of those PBS parties

1347
00:58:42,385 --> 00:58:44,485
for those corny shows that comes on to

1348
00:58:44,485 --> 00:58:45,485
Quote Bobby Hill.

1349
00:58:45,585 --> 00:58:47,245
I'm gonna give Room service the jangle

1350
00:58:47,245 --> 00:58:49,525
and order up some A two Fey. That's

1351
00:58:49,715 --> 00:58:50,715
Okay.

1352
00:58:50,785 --> 00:58:52,965
We might have to call our friends to make sure we can

1353
00:58:53,105 --> 00:58:57,285
De Bossier and de Quis b******t.

1354
00:58:57,805 --> 00:58:59,965
I don't know if our new fans know about De Bossier.

1355
00:59:01,865 --> 00:59:06,325
Oh. But man Mangoes could like bring this like,

1356
00:59:06,385 --> 00:59:08,365
old timey new, but, but it's not corny.

1357
00:59:10,395 --> 00:59:12,645
It's not at all corny. If I try to write

1358
00:59:12,645 --> 00:59:14,445
Some in lesser hands in Cornier

1359
00:59:14,445 --> 00:59:15,565
Hands Oh my God.

1360
00:59:16,355 --> 00:59:18,685
Because he's always got a little mingus twist to it.

1361
00:59:18,745 --> 00:59:21,130
Man, guy as cool as hell. There's no doubt about it. It

1362
00:59:21,465 --> 00:59:23,925
Man, his baseline, like under not, I mean, oh,

1363
00:59:23,925 --> 00:59:25,685
Charlie Mingus is a great bass player that, okay.

1364
00:59:25,705 --> 00:59:26,765
I'm no genius to say that,

1365
00:59:27,065 --> 00:59:29,005
but it's always, look, it's, it's baseline.

1366
00:59:29,425 --> 00:59:30,885
And so like Mingus,

1367
00:59:31,005 --> 00:59:34,045
I do feel like sometimes we don't quite put him in the,

1368
00:59:34,045 --> 00:59:38,245
like, Paul Chambers, Ray Brown, Jimmy Blanton category,

1369
00:59:38,545 --> 00:59:40,285
but I think he maybe should be it.

1370
00:59:40,315 --> 00:59:42,325
It's because he is probably the greatest

1371
00:59:43,195 --> 00:59:45,205
bass jazz bass playing composer.

1372
00:59:45,205 --> 00:59:46,445
Mm-hmm. Of all time. Yeah.

1373
00:59:46,465 --> 00:59:49,125
You know, you could say put, make a easy case for that.

1374
00:59:49,625 --> 00:59:52,205
But we forget like he's in kind of the Mount Rushmore.

1375
00:59:52,305 --> 00:59:54,085
Of course he is. You know, top five, top 10,

1376
00:59:54,085 --> 00:59:56,125
just bass players buddy abilities

1377
00:59:56,225 --> 00:59:58,765
and swing intonation. Bo you know,

1378
00:59:58,875 --> 00:59:59,875
It's Charles mga. It's

1379
00:59:59,875 --> 01:00:00,765
Charles mga. Sorry. Come on man.

1380
01:00:00,765 --> 01:00:01,885
Okay, let's get to some categories.

1381
01:00:01,885 --> 01:00:02,765
Peter, what's your desert Island

1382
01:00:02,765 --> 01:00:03,885
track? From this album Goodbye

1383
01:00:03,885 --> 01:00:05,925
Pork by Hat Man, I think that's one of the most beautiful,

1384
01:00:06,205 --> 01:00:07,965
gorgeous, to me it's kind of like, it's gorgeous, you know,

1385
01:00:08,205 --> 01:00:09,605
a horse silver piece.

1386
01:00:09,795 --> 01:00:12,485
It's kind of like, um, Wallford Debbie.

1387
01:00:12,675 --> 01:00:16,405
It's just a beautiful, and it's truly a jazz ballad, right?

1388
01:00:16,405 --> 01:00:19,485
Yeah. It's not a, it's not a, it's not even like,

1389
01:00:19,485 --> 01:00:21,765
like sometimes there's beautiful jazz ballads

1390
01:00:21,835 --> 01:00:24,645
that are written in the style of, um,

1391
01:00:24,695 --> 01:00:26,845
great American songbook, and this is not that.

1392
01:00:26,945 --> 01:00:28,605
You know what I mean? Yeah. It's got that kind

1393
01:00:28,605 --> 01:00:30,125
of like ballad beauty and stuff.

1394
01:00:30,125 --> 01:00:33,605
But it's very much an instrumental jazz ballad.

1395
01:00:34,045 --> 01:00:35,725
Standard. Standard. What

1396
01:00:35,805 --> 01:00:36,805
You got from me? I got, uh,

1397
01:00:36,805 --> 01:00:37,765
fables of faus.

1398
01:00:37,965 --> 01:00:39,765
I just think it's an incredible work of art.

1399
01:00:39,805 --> 01:00:42,565
I think it's a, it is beautiful protest song. Apex

1400
01:00:42,565 --> 01:00:43,565
Moment. Are you gonna, but you're gonna

1401
01:00:43,565 --> 01:00:44,685
be p****d off on

1402
01:00:44,685 --> 01:00:46,005
that desert island every time you hear that.

1403
01:00:46,005 --> 01:00:47,045
Every day. You gotta remember about

1404
01:00:47,045 --> 01:00:48,285
listening to that. Is that how you wanna go out? No.

1405
01:00:48,285 --> 01:00:49,725
I'm gonna remember that human beings, uh,

1406
01:00:49,725 --> 01:00:50,925
there are human beings out in the world

1407
01:00:50,925 --> 01:00:53,685
that make incredible art to stand up, uh,

1408
01:00:53,865 --> 01:00:56,125
to actually abuse of power.

1409
01:00:56,265 --> 01:00:58,045
And I think that's important. It gives me hope.

1410
01:00:58,345 --> 01:01:00,605
And maybe like, oh, maybe there's someone out there standing

1411
01:01:00,605 --> 01:01:01,845
up for me on this desert island

1412
01:01:01,945 --> 01:01:03,405
trying to get me off this thing. You know?

1413
01:01:03,405 --> 01:01:04,885
See, that's, that's deep man. Can be inspiring me.

1414
01:01:04,885 --> 01:01:06,205
See how I'm on, I'm on my desert island.

1415
01:01:06,205 --> 01:01:07,925
Just want to hear some, most, most beautiful ballet.

1416
01:01:07,995 --> 01:01:09,005
What does that say about me versus

1417
01:01:09,025 --> 01:01:10,365
you? You're still standing up.

1418
01:01:10,955 --> 01:01:12,405
Okay. Apex moment. What do you got?

1419
01:01:12,635 --> 01:01:14,405
Okay, so we listened to it already,

1420
01:01:14,405 --> 01:01:17,165
but if you want to go back to it on Boogie Stop Shuffle.

1421
01:01:17,565 --> 01:01:20,885
I love the beginning of Horace Parlan solo.

1422
01:01:21,555 --> 01:01:25,685
Like with the backgrounds. Like this is, yeah.

1423
01:01:25,685 --> 01:01:26,685
Coming out of the, coming

1424
01:01:26,685 --> 01:01:29,285
Out of The sax solo

1425
01:01:33,265 --> 01:01:35,005
and those really quiet lines underneath.

1426
01:01:38,665 --> 01:01:40,085
And He, it's so killing man.

1427
01:01:40,085 --> 01:01:44,445
And he keeps going. He goes up there

1428
01:01:45,865 --> 01:01:46,685
And Doing the same

1429
01:01:46,685 --> 01:01:51,645
line and then here.

1430
01:01:52,905 --> 01:01:55,605
Oh, I mean,

1431
01:01:59,135 --> 01:02:00,485
great, great moments in swing.

1432
01:02:00,765 --> 01:02:03,405
Remember that CBS great moments in history.

1433
01:02:03,645 --> 01:02:05,925
I also, I have Horace Harlin's solo on

1434
01:02:05,925 --> 01:02:07,125
Better Get It in Your Soul.

1435
01:02:07,195 --> 01:02:09,005
Yeah. So like two Harlan

1436
01:02:09,505 --> 01:02:10,565
HHorace Parlan steal this record.

1437
01:02:11,065 --> 01:02:12,605
Horace Parlan. We used to have a category.

1438
01:02:12,705 --> 01:02:13,805
Did who stole the record? Yeah.

1439
01:02:13,805 --> 01:02:15,285
Horace Parlan might have stolen this.

1440
01:02:15,405 --> 01:02:17,765
I know. But Mingus Mingus is so killing,

1441
01:02:17,905 --> 01:02:19,405
so it's back up here bit.

1442
01:02:20,105 --> 01:02:21,405
All this stuff, the same kind of thing

1443
01:02:21,405 --> 01:02:22,765
that he's doing on the, on

1444
01:02:22,765 --> 01:02:24,565
The, it's so cocky to play a solo

1445
01:02:24,565 --> 01:02:26,405
where you're not really soloing, you know?

1446
01:02:27,225 --> 01:02:29,405
So great. Super, super inspiring. Well, okay.

1447
01:02:29,435 --> 01:02:31,765
Bespoke playlist title. What do you got, Peter? Well, I'm

1448
01:02:31,765 --> 01:02:32,885
Really gonna go out a limb on this one.

1449
01:02:33,145 --> 01:02:36,325
I'm gonna surprise you. I'm gonna go off cuff

1450
01:02:36,625 --> 01:02:38,165
and call it 1959.

1451
01:02:38,235 --> 01:02:39,845
Exclamation point. Exclamation

1452
01:02:39,845 --> 01:02:40,845
Point. You're so creative, which

1453
01:02:40,845 --> 01:02:41,845
is what I love about you.

1454
01:02:42,225 --> 01:02:43,445
I'm gonna call it the Golden Year,

1455
01:02:43,445 --> 01:02:44,485
which is pretty much the same thing.

1456
01:02:45,165 --> 01:02:46,645
A little bit, a little bit shinier. Yeah.

1457
01:02:46,705 --> 01:02:48,165
Uh, quibble bits. What do you got? Well,

1458
01:02:48,165 --> 01:02:51,165
On that original version, the edit coming out of the, uh,

1459
01:02:51,905 --> 01:02:54,565
the sax solo going into the Mingus is one

1460
01:02:54,565 --> 01:02:57,285
of the most abrupt, weird edits on a record

1461
01:02:57,675 --> 01:02:59,005
that feels like it was just,

1462
01:02:59,005 --> 01:03:00,565
they came in and just did all first takes.

1463
01:03:00,645 --> 01:03:02,125
I don't know that they did. Yeah, they probably didn't.

1464
01:03:02,185 --> 01:03:04,605
But it's got that feel that it's so abrupt

1465
01:03:04,665 --> 01:03:05,925
and weird, I would say.

1466
01:03:05,945 --> 01:03:06,965
But it's such a part of it.

1467
01:03:06,965 --> 01:03:08,205
So when I listen to the Spotify version

1468
01:03:08,225 --> 01:03:09,325
now, I was like, wait, where was that?

1469
01:03:09,345 --> 01:03:11,005
Or earlier today. And I was like,

1470
01:03:11,005 --> 01:03:12,165
oh yeah, of course they would've fixed that.

1471
01:03:12,165 --> 01:03:13,205
So that's one of the advantages.

1472
01:03:13,205 --> 01:03:15,685
But I'm also like, man, that's some of the magic.

1473
01:03:15,755 --> 01:03:18,245
It's like the last track. It's a weird edit.

1474
01:03:18,705 --> 01:03:20,405
I'm sure it was because I mean,

1475
01:03:20,405 --> 01:03:22,725
I think this record's like 46 minutes or 45 minutes.

1476
01:03:22,725 --> 01:03:24,765
Yeah. Which is getting on the long side for an lp.

1477
01:03:24,765 --> 01:03:26,165
Yeah. It needs to be like 43. Yeah.

1478
01:03:26,165 --> 01:03:27,725
Yeah. For, I mean, not, I don't think it's getting

1479
01:03:27,725 --> 01:03:29,405
musically, it's just the qua, you know, how they used,

1480
01:03:29,405 --> 01:03:30,445
especially in the late fifties.

1481
01:03:30,515 --> 01:03:33,525
Yeah, yeah. With LPs the Qua, the longer it was, the more,

1482
01:03:33,705 --> 01:03:36,245
um, qualitative decisions they had to make

1483
01:03:36,505 --> 01:03:37,565
to degrade it a little bit.

1484
01:03:37,565 --> 01:03:39,245
So that, that's probably why they lopped it off.

1485
01:03:39,405 --> 01:03:40,965
'cause the plane's great on it, but that's a little

1486
01:03:40,965 --> 01:03:41,965
Equipment. I mean, my only equipment

1487
01:03:41,965 --> 01:03:43,085
is with Columbia Records

1488
01:03:43,185 --> 01:03:44,885
for not allowing the lyrics to fables

1489
01:03:44,885 --> 01:03:46,365
of Alvis on there. Oh, why?

1490
01:03:46,365 --> 01:03:48,805
That's what are You're not a company, man. Come on.

1491
01:03:49,225 --> 01:03:50,245
Uh, speedometer.

1492
01:03:50,245 --> 01:03:52,725
So here, Peter, interesting thing about the s Nobo in this

1493
01:03:52,725 --> 01:03:54,765
case, I wrote down five oh number,

1494
01:03:54,765 --> 01:03:56,765
and then, then next to that you wrote down,

1495
01:03:57,265 --> 01:03:58,765
ha haha. And I'm just

1496
01:03:58,765 --> 01:04:00,205
No, no, no, just two ha's. Ha ha. Oh,

1497
01:04:00,205 --> 01:04:01,405
Sorry. Haha. Haha.

1498
01:04:01,665 --> 01:04:04,165
Why Wait, you say five? I say five because, haha.

1499
01:04:05,045 --> 01:04:06,405
I was say five. I Never say five.

1500
01:04:06,605 --> 01:04:07,645
I know You always say five.

1501
01:04:08,185 --> 01:04:09,285
And I, I put nothing.

1502
01:04:09,445 --> 01:04:11,405
'cause I wanted to like, go through this experience.

1503
01:04:11,805 --> 01:04:14,085
I think this is a five.

1504
01:04:14,405 --> 01:04:16,405
I would've to agree, because this is your classic.

1505
01:04:16,595 --> 01:04:18,085
Like how could it, I mean,

1506
01:04:18,275 --> 01:04:21,485
there's certainly like a snobby level to be like, I like,

1507
01:04:21,485 --> 01:04:23,365
so if you're with like, general company

1508
01:04:23,505 --> 01:04:24,565
and you're like, what's your favorite record?

1509
01:04:24,565 --> 01:04:28,525
Someone's like, uh, Phil Col, uh, Genesis, uh,

1510
01:04:28,525 --> 01:04:29,565
three Sides Live,

1511
01:04:29,665 --> 01:04:32,725
and someone else is like Michael Jackson off the Wall.

1512
01:04:32,755 --> 01:04:34,325
Then you say Mingus.

1513
01:04:34,385 --> 01:04:36,645
Ah, you're, you're off the speedometer, right?

1514
01:04:36,645 --> 01:04:38,445
You're off the charts. You're 10. Yeah. Right.

1515
01:04:38,645 --> 01:04:40,765
I guess so. But For jazz records,

1516
01:04:40,835 --> 01:04:42,085
this is a one actually,

1517
01:04:42,085 --> 01:04:45,245
because it's, it's very, it's on Rolling Stones,

1518
01:04:45,245 --> 01:04:47,165
500 greatest albums of all time,

1519
01:04:47,775 --> 01:04:48,775
Which is kind of incredible. This

1520
01:04:48,775 --> 01:04:50,325
is 100%. It's pretty far up. And you know

1521
01:04:50,325 --> 01:04:51,325
What's, it's not four, nine.

1522
01:04:51,385 --> 01:04:53,405
You know what's so crazy is depending on the personality

1523
01:04:53,405 --> 01:04:56,085
type of the person that you're trying to, to introduce jazz

1524
01:04:56,185 --> 01:05:00,325
to any of those sort of big five albums from 1959, kind

1525
01:05:00,325 --> 01:05:03,045
of blue, blue timeout, mga, aam, timeout, shape of jazz com,

1526
01:05:03,045 --> 01:05:04,085
and portrait and Jazz.

1527
01:05:04,765 --> 01:05:06,525
I think you could find one of those

1528
01:05:06,705 --> 01:05:10,125
as the entree into the music from that, that year.

1529
01:05:10,125 --> 01:05:11,765
Yeah. Because they're all so accessible.

1530
01:05:12,005 --> 01:05:13,725
I would put this as the snobby of those five.

1531
01:05:13,725 --> 01:05:15,085
You even shape of jazz to come, I

1532
01:05:15,085 --> 01:05:16,045
Would put Shape of Jazz to come as

1533
01:05:16,045 --> 01:05:16,925
a little bit more snobby than this.

1534
01:05:16,925 --> 01:05:17,725
But, but this is, but that's such

1535
01:05:17,865 --> 01:05:20,125
An obvious, like real snobs would be like, oh,

1536
01:05:20,225 --> 01:05:22,565
that's not even top five for Ornette Records.

1537
01:05:22,845 --> 01:05:25,885
I don't know about that. Um, better than KOB kind of blue.

1538
01:05:25,885 --> 01:05:26,885
No, no, I

1539
01:05:28,275 --> 01:05:29,275
Different.

1540
01:05:29,905 --> 01:05:31,325
He can't commit. I'm gonna say no.

1541
01:05:31,745 --> 01:05:34,285
Why though? Why, like, hearing this again,

1542
01:05:34,285 --> 01:05:37,125
experiencing this with you and our dear listeners, like,

1543
01:05:37,905 --> 01:05:40,605
I'm more excited about this record now, which is crazy.

1544
01:05:40,885 --> 01:05:42,205
'cause what do we talk about going into this?

1545
01:05:42,325 --> 01:05:44,325
I was like, I don't know if I love this album.

1546
01:05:44,565 --> 01:05:45,765
I like this album. Yeah.

1547
01:05:45,865 --> 01:05:47,085
To quote a very good friend of mine

1548
01:05:47,085 --> 01:05:48,125
who shall remain nameless.

1549
01:05:48,565 --> 01:05:49,645
I like this album. I don't love,

1550
01:05:49,865 --> 01:05:51,805
but I mean, I, I almost feel like I,

1551
01:05:52,355 --> 01:05:55,405
it's like deeper than love or like for me with this record.

1552
01:05:55,465 --> 01:05:57,525
Mm. Like, there's, there's an authenticity,

1553
01:05:57,835 --> 01:05:58,925
there's a vibrancy.

1554
01:05:58,925 --> 01:06:02,765
Like this is the least dated piece of art from any year

1555
01:06:02,765 --> 01:06:04,085
Of I You're right about that 20th century

1556
01:06:04,155 --> 01:06:05,245
I've ever heard. I think you're right about that.

1557
01:06:05,355 --> 01:06:08,005
It's crazy. Like how much this stands up.

1558
01:06:08,035 --> 01:06:09,965
It's almost like, it's exactly like it came out then.

1559
01:06:10,025 --> 01:06:12,845
Now could you, is kind of blew a more beautiful record. Yes.

1560
01:06:12,905 --> 01:06:15,165
Is it a more romantic record? Yes.

1561
01:06:15,505 --> 01:06:17,725
Is it a better record though? Yes. Oh, okay.

1562
01:06:18,265 --> 01:06:19,605
I'm gonna say maybe. Okay.

1563
01:06:20,245 --> 01:06:22,685
I want, if there are any static statisticians listening,

1564
01:06:22,685 --> 01:06:24,885
please compile how many maybes

1565
01:06:24,885 --> 01:06:26,685
or evens Peter's done with kind of blue

1566
01:06:26,865 --> 01:06:29,245
and how many fives Peter's put on the speedometer.

1567
01:06:29,245 --> 01:06:30,605
Because I think it's pretty much every episode, if

1568
01:06:30,605 --> 01:06:32,725
You look at my resume, you might think I was a part-time

1569
01:06:32,725 --> 01:06:33,765
smooth jazz musician.

1570
01:06:33,965 --> 01:06:35,085
'cause some of the artists I've worked with,

1571
01:06:35,345 --> 01:06:37,085
but I am not a smooth jazz guy.

1572
01:06:37,095 --> 01:06:39,205
Sorry. That you're a smooth jazz guy and you love KLB.

1573
01:06:39,205 --> 01:06:40,205
Oh, okay. Because I always say that. Like,

1574
01:06:40,205 --> 01:06:41,685
that's the first smooth jazz record acc

1575
01:06:41,685 --> 01:06:42,685
Months, Man.

1576
01:06:42,825 --> 01:06:45,005
I'm gonna go 10 on this one.

1577
01:06:45,145 --> 01:06:47,725
I'm going 10 as well. No, You have eight. I'm you

1578
01:06:47,835 --> 01:06:48,835
Have nine. You have nine. But

1579
01:06:48,835 --> 01:06:50,165
I, I'm excited about this.

1580
01:06:50,365 --> 01:06:52,485
I opted, I'm now excited. And I think the cover, I mean

1581
01:06:52,485 --> 01:06:54,405
The, the, the re the cover's Perfect. Cover's perfect.

1582
01:06:54,565 --> 01:06:58,965
I, I, you know, um, I, I mean nine 10, so shout out s Neil

1583
01:06:59,665 --> 01:07:03,125
Fujita, who was the, an incredible graphic designer.

1584
01:07:03,265 --> 01:07:06,165
He did, um, timeout from this

1585
01:07:06,225 --> 01:07:07,485
and a bunch of other Columbia records.

1586
01:07:07,505 --> 01:07:10,245
He did this one. He was a very interesting man.

1587
01:07:10,305 --> 01:07:12,845
He was born in Hawaii American,

1588
01:07:13,065 --> 01:07:15,005
but of Japanese descent, both of his parents.

1589
01:07:15,225 --> 01:07:17,845
And like during, he was in art school in California.

1590
01:07:18,705 --> 01:07:21,085
He was during World War ii. He was interned.

1591
01:07:21,085 --> 01:07:23,165
I mean, you talk about injustices that are all over this,

1592
01:07:23,265 --> 01:07:24,485
you're being addressed in this record.

1593
01:07:24,665 --> 01:07:28,645
He was sent to an internment camp for several years, um,

1594
01:07:29,065 --> 01:07:32,805
and then volunteered for the US Army, the very country,

1595
01:07:33,065 --> 01:07:35,845
his country that put him in an internment camp.

1596
01:07:36,385 --> 01:07:40,285
Um, and went and fought in in Europe for the US

1597
01:07:40,305 --> 01:07:41,645
and then went to the Pacific Theater

1598
01:07:41,865 --> 01:07:44,005
and was an interpreter, was integral with the war there.

1599
01:07:44,005 --> 01:07:45,285
And then when he came out,

1600
01:07:45,765 --> 01:07:47,245
finished design school was incredible.

1601
01:07:47,365 --> 01:07:50,165
I mean, he's actually designed the cover for the paperback,

1602
01:07:50,165 --> 01:07:52,525
or I, I guess the hard cover too for The Godfather,

1603
01:07:52,545 --> 01:07:53,725
the First Godfather, which is one

1604
01:07:53,725 --> 01:07:55,765
of the most iconic novels ever.

1605
01:07:56,265 --> 01:07:57,365
Um, artwork.

1606
01:07:57,425 --> 01:08:00,365
He did Cold Blood, the book by Truman Capote In Cold

1607
01:08:00,365 --> 01:08:01,365
Blood. Uh, in

1608
01:08:01,365 --> 01:08:02,165
cold Blood. Exactly.

1609
01:08:02,665 --> 01:08:04,325
And, uh, did a bunch

1610
01:08:04,325 --> 01:08:06,645
of amazing things at Columbia Records. So it's

1611
01:08:06,645 --> 01:08:07,845
Wanted, it's an incredible cover.

1612
01:08:07,995 --> 01:08:09,045
Beautiful cover. Yeah.

1613
01:08:09,045 --> 01:08:11,685
Because we look, we talk about the musicians, the art.

1614
01:08:11,685 --> 01:08:12,805
That is the crux of it.

1615
01:08:12,805 --> 01:08:14,645
But when we talk about the engineers, the producers,

1616
01:08:15,145 --> 01:08:16,805
the cover up, we don't give that enough.

1617
01:08:16,905 --> 01:08:19,605
Do sometimes. And that's, that's, that's our bad. But,

1618
01:08:20,225 --> 01:08:21,765
Um, Peter, what do you got up next?

1619
01:08:22,305 --> 01:08:23,525
Man, I got just

1620
01:08:23,685 --> 01:08:26,125
'cause of the Duke Ellington, like hovering above,

1621
01:08:26,125 --> 01:08:27,925
like this, you talked about the orchestration,

1622
01:08:28,305 --> 01:08:29,605
the composition, the influence.

1623
01:08:29,725 --> 01:08:31,445
I got Duke Ellington piano in the background,

1624
01:08:31,445 --> 01:08:33,805
which came out I believe in Right.

1625
01:08:33,865 --> 01:08:34,925
The next year. Either 60

1626
01:08:34,985 --> 01:08:39,645
or 61, same year as as, um, anyway, that's one

1627
01:08:39,645 --> 01:08:41,125
of Duke Ellington's weirder records,

1628
01:08:41,345 --> 01:08:43,325
but I love that record. Can

1629
01:08:43,325 --> 01:08:44,805
We, we gotta do An episode on, I think that is the,

1630
01:08:44,805 --> 01:08:47,205
like if I was gonna recommend a Duke Ellington record Yeah.

1631
01:08:47,225 --> 01:08:48,285
To anyone. One record, if you

1632
01:08:48,285 --> 01:08:49,165
haven't checked that on piano in the

1633
01:08:49,165 --> 01:08:50,205
background. Incredible record. We

1634
01:08:50,205 --> 01:08:52,445
Gotta do all the weird Duke Ellington albums from

1635
01:08:52,445 --> 01:08:54,045
the era on an episode. I actually

1636
01:08:54,105 --> 01:08:55,105
Got weird too on this one. Well,

1637
01:08:55,105 --> 01:08:57,285
I'm gonna, I I kind of, I'm calling an audible here,

1638
01:08:57,425 --> 01:09:00,125
so I'm gonna put, I have a couple of suggestions.

1639
01:09:00,285 --> 01:09:01,765
I would put Money Jungle Up next. Oh.

1640
01:09:02,005 --> 01:09:04,045
I think after hearing that. Yep. Caravan.

1641
01:09:04,125 --> 01:09:05,125
I think that would be a great call.

1642
01:09:05,345 --> 01:09:07,485
I'm also gonna make a, a bold prediction here.

1643
01:09:08,025 --> 01:09:10,885
So Cecile McClure, Salvan friend of the show. Yes.

1644
01:09:10,885 --> 01:09:13,325
Hopefully friend of the pod. Yeah. Incredible vocalist.

1645
01:09:13,325 --> 01:09:16,965
Yeah. Um, released an album this year called O Snapp. Yeah.

1646
01:09:17,185 --> 01:09:21,125
And she is just as, I think Mingus is so theatrical

1647
01:09:21,225 --> 01:09:25,085
and so incredible with his themes on his, on his albums.

1648
01:09:25,085 --> 01:09:27,085
Like that O Snapp album is one

1649
01:09:27,085 --> 01:09:31,165
of the best albums I've heard in years and years and years.

1650
01:09:31,625 --> 01:09:35,285
And like her, she paints such vivid pictures

1651
01:09:35,715 --> 01:09:36,725
with everything she does.

1652
01:09:37,025 --> 01:09:39,365
But the album before this too, the French album. Yeah.

1653
01:09:39,365 --> 01:09:41,165
That was incredible. Misal or something like that. Yeah.

1654
01:09:41,225 --> 01:09:43,485
All in French. Also just like captivating. Yeah.

1655
01:09:43,585 --> 01:09:46,205
And I just wanna shout out Cecile, I've never met Cecile.

1656
01:09:46,265 --> 01:09:47,325
I'm such a huge fan.

1657
01:09:47,485 --> 01:09:49,285
I hope eventually that she comes

1658
01:09:49,285 --> 01:09:50,685
and does something here with us at Open Studio.

1659
01:09:50,885 --> 01:09:52,845
'cause she's so amazing. And, uh,

1660
01:09:53,045 --> 01:09:56,645
I just think she has this thing too, of like, not just like,

1661
01:09:56,645 --> 01:09:57,765
we're gonna now,

1662
01:09:57,825 --> 01:09:59,205
now we're gonna just burn on some tunes,

1663
01:09:59,205 --> 01:10:00,765
which she can do. Yeah. But I'm

1664
01:10:00,765 --> 01:10:01,765
Gonna, yeah. She has an amazing voice

1665
01:10:01,765 --> 01:10:02,085
where she

1666
01:10:02,085 --> 01:10:03,045
could just, she could do whatever

1667
01:10:03,105 --> 01:10:04,105
She wants that. Yeah. But she

1668
01:10:04,105 --> 01:10:05,365
really is an incredible

1669
01:10:05,365 --> 01:10:06,925
storyteller and incredible artist.

1670
01:10:06,985 --> 01:10:09,165
And I think you could tell she cares passionately about

1671
01:10:09,885 --> 01:10:12,765
actually saying something going against the stream Yeah.

1672
01:10:12,765 --> 01:10:15,045
Of what a lot of her contemporaries would not be doing.

1673
01:10:15,065 --> 01:10:16,285
Agreed. Which would be just like,

1674
01:10:16,345 --> 01:10:17,885
I'm just gonna do straight down the middle every time.

1675
01:10:17,885 --> 01:10:19,365
Yeah. She is almost

1676
01:10:19,365 --> 01:10:20,725
never straight down the middle. She's always, Hey

1677
01:10:20,725 --> 01:10:21,725
Lou, we will, man.

1678
01:10:21,775 --> 01:10:24,365
She's always thinking outside the, outside the box.

1679
01:10:24,385 --> 01:10:26,645
And so I just wanna shout out Cecile on that one. Great.

1680
01:10:26,645 --> 01:10:28,565
That's a fantastic call. Yeah. Oh, Snap's great.

1681
01:10:28,585 --> 01:10:30,245
I'm voting for that. I'm sure it'll be on the ground.

1682
01:10:30,345 --> 01:10:31,885
I'm gonna be voting for that. It's incredible.

1683
01:10:32,105 --> 01:10:33,405
I'm sorry, I'm not supposed to say what I'm voting for.

1684
01:10:33,555 --> 01:10:35,485
It's unbelievable. Yeah. Anyway.

1685
01:10:35,905 --> 01:10:38,365
Um, how about some, uh, how about a little,

1686
01:10:38,365 --> 01:10:40,325
how about a little, uh, little gala?

1687
01:10:40,325 --> 01:10:41,765
Love gala. So we've,

1688
01:10:41,765 --> 01:10:43,325
we've been getting some great podcast reviews.

1689
01:10:43,405 --> 01:10:45,405
Thanks everybody who's left a rating and review.

1690
01:10:45,505 --> 01:10:46,725
We do have an agreement here.

1691
01:10:46,905 --> 01:10:48,405
We give you this podcast for free.

1692
01:10:48,405 --> 01:10:49,925
Except it's, it's not free. It's not free at all.

1693
01:10:50,035 --> 01:10:51,725
It's not free, sir. It's expensive. It's

1694
01:10:51,725 --> 01:10:53,845
Af it costs you your time and effort

1695
01:10:53,845 --> 01:10:55,285
because wherever you, Hey,

1696
01:10:55,285 --> 01:10:57,085
Look, our listeners hey, are so great.

1697
01:10:57,085 --> 01:10:58,765
Their time and effort. They, they Bill listen,

1698
01:10:58,995 --> 01:11:00,765
Like our Friends at De bo de bo,

1699
01:11:00,765 --> 01:11:03,365
they billing 500 an hour wait, that's probably low nowadays.

1700
01:11:03,365 --> 01:11:05,205
No, we have, we have Rich folks as listeners.

1701
01:11:05,275 --> 01:11:07,965
Rich in both, I'm sure monetarily and

1702
01:11:09,105 --> 01:11:10,725
Spirit Easily.

1703
01:11:11,465 --> 01:11:15,285
Um, but please take your valuable time and leave us a rating

1704
01:11:15,285 --> 01:11:17,125
and review wherever you get your podcast from.

1705
01:11:17,125 --> 01:11:19,205
Whether that's YouTube, apple Podcasts, Spotify,

1706
01:11:19,505 --> 01:11:20,885
here's one from Stitcher.

1707
01:11:21,795 --> 01:11:24,845
Nope. Here's one from Strange Brain Pure Music.

1708
01:11:24,995 --> 01:11:28,565
Nerdism at its finest. Oh, your Nerdism needs.

1709
01:11:28,565 --> 01:11:30,165
That was just for you. Strange Brain. Yeah.

1710
01:11:30,165 --> 01:11:32,405
And here's one from hell. Yo.

1711
01:11:33,055 --> 01:11:36,245
Super hell you Oh, but an Umla on the o

1712
01:11:36,395 --> 01:11:37,395
Hell.

1713
01:11:37,575 --> 01:11:39,965
Super. Various topics. Incredibly well researched.

1714
01:11:40,055 --> 01:11:42,525
Shout out Liz. And always enriched by personal views.

1715
01:11:42,635 --> 01:11:44,005
Amazing. Uh,

1716
01:11:44,285 --> 01:11:45,285
I like that. That's, that's,

1717
01:11:45,285 --> 01:11:45,645
is that

1718
01:11:45,645 --> 01:11:46,765
a compliment sandwich there? A little

1719
01:11:46,765 --> 01:11:47,765
Bit. It might be, it

1720
01:11:47,765 --> 01:11:48,085
might be

1721
01:11:48,085 --> 01:11:49,245
Enriched by personal views.

1722
01:11:49,515 --> 01:11:50,605
They're not journalists.

1723
01:11:50,985 --> 01:11:52,485
Here's one, uh, here's a review.

1724
01:11:52,485 --> 01:11:54,245
Uh, five stars from Sings

1725
01:11:54,265 --> 01:11:57,885
and drinks in the UK as a lifelong museo muso

1726
01:11:58,065 --> 01:11:59,925
and sometime part-time jazz singer.

1727
01:12:00,195 --> 01:12:01,645
This podcast gets perfectly for me.

1728
01:12:01,685 --> 01:12:03,645
I love the raw enthusiasm these guys have for the music.

1729
01:12:04,035 --> 01:12:06,605
Then there are probably two levels of music geek up from me

1730
01:12:06,625 --> 01:12:08,685
so I can enjoy their harmonic analysis

1731
01:12:08,765 --> 01:12:09,885
and historical nuggets.

1732
01:12:10,445 --> 01:12:12,925
I spent a long train journey doing a deep dive on Stevie

1733
01:12:12,925 --> 01:12:14,525
Wonder with their album reviews, which got me hooked.

1734
01:12:14,875 --> 01:12:15,965
That makes me feel great.

1735
01:12:16,255 --> 01:12:18,805
Combo of jazz, popular jazz, jazz influence. Pop.

1736
01:12:18,835 --> 01:12:21,925
It's perfect. I think Youo just like, or sings

1737
01:12:21,925 --> 01:12:23,525
and drinks UK Just nailed it there. Yeah. So thanks.

1738
01:12:23,545 --> 01:12:24,965
Can I do this last one? Yeah, please. That was great.

1739
01:12:25,425 --> 01:12:29,965
Uh, thank you. From Bimo Bimo Bimo, uh,

1740
01:12:29,985 --> 01:12:32,205
you both have enriched my musical life so much

1741
01:12:32,265 --> 01:12:35,005
by turning me on to things I may have overlooked over the

1742
01:12:35,005 --> 01:12:37,365
years and reminding me of the amazing records I

1743
01:12:37,395 --> 01:12:38,725
wore out years ago.

1744
01:12:38,905 --> 01:12:40,205
I'm sorry. Are you texting somebody?

1745
01:12:40,265 --> 01:12:41,645
You, have you got another podcast to go to?

1746
01:12:42,855 --> 01:12:44,365
Sorry, I wasn't paying attention. What'd you say?

1747
01:12:45,325 --> 01:12:47,645
I love experiencing for the first time

1748
01:12:47,745 --> 01:12:49,605
and re-experiencing music with you both.

1749
01:12:50,205 --> 01:12:52,725
I can't thank you enough. Well, you know what, your review

1750
01:12:52,785 --> 01:12:55,445
and your adherence to gala, the gentleman

1751
01:12:55,445 --> 01:12:57,205
and ladies agreement is much appreciated.

1752
01:12:58,065 --> 01:12:59,725
Mo Yeah, Peter, I'm sorry, I am on my phone,

1753
01:12:59,725 --> 01:13:00,805
but I was just looking up something here.

1754
01:13:00,805 --> 01:13:05,205
Hold and it says right here, it says, um, until next time

1755
01:13:05,945 --> 01:13:06,945
You'll hear It.

1756
01:13:06,955 --> 01:13:08,325
Yeah, that's what it says. Oh,

1757
01:13:08,515 --> 01:13:08,805
Okay.