1
1
00:00:00.225 --> 00:00:00.885
Yo, what's up Adam?

2
2
00:00:00.985 --> 00:00:03.125
Yo, what's up Peter? Man, it's finally fall,

3
3
00:00:03.315 --> 00:00:04.315
Dude. It's about time. Yeah.

4
4
00:00:04.315 --> 00:00:06.325
I'm so over summertime at this point.

5
5
00:00:06.325 --> 00:00:07.885
It's been hot and humid. I'm done with that.

6
6
00:00:08.005 --> 00:00:09.485
I don't wanna think about summertime. Yeah, I gotcha.

7
7
00:00:09.605 --> 00:00:10.845
I don't wanna play anything about

8
8
00:00:10.895 --> 00:00:12.525
summertime. I'm just - What do you love

9
9
00:00:12.525 --> 00:00:13.525
About fall so much though? Oh,

10
10
00:00:13.525 --> 00:00:15.765
I mean, what's not to love? I love the falling leaves.

11
11
00:00:16.125 --> 00:00:20.125
I love a nice sweater. I love sipping on a delicious PSL.

12
12
00:00:20.395 --> 00:00:21.725
Well, what the f**k is that?

13
13
00:00:22.165 --> 00:00:23.805
A pumpkin spice latte. Oh. Ooh.

14
14
00:00:23.875 --> 00:00:25.765
Yeah. I don't like that. Oh, but Peter, yeah.

15
15
00:00:26.005 --> 00:00:27.125
Speaking about seasons, I've been thinking,

16
16
00:00:27.125 --> 00:00:29.525
what if we played our favorite song for each season?

17
17
00:00:29.965 --> 00:00:32.525
I like it. But can we do it kind of fast uptempo?

18
18
00:00:32.645 --> 00:00:34.205
'cause we got a podcast to get to. Yeah, I got you. Okay.

19
19
00:00:36.585 --> 00:00:40.125
Ah, that's fall falling autumn leaves.

20
20
00:00:43.505 --> 00:00:44.645
Now we're in winter now.

21
21
00:00:50.785 --> 00:00:54.285
Spring. Wow. Calendar is really moving.

22
22
00:00:59.865 --> 00:01:01.445
All right. Hold up. We're back to somewhere already.

23
23
00:01:01.465 --> 00:01:04.165
We gotta slow it down. Come on, man. It's summertime.

24
24
00:01:04.545 --> 00:01:05.885
The living is easy.

25
25
00:01:08.645 --> 00:01:11.135
Just when I thought I was out, pulls me back in.

26
26
00:02:15.135 --> 00:02:15.295
I am

27
27
00:02:15.295 --> 00:02:16.575
Anna Maness. And I'm Peter Martin.

28
28
00:02:16.575 --> 00:02:18.455
And you're listening to the You'll Hear It podcast. Music.

29
29
00:02:18.895 --> 00:02:20.775
Explored. Explored, brought to you today by Open Studio.

30
30
00:02:20.915 --> 00:02:22.335
Go to openstudiojazz.com

31
31
00:02:22.335 --> 00:02:26.015
for all, you jazz lesson needs.

32
32
00:02:26.195 --> 00:02:28.215
Yes, sir. I went for it. Peter, you you went

33
33
00:02:28.235 --> 00:02:29.235
for it. You and you

34
34
00:02:29.235 --> 00:02:29.895
landed it.

35
35
00:02:29.895 --> 00:02:31.935
Sometimes I go big, sometimes I go small. I went big.

36
36
00:02:32.215 --> 00:02:33.935
You went big. Yeah. It's all good, man. How you doing?

37
37
00:02:34.195 --> 00:02:35.255
I'm doing pretty good. How about you?

38
38
00:02:35.445 --> 00:02:36.775
Good, good, good man.

39
39
00:02:36.785 --> 00:02:40.855
We've been, this has been a really fun, uh, season. We're

40
40
00:02:40.855 --> 00:02:42.015
on a bit of a run. We're

41
41
00:02:42.015 --> 00:02:43.935
on a bit of a run. Don't jinx it, buddy.

42
42
00:02:44.925 --> 00:02:46.095
This will not be the end of the run.

43
43
00:02:46.095 --> 00:02:48.055
Hopefully this is the beginning of a new even better

44
44
00:02:48.395 --> 00:02:49.395
run. Yeah. I mean, it's,

45
45
00:02:49.395 --> 00:02:51.495
it's like I'm, it's such a beautiful,

46
46
00:02:52.195 --> 00:02:54.375
uh, reminder to me. Newsflash,

47
47
00:02:54.375 --> 00:02:55.615
there's a lot of great music in the world.

48
48
00:02:55.765 --> 00:02:58.655
This much we know. But I mean, to be able to have, like,

49
49
00:02:58.685 --> 00:03:00.805
it's such an honor and a pleasure to be able

50
50
00:03:00.805 --> 00:03:03.005
to consume something like we're doing this week.

51
51
00:03:03.005 --> 00:03:04.445
Something like we've been doing every week. Yeah.

52
52
00:03:04.445 --> 00:03:05.565
We've been hitting some bangers.

53
53
00:03:05.955 --> 00:03:08.685
So, this is probably gonna be a little bit on the lesser

54
54
00:03:08.685 --> 00:03:09.845
known, not Nina Simone.

55
55
00:03:09.915 --> 00:03:12.165
Yeah. Probably on the, on more on the big stars

56
56
00:03:12.165 --> 00:03:15.005
that we've had, especially kind of multi-generational now.

57
57
00:03:15.185 --> 00:03:16.725
But in terms of records,

58
58
00:03:16.955 --> 00:03:19.045
this is a little bit less on the radar,

59
59
00:03:19.105 --> 00:03:23.005
but to me it's so exciting to know about, you know,

60
60
00:03:23.005 --> 00:03:24.485
just the ones that, that I know about.

61
61
00:03:24.485 --> 00:03:26.125
That we know about for sure. I think all of the,

62
62
00:03:26.125 --> 00:03:28.005
the un the hidden gems and stuff that

63
63
00:03:28.005 --> 00:03:29.005
are out there. Oh, I mean, this is gonna be

64
64
00:03:29.005 --> 00:03:29.765
an endless journey.

65
65
00:03:29.785 --> 00:03:31.565
And by the way, I just wanna thank everybody who's putting

66
66
00:03:31.765 --> 00:03:33.565
comments on YouTube, comments on Spotify.

67
67
00:03:33.565 --> 00:03:35.765
Oh, I can't keep up with them. With a lot of recommendations

68
68
00:03:35.765 --> 00:03:37.165
for some really good albums.

69
69
00:03:37.165 --> 00:03:39.325
We got, just in the last week, we had someone recommend

70
70
00:03:39.475 --> 00:03:41.685
that self-titled Jocko Pistorius album.

71
71
00:03:41.785 --> 00:03:43.445
Oh, we gotta do that.

72
72
00:03:43.625 --> 00:03:46.525
Uh, we had someone recommend something from Bud Powell,

73
73
00:03:46.525 --> 00:03:47.525
which we gotta get to.

74
74
00:03:47.555 --> 00:03:50.285
Yeah. At a certain point we had someone recommend Concert

75
75
00:03:50.385 --> 00:03:51.605
by the Sea from Rol Gardner,

76
76
00:03:51.615 --> 00:03:53.925
which I think we might have done early, early days

77
77
00:03:54.065 --> 00:03:56.245
or a version of it, but we should Right.

78
78
00:03:56.245 --> 00:03:57.845
Revisit it. 'cause it's, it's endlessly

79
79
00:03:57.905 --> 00:03:59.005
Not in the pot atrium.

80
80
00:03:59.025 --> 00:04:00.205
Can we call this the pod atrium?

81
81
00:04:00.225 --> 00:04:02.765
The Atrium. Atrium. But, uh, we also had someone re

82
82
00:04:02.765 --> 00:04:03.765
It's not for Atrium. No.

83
83
00:04:03.765 --> 00:04:06.565
We had someone recommend maybe doing some Prince,

84
84
00:04:06.565 --> 00:04:08.445
which stay tuned for some Prince.

85
85
00:04:08.445 --> 00:04:10.085
That's on the list. It's on the list. It's coming.

86
86
00:04:10.105 --> 00:04:12.125
Of course. So we have a lot of great stuff coming up,

87
87
00:04:12.125 --> 00:04:14.565
but please put some more recommendations in the comments

88
88
00:04:14.565 --> 00:04:16.925
because we want to hear from you what you want

89
89
00:04:16.925 --> 00:04:18.725
to hear us hear. That's

90
90
00:04:18.725 --> 00:04:19.725
Right. And we wanna get

91
91
00:04:19.725 --> 00:04:20.685
hip to stuff out here.

92
92
00:04:20.695 --> 00:04:22.525
We're trying to be hip. Right. Um,

93
93
00:04:22.915 --> 00:04:23.915
Well, you are. Yeah.

94
94
00:04:23.915 --> 00:04:27.485
But today we have none other than Nina Simone

95
95
00:04:28.025 --> 00:04:29.045
at Town Hall.

96
96
00:04:29.155 --> 00:04:31.365
Live at, I always say this is live at Town Hall. I, yeah.

97
97
00:04:31.505 --> 00:04:32.765
But it's actually at Town Hall

98
98
00:04:32.865 --> 00:04:33.865
Simone at Town Hall. Nina

99
99
00:04:33.865 --> 00:04:35.125
Simone at Town Hall. Yeah.

100
100
00:04:35.125 --> 00:04:37.765
And every time I google this, I put live at town hall

101
101
00:04:37.765 --> 00:04:40.285
or search and it corrects you and Well, it still comes up.

102
102
00:04:40.345 --> 00:04:43.965
Up You mean up. Yeah. Yeah. Um, but man, what a great album.

103
103
00:04:43.995 --> 00:04:46.605
This is a great choice. Yeah. A little different from us.

104
104
00:04:46.605 --> 00:04:49.325
It's from 1959. It's a year we hardly ever talk about, about

105
105
00:04:50.265 --> 00:04:51.685
That's the big connector for us.

106
106
00:04:51.725 --> 00:04:53.805
I think it's a little bit off the beaten path. I mean, is

107
107
00:04:53.965 --> 00:04:56.245
1959 or 1971 more in our wheelhouse?

108
108
00:04:56.245 --> 00:04:57.285
It's those two. I mean, either one.

109
109
00:04:57.755 --> 00:04:58.925
It's either those two years

110
110
00:04:58.945 --> 00:05:00.485
and we're kind of leaning a little bit towards

111
111
00:05:00.485 --> 00:05:02.085
79 80 lately too.

112
112
00:05:02.085 --> 00:05:03.805
Yeah. So we have our favorite years.

113
113
00:05:03.975 --> 00:05:05.485
There are, there are clusters.

114
114
00:05:05.495 --> 00:05:06.565
Peter, I don Dunno if you noticed this,

115
115
00:05:06.565 --> 00:05:07.925
there are clusters in music of,

116
116
00:05:08.205 --> 00:05:09.245
I know it comes in waves.

117
117
00:05:09.255 --> 00:05:11.205
63 59. Yep.

118
118
00:05:11.465 --> 00:05:14.365
Uh, 69, 71, 72.

119
119
00:05:14.515 --> 00:05:16.085
Well, now you're just naming Great years. Come

120
120
00:05:16.085 --> 00:05:17.085
On, man. Yeah. 75. There's

121
121
00:05:17.085 --> 00:05:18.445
some good years out there. Yeah.

122
122
00:05:18.985 --> 00:05:23.085
Um, Lot of good years, Peter. Lot of good years. Okay.

123
123
00:05:23.085 --> 00:05:24.165
Boomer. Alright.

124
124
00:05:24.425 --> 00:05:28.085
Before she was Nina Simone, Eunice Wayman, dreamed

125
125
00:05:28.105 --> 00:05:31.725
of becoming America's first black classical concert pianist.

126
126
00:05:31.725 --> 00:05:34.085
Hold on. Can we pause just a little bit on just how great

127
127
00:05:34.085 --> 00:05:35.605
of a name Eunice Wayman is?

128
128
00:05:35.805 --> 00:05:36.925
I know Eunice Wayman.

129
129
00:05:37.445 --> 00:05:39.525
I mean, Nuni Mos is possibly a

130
130
00:05:39.525 --> 00:05:40.565
little bit better. Yes. But it's

131
131
00:05:40.565 --> 00:05:41.565
Different. Eunice Simone. It's evocative

132
132
00:05:41.565 --> 00:05:45.125
of romance and sparkle.

133
133
00:05:45.125 --> 00:05:48.085
But, but Eunice Wayman I know, rolls off the tongue.

134
134
00:05:48.345 --> 00:05:49.525
Eunice from childhood.

135
135
00:05:50.105 --> 00:05:53.525
She was trained in Bach and Chopin among others.

136
136
00:05:53.585 --> 00:05:55.285
She devoted her life to that pursuit.

137
137
00:05:55.305 --> 00:05:57.645
She really loved, you know, classical music

138
138
00:05:58.245 --> 00:05:59.725
seemingly since she was first introduced,

139
139
00:05:59.725 --> 00:06:01.085
which is at a very young age.

140
140
00:06:01.785 --> 00:06:03.445
Um, and then, you know, there,

141
141
00:06:03.445 --> 00:06:05.085
there's a lot of lore about this.

142
142
00:06:05.785 --> 00:06:08.925
Um, she got dreams, interestingly enough to go

143
143
00:06:08.925 --> 00:06:09.925
to the Curtis Institute

144
144
00:06:09.925 --> 00:06:11.525
of Music in Philadelphia at a certain point.

145
145
00:06:11.595 --> 00:06:13.525
Yeah. Um, as opposed to Juilliard.

146
146
00:06:13.525 --> 00:06:15.165
Well, she ended up going to Juilliard.

147
147
00:06:15.165 --> 00:06:16.885
Well, let's talk a little bit about, if people don't know

148
148
00:06:16.885 --> 00:06:18.005
what the Curtis Institute is Yeah.

149
149
00:06:18.005 --> 00:06:19.045
Why don't we tell 'em what that is?

150
150
00:06:19.155 --> 00:06:20.365
It's like kind of the, like,

151
151
00:06:20.425 --> 00:06:22.165
if Juilliard is the Harvard Yeah.

152
152
00:06:22.165 --> 00:06:24.045
Then Curtis is like, what?

153
153
00:06:24.075 --> 00:06:26.285
It's like the, what's the place Harry Potter one.

154
154
00:06:26.425 --> 00:06:28.565
The, it's the Hogwarts. It's, it's the Hogwarts.

155
155
00:06:28.565 --> 00:06:30.325
It's hidden. It's like hidden. And it's at a high level.

156
156
00:06:30.325 --> 00:06:31.485
Well, they have like a handful

157
157
00:06:31.505 --> 00:06:33.045
of students every year. I, it

158
158
00:06:33.045 --> 00:06:35.165
Used to be, they'd only have one

159
159
00:06:35.165 --> 00:06:37.485
or two for each instrument, I think. Yeah. Was

160
160
00:06:37.645 --> 00:06:38.645
Accepted. And some people go when

161
161
00:06:38.645 --> 00:06:39.645
they're children. Yes.

162
162
00:06:39.645 --> 00:06:41.005
Like you go when you're very young.

163
163
00:06:41.345 --> 00:06:43.925
Uh, our, uh, one of our dear friends,

164
164
00:06:43.925 --> 00:06:44.965
Erin Schreiber from the St.

165
165
00:06:44.965 --> 00:06:45.965
Louis Symphony. That's right.

166
166
00:06:45.965 --> 00:06:47.645
Went to Curtis when she was, but, and

167
167
00:06:47.645 --> 00:06:48.645
Michael too. Violas Michael,

168
168
00:06:48.645 --> 00:06:49.405
Michael Casimir

169
169
00:06:49.585 --> 00:06:51.005
Violisy there, went to Curtis as well.

170
170
00:06:51.275 --> 00:06:53.725
Yeah. And it is very, very concentrated.

171
171
00:06:53.785 --> 00:06:57.365
It is for only the top players in the world, apparently.

172
172
00:06:57.505 --> 00:06:59.445
And it's, uh, it's an incredible resource.

173
173
00:06:59.505 --> 00:07:01.285
And it was Nina's dream Yeah.

174
174
00:07:01.305 --> 00:07:02.525
To go there. It was her dream to go there.

175
175
00:07:02.525 --> 00:07:03.885
Even to the point her family moved

176
176
00:07:04.065 --> 00:07:07.405
to Philadelphia in anticipation of her being accepted.

177
177
00:07:07.505 --> 00:07:10.725
She was famously rejected, did not get accepted in.

178
178
00:07:10.725 --> 00:07:14.645
And there's a whole, uh, story and controversy about that.

179
179
00:07:14.645 --> 00:07:16.845
But the idea is like, she did end up going to Juilliard,

180
180
00:07:17.105 --> 00:07:21.885
but then pretty soon thereafter, she was, um, working kind

181
181
00:07:21.885 --> 00:07:23.165
of against the wishes of her family.

182
182
00:07:23.185 --> 00:07:25.085
She came up in a real religious family. Mm-hmm.

183
183
00:07:25.165 --> 00:07:26.965
Her mother, in fact was, was I believe a Methodist,

184
184
00:07:27.225 --> 00:07:29.325
um, preacher.

185
185
00:07:29.865 --> 00:07:31.205
And so she was in church a lot.

186
186
00:07:31.205 --> 00:07:32.845
She was very well versed in the Southern

187
187
00:07:33.355 --> 00:07:36.085
Methodist Church tradition out of North Carolina in terms

188
188
00:07:36.085 --> 00:07:37.085
of like, the repertoire

189
189
00:07:37.085 --> 00:07:39.125
of playing piano in the church from a very young age.

190
190
00:07:39.625 --> 00:07:40.645
Uh, singing a lot.

191
191
00:07:40.665 --> 00:07:42.725
But she always really fashioned herself originally

192
192
00:07:42.945 --> 00:07:44.605
as a pianist, and specifically classical.

193
193
00:07:44.605 --> 00:07:46.925
She definitely had exposure to jazz,

194
194
00:07:47.345 --> 00:07:49.805
but that was not her dream coming up, you know?

195
195
00:07:50.185 --> 00:07:51.725
Not, and she's not the only musician

196
196
00:07:51.725 --> 00:07:52.925
that we've talked about on this pod

197
197
00:07:52.985 --> 00:07:56.725
or a musician that even hosts the pod that went for a year

198
198
00:07:56.725 --> 00:07:58.765
or two to Juilliard and then became a jazz musician.

199
199
00:07:58.765 --> 00:08:00.445
Right. Yeah. Miles Davis went to Juilliard. Yeah.

200
200
00:08:00.465 --> 00:08:01.925
And became of course, miles Davis. Yep.

201
201
00:08:01.985 --> 00:08:05.605
And our own Peter Martin spent a what year? 2, 2, 3.

202
202
00:08:05.715 --> 00:08:08.365
Yeah. 1, 1, 3 3, 3 semesters. You know, at

203
203
00:08:08.365 --> 00:08:10.245
Juilliard when you yourself was but a child.

204
204
00:08:10.425 --> 00:08:12.885
Yes. And then ended up being in jazz musician. Of

205
205
00:08:12.885 --> 00:08:13.885
Course there was. It's, it's

206
206
00:08:13.885 --> 00:08:15.125
Nina Simone, it's Miles Davis,

207
207
00:08:15.235 --> 00:08:16.645
it's Peter Martin. We know this Right

208
208
00:08:17.215 --> 00:08:18.215
Buddy. You're gonna see in the

209
209
00:08:18.215 --> 00:08:18.365
comments.

210
210
00:08:18.785 --> 00:08:20.525
Man you're not too far off. Wynton Marsalis.

211
211
00:08:20.525 --> 00:08:21.445
Yeah. He spent a year, And this is by the way,

212
212
00:08:21.445 --> 00:08:22.325
before Julie McBride,

213
213
00:08:22.525 --> 00:08:23.645
I just remembering this

214
214
00:08:23.645 --> 00:08:24.885
Is before all of you, this is

215
215
00:08:24.885 --> 00:08:27.045
before there was like a Juilliard Jazz program.

216
216
00:08:27.045 --> 00:08:29.125
Right. You're not up there like learning bebop.

217
217
00:08:29.125 --> 00:08:31.005
You're up there playing classical music. Right,

218
218
00:08:31.005 --> 00:08:32.005
Right. For sure.

219
219
00:08:32.005 --> 00:08:33.685
Um, yeah.

220
220
00:08:33.825 --> 00:08:37.045
So, so this record, she had a couple records out right

221
221
00:08:37.045 --> 00:08:39.885
before this, um, and actually had a really big hit.

222
222
00:08:39.885 --> 00:08:41.125
We're gonna check that out in just a second.

223
223
00:08:41.545 --> 00:08:44.805
But basically, I mean, she, she even said like,

224
224
00:08:44.805 --> 00:08:46.925
she didn't like this idea of being a jazz singer.

225
225
00:08:46.945 --> 00:08:48.325
So this is interesting. We're gonna talk

226
226
00:08:48.325 --> 00:08:49.845
about is she a jazz singer?

227
227
00:08:49.865 --> 00:08:51.085
And is this a jazz record?

228
228
00:08:51.475 --> 00:08:53.965
It's really a great topic of conversation,

229
229
00:08:54.405 --> 00:08:55.405
Actually. Oh, I thought you were about

230
230
00:08:55.405 --> 00:08:56.405
to commit in advance. I

231
231
00:08:56.405 --> 00:08:57.405
Like it. No, no. I think, I

232
232
00:08:57.405 --> 00:08:58.565
think it's up for discussion.

233
233
00:08:58.565 --> 00:09:00.325
First of all. You know, I love a category

234
234
00:09:00.645 --> 00:09:02.005
and I love to put an artist in a box.

235
235
00:09:02.035 --> 00:09:04.085
It's one of my all time favorite things to do

236
236
00:09:04.285 --> 00:09:05.285
A musical box. But

237
237
00:09:05.285 --> 00:09:06.285
I think this is a discussion

238
238
00:09:06.285 --> 00:09:08.765
that we can have about like, I mean, like you said,

239
239
00:09:08.865 --> 00:09:11.445
she herself didn't want to be this thing

240
240
00:09:11.445 --> 00:09:13.645
that people were categorizing her.

241
241
00:09:13.735 --> 00:09:15.965
Right. And she ended up making this whole career.

242
242
00:09:16.385 --> 00:09:18.405
Was she a jazz musician? Right.

243
243
00:09:18.805 --> 00:09:20.325
I don't know if that's an

244
244
00:09:20.325 --> 00:09:21.885
answerable question, honestly know.

245
245
00:09:21.885 --> 00:09:23.965
Well, she said, you know, critics labeled her a jazz

246
246
00:09:23.965 --> 00:09:27.365
singer at, which was a, a, a label that she despised.

247
247
00:09:27.365 --> 00:09:29.445
Yeah. She spoke out about, about that a lot. Awesome.

248
248
00:09:29.585 --> 00:09:32.285
Um, and she in fact said to quote,

249
249
00:09:32.285 --> 00:09:34.045
her calling me a jazz singer was a way

250
250
00:09:34.045 --> 00:09:35.605
of ignoring my musical background

251
251
00:09:35.675 --> 00:09:38.405
because I didn't fit into white ideas of

252
252
00:09:38.405 --> 00:09:40.085
what a black performer should be.

253
253
00:09:40.745 --> 00:09:42.765
So, like, she was really ahead of her time.

254
254
00:09:42.765 --> 00:09:44.445
Like, I think when we talk about now, it's like,

255
255
00:09:44.445 --> 00:09:46.325
why would you, like, it's hard for people,

256
256
00:09:46.325 --> 00:09:49.605
especially younger folks, I including kind of like my age

257
257
00:09:49.605 --> 00:09:53.645
and below to understand like the derogatory Yeah.

258
258
00:09:53.875 --> 00:09:56.205
Like there was a duality of calling somebody a jazz singer.

259
259
00:09:56.345 --> 00:09:58.565
On the one hand, it was, I mean, you're in town hall,

260
260
00:09:58.745 --> 00:10:00.765
you're talking about Ella Fitzgerald was revered,

261
261
00:10:00.825 --> 00:10:02.165
had played in Carnegie Hall.

262
262
00:10:02.205 --> 00:10:03.845
I mean, like, there, there was a certain status.

263
263
00:10:04.185 --> 00:10:07.485
It wasn't like jazz was just, you know, in the brothels

264
264
00:10:07.485 --> 00:10:09.725
or something like it was maybe 40 years before.

265
265
00:10:10.065 --> 00:10:11.925
But there was still a stigma attached to that.

266
266
00:10:11.925 --> 00:10:13.885
There was a, a pecking order of culture.

267
267
00:10:14.125 --> 00:10:16.485
I think we talked with the intelligentsia, perhaps,

268
268
00:10:16.785 --> 00:10:17.785
If I may. Yes. A

269
269
00:10:17.785 --> 00:10:19.165
little sidetrack. We talk about this

270
270
00:10:19.165 --> 00:10:21.685
amongst ourselves about the mentality that a lot

271
271
00:10:21.685 --> 00:10:23.165
of quote unquote jazz musicians have,

272
272
00:10:23.165 --> 00:10:26.725
and how it can put you in a bit of a box that ignores

273
273
00:10:27.435 --> 00:10:29.125
some commercial advantages

274
274
00:10:29.125 --> 00:10:30.485
that you might have if you don't

275
275
00:10:30.495 --> 00:10:32.285
categorize yourself so narrowly.

276
276
00:10:32.335 --> 00:10:34.925
Right. And I just wanna point out, this is a theme

277
277
00:10:34.945 --> 00:10:36.205
of this show over the years,

278
278
00:10:36.585 --> 00:10:39.245
how many greats like on the Mount Rushmore

279
279
00:10:39.245 --> 00:10:40.245
of the music we have

280
280
00:10:40.395 --> 00:10:42.805
that do not wanna be labeled as jazz musicians.

281
281
00:10:42.805 --> 00:10:45.205
Right. Talking about Miles Davis, duke Ellington.

282
282
00:10:45.205 --> 00:10:48.245
Duke Ellington, yeah. John Coltrane, Charles Mingus.

283
283
00:10:48.245 --> 00:10:50.125
Like all of these people don't want Yeah. Nicholas Peyton.

284
284
00:10:50.445 --> 00:10:52.445
Nicholas Peyton. There's so many, so, so many

285
285
00:10:52.445 --> 00:10:54.165
that do not want that word associated

286
286
00:10:54.165 --> 00:10:55.285
with their music that they're making.

287
287
00:10:55.475 --> 00:10:57.925
Yeah. And I think that tells us a story about

288
288
00:10:58.185 --> 00:10:59.325
the feelings around the world.

289
289
00:10:59.425 --> 00:11:01.165
Now, obviously there's the modern jazz quartet

290
290
00:11:01.305 --> 00:11:02.525
are Blake the jazz messenger.

291
291
00:11:02.525 --> 00:11:04.365
Mm-hmm. There are people who are embracing Yeah.

292
292
00:11:04.625 --> 00:11:07.805
Uh, the sort of, uh, category categorization of that.

293
293
00:11:08.025 --> 00:11:10.125
But what I love most about this album

294
294
00:11:10.305 --> 00:11:13.285
and Nina's career in general, is I think ultimately she,

295
295
00:11:14.105 --> 00:11:16.725
she sort of manifests, for lack of a better word, the fact

296
296
00:11:16.725 --> 00:11:17.805
that she's not a jazz musician.

297
297
00:11:17.805 --> 00:11:20.285
Right. And becomes this huge commercially successful,

298
298
00:11:20.945 --> 00:11:24.885
viable cultural icon that sort of like, uh, goes past

299
299
00:11:24.975 --> 00:11:27.485
where most jazz musicians are willing to go.

300
300
00:11:27.575 --> 00:11:29.085
Right. You know? Right. And I think it's

301
301
00:11:29.105 --> 00:11:31.685
by freeing her mind from, uh, uh, the box

302
302
00:11:31.685 --> 00:11:33.685
that people wanna put her in, that she's able to do this.

303
303
00:11:33.955 --> 00:11:37.485
Yeah. And I mean, like later on, um, you know,

304
304
00:11:37.485 --> 00:11:40.125
with her writings and her and her political activism

305
305
00:11:40.305 --> 00:11:41.405
and her compositions,

306
306
00:11:41.545 --> 00:11:44.125
and just the stands that she took up to the point

307
307
00:11:44.125 --> 00:11:45.565
of like leaving the US and,

308
308
00:11:45.565 --> 00:11:46.645
and doing all these different things.

309
309
00:11:47.345 --> 00:11:51.245
She under, like, she was so ahead of her, uh, time in terms

310
310
00:11:51.245 --> 00:11:52.325
of understanding this thing

311
311
00:11:52.325 --> 00:11:54.845
that she says about didn't fit into white ideas of

312
312
00:11:54.845 --> 00:11:56.125
what a black performer should be.

313
313
00:11:56.265 --> 00:11:57.485
And I don't wanna dwell on that too much.

314
314
00:11:57.505 --> 00:11:58.965
And I know it's a harsh thing for some people.

315
315
00:11:58.965 --> 00:12:00.085
It's very relevant to the situation.

316
316
00:12:00.085 --> 00:12:02.405
It's very relevant. And, and like for us now to say like,

317
317
00:12:02.405 --> 00:12:04.885
oh, of course you like, people didn't really, like,

318
318
00:12:04.885 --> 00:12:07.165
there's a lot of implications that maybe don't,

319
319
00:12:07.165 --> 00:12:09.485
don't apply thankfully as much today.

320
320
00:12:09.945 --> 00:12:12.205
But at that time, you know, some people could say like,

321
321
00:12:12.205 --> 00:12:13.205
what do you mean she's being presented

322
322
00:12:13.205 --> 00:12:14.845
as the headliner at town hall?

323
323
00:12:14.905 --> 00:12:17.845
But like, she understood to be able to speak out

324
324
00:12:17.905 --> 00:12:19.725
and to have a nuanced understanding of that,

325
325
00:12:19.725 --> 00:12:22.925
and as you say, to being able in some ways to be able

326
326
00:12:22.925 --> 00:12:24.165
to leapfrog Yeah.

327
327
00:12:24.335 --> 00:12:26.405
Above even the box, the jazz players or,

328
328
00:12:26.405 --> 00:12:27.445
or even classical player.

329
329
00:12:27.735 --> 00:12:29.685
There was definitely, like, there was,

330
330
00:12:29.695 --> 00:12:32.245
there was a bitterness perhaps that she had

331
331
00:12:32.385 --> 00:12:36.245
or at least expressed I'd see in interviews, um, for her not

332
332
00:12:36.245 --> 00:12:38.685
to be able to pursue this classical career that she loved

333
333
00:12:38.705 --> 00:12:41.485
so much, but she also turned it into like,

334
334
00:12:42.065 --> 00:12:43.445
she ultimately was able

335
335
00:12:43.445 --> 00:12:46.165
to put her full artistry out there into the world.

336
336
00:12:46.435 --> 00:12:48.485
Yeah. Um, at different times.

337
337
00:12:48.625 --> 00:12:50.125
And then I we're gonna talk about it,

338
338
00:12:50.125 --> 00:12:51.325
but I think this is kind of just the

339
339
00:12:51.325 --> 00:12:52.365
beginning of that in a way.

340
340
00:12:52.555 --> 00:12:54.765
Like the true artist of what Nina Simone was.

341
341
00:12:54.845 --> 00:12:55.845
I mean, you're already hearing it,

342
342
00:12:55.845 --> 00:12:57.525
beautiful voice, but she's doing a lot.

343
343
00:12:57.525 --> 00:12:59.365
She's doing all a few of her own compositions on here.

344
344
00:12:59.605 --> 00:13:01.925
A lot of standards kind of, she's in the box,

345
345
00:13:01.945 --> 00:13:03.165
but she can already hear what she can be.

346
346
00:13:03.165 --> 00:13:04.485
And then a couple years later, of course,

347
347
00:13:04.815 --> 00:13:07.765
she's really becoming, you know who she is.

348
348
00:13:08.035 --> 00:13:09.845
Yeah. I, no, I think it's totally relevant.

349
349
00:13:09.845 --> 00:13:13.165
And by the way, this is this idea that she's, she's, uh,

350
350
00:13:13.485 --> 00:13:17.885
supposing here of, you know, the being put in a box, um,

351
351
00:13:18.545 --> 00:13:21.365
by white critics or white writers about what a a,

352
352
00:13:21.525 --> 00:13:24.805
a black musician could be is not even unique to black music.

353
353
00:13:25.005 --> 00:13:26.925
I mean, it's very, very common, especially at this time.

354
354
00:13:26.925 --> 00:13:28.965
And like you said, it's sort of bent a little bit better,

355
355
00:13:28.965 --> 00:13:31.565
even though there's still huge problems all around.

356
356
00:13:31.905 --> 00:13:35.205
But even like, you know, uh, uh, quote unquote,

357
357
00:13:35.205 --> 00:13:36.845
bluegrass musicians talk about this.

358
358
00:13:36.845 --> 00:13:39.445
Like, they're just playing music that they grew up around

359
359
00:13:39.505 --> 00:13:42.245
and they're trying to, some people are,

360
360
00:13:42.375 --> 00:13:43.765
would talk like this, like,

361
361
00:13:43.765 --> 00:13:45.845
just play the music they wanna play.

362
362
00:13:45.945 --> 00:13:48.325
Yes. And then we hear something if you're not familiar

363
363
00:13:48.325 --> 00:13:49.645
with it and you wanna categorize it,

364
364
00:13:49.665 --> 00:13:51.325
or you could even go, you know,

365
365
00:13:51.325 --> 00:13:53.565
like talking about like Japanese music.

366
366
00:13:53.585 --> 00:13:54.925
And I've heard musicians talk about, like,

367
367
00:13:54.985 --> 00:13:56.645
I'm more than just this thing that you're trying

368
368
00:13:56.645 --> 00:13:57.805
to culturally define me by.

369
369
00:13:57.805 --> 00:13:59.405
I'm an artist trying to make art. Yeah.

370
370
00:13:59.435 --> 00:14:03.325
With my culture attached to it, it becomes, I think, more

371
371
00:14:03.325 --> 00:14:04.685
of a, a of a issue of art

372
372
00:14:04.685 --> 00:14:07.525
and commerce where, uh, it's up to the record labels

373
373
00:14:07.525 --> 00:14:08.805
to try to sell these albums.

374
374
00:14:08.805 --> 00:14:10.565
And the best way to do that is to say,

375
375
00:14:10.565 --> 00:14:12.205
if you like this, check this out.

376
376
00:14:12.215 --> 00:14:14.605
Right. And the way they do that is very, very heavy handed

377
377
00:14:14.745 --> 00:14:17.445
and can honestly be a little bit suffocating if you're

378
378
00:14:17.445 --> 00:14:20.485
thinking about yourselves in trying to like, serve these,

379
379
00:14:21.255 --> 00:14:23.885
these, you know, mechanisms of commerce with the artist.

380
380
00:14:24.245 --> 00:14:25.845
Absolutely. It's tough, man. It's tough. I mean,

381
381
00:14:25.845 --> 00:14:26.805
It's a little, I Get it. But

382
382
00:14:26.805 --> 00:14:27.805
It's tough. Yeah. It's kind of like

383
383
00:14:27.805 --> 00:14:29.885
a, like a high cultural,

384
384
00:14:30.595 --> 00:14:32.925
high culture, crass taste maker Yeah.

385
385
00:14:32.955 --> 00:14:34.925
Kind of a thing where it's like, yes, this is great,

386
386
00:14:34.925 --> 00:14:36.565
but it's kind of like, yes, this is

387
387
00:14:36.565 --> 00:14:37.565
what you're gonna consume

388
388
00:14:37.665 --> 00:14:40.485
Saying for us to understand you, Nina Simone, we have to,

389
389
00:14:40.745 --> 00:14:42.725
we have to lump you in with this other stuff

390
390
00:14:42.755 --> 00:14:44.405
that we understand what this is.

391
391
00:14:44.405 --> 00:14:45.605
Right. Even though you don't,

392
392
00:14:45.605 --> 00:14:46.925
you're, you're not going for that.

393
393
00:14:46.925 --> 00:14:48.645
Right. Right. It's a very common thing. Right.

394
394
00:14:49.025 --> 00:14:51.485
So what happened was, she, she went to Juilliard, I guess

395
395
00:14:51.485 --> 00:14:52.845
for a year, or maybe it was for a summer.

396
396
00:14:52.905 --> 00:14:55.605
She had been at Juilliard and then she on a scholarship,

397
397
00:14:55.625 --> 00:14:57.565
but she needed to make some money

398
398
00:14:57.625 --> 00:15:00.005
so she could go back when the Curtis thing, uh,

399
399
00:15:00.105 --> 00:15:01.605
disappointment happened.

400
400
00:15:01.905 --> 00:15:03.885
Um, so she was teaching, she's living in Philadelphia,

401
401
00:15:03.895 --> 00:15:05.405
she's teaching piano, but she got a chance

402
402
00:15:05.865 --> 00:15:07.325
to play in a club in Atlantic City.

403
403
00:15:07.565 --> 00:15:09.965
Atlantic City at that time was a lot of like, you know,

404
404
00:15:09.965 --> 00:15:12.165
piano bars and jazz clubs and that kind of thing.

405
405
00:15:12.475 --> 00:15:13.885
Show clubs, whatever you wanna call it.

406
406
00:15:14.265 --> 00:15:15.725
And that was gonna pay a lot better

407
407
00:15:16.305 --> 00:15:17.925
and, um, better than the teaching.

408
408
00:15:17.925 --> 00:15:19.725
And she got a gig playing at the Midtown Bar

409
409
00:15:19.725 --> 00:15:20.725
and Grill in Atlantic City.

410
410
00:15:20.725 --> 00:15:23.125
Ever been there? No, no. First should we go?

411
411
00:15:23.785 --> 00:15:25.005
But basically she thought

412
412
00:15:25.005 --> 00:15:26.525
she was just gonna, yeah, let's do it. Make

413
413
00:15:26.525 --> 00:15:27.525
A field trip from Midtown. Yeah.

414
414
00:15:27.525 --> 00:15:29.685
Um, I've been to Atlantic City.

415
415
00:15:29.685 --> 00:15:31.165
I don't think it's quite as booming as back then.

416
416
00:15:31.405 --> 00:15:32.725
It's, it's, it's changed a little bit.

417
417
00:15:32.815 --> 00:15:34.005
Shout out Northern New Jersey.

418
418
00:15:34.635 --> 00:15:36.125
Hard to get to, to, um,

419
419
00:15:36.425 --> 00:15:37.725
but the thing was like,

420
420
00:15:37.725 --> 00:15:39.005
she thought she was just gonna be playing piano.

421
421
00:15:39.145 --> 00:15:41.725
And the guy, typical club bar is like, you gotta sing too.

422
422
00:15:41.945 --> 00:15:43.725
And so that's really when she started singing

423
423
00:15:43.785 --> 00:15:45.205
and like, outside of church

424
424
00:15:45.425 --> 00:15:47.525
and whatever, limited stuff that she was doing,

425
425
00:15:47.545 --> 00:15:49.085
but very much a religious background.

426
426
00:15:49.145 --> 00:15:51.245
So it was like she, that was part of the reason,

427
427
00:15:51.345 --> 00:15:53.925
if not the reason she changed her name was

428
428
00:15:53.985 --> 00:15:55.965
to disguise it from her family, you know?

429
429
00:15:56.025 --> 00:15:58.325
Oh man. And because they, they were religious.

430
430
00:15:58.325 --> 00:15:59.485
Like this was the devil's music,

431
431
00:15:59.545 --> 00:16:00.565
you know, doing this kind of stuff.

432
432
00:16:00.565 --> 00:16:01.925
That's what it was considered at that time.

433
433
00:16:02.545 --> 00:16:07.285
Um, so she started doing, she was performing, I Loves Porgy

434
434
00:16:07.785 --> 00:16:09.445
of course, from, uh, George

435
435
00:16:09.445 --> 00:16:11.605
and Ira Gershwin Black is the Color.

436
436
00:16:11.635 --> 00:16:13.125
Some of these songs, uh,

437
437
00:16:13.125 --> 00:16:15.165
because they were the, they were popular songs of the time.

438
438
00:16:15.165 --> 00:16:17.165
And so when she ended up getting her first record contract

439
439
00:16:17.545 --> 00:16:20.405
and recording, um, I believe it was in 57

440
440
00:16:20.425 --> 00:16:23.565
or 58, it actually didn't come out till 1959

441
441
00:16:24.075 --> 00:16:25.845
when they did this concert earlier in the year.

442
442
00:16:25.865 --> 00:16:28.925
But she did, I love Por it ends up being her biggest hit.

443
443
00:16:28.925 --> 00:16:29.925
And so we're just gonna listen to that.

444
444
00:16:29.925 --> 00:16:31.165
This is not on this, this record,

445
445
00:16:31.465 --> 00:16:33.045
but this is what a lot of people had heard.

446
446
00:16:33.315 --> 00:16:35.485
Like, likely the people that came to the concert

447
447
00:16:35.505 --> 00:16:36.505
had heard this. This was on Billboard.

448
448
00:16:36.505 --> 00:16:37.365
Like this is a top one

449
449
00:16:37.365 --> 00:16:38.405
hundred hit, which is crazy.

450
450
00:16:38.675 --> 00:16:39.675
It's awesome.

451
451
00:16:42.365 --> 00:16:43.365
I love you,

452
452
00:16:54.535 --> 00:16:54.885
don't

453
453
00:17:03.065 --> 00:17:05.925
you Me, I

454
454
00:17:09.915 --> 00:17:10.965
with you Forever.

455
455
00:17:14.545 --> 00:17:18.205
So that's on Little Girl Blue that came out in 1958.

456
456
00:17:18.465 --> 00:17:22.445
But this song as a single came out in just in May

457
457
00:17:22.545 --> 00:17:23.605
of 1959.

458
458
00:17:23.665 --> 00:17:26.365
And it actually went to number 18 on the billboard pop

459
459
00:17:26.365 --> 00:17:29.485
charts. Number two on the r&b charts.

460
460
00:17:29.485 --> 00:17:33.245
Listen to this, this is just a straight up jazz trio.

461
461
00:17:33.385 --> 00:17:34.405
Her playing on this is beautiful.

462
462
00:17:34.665 --> 00:17:35.925
If you can keep me.

463
463
00:17:36.955 --> 00:17:39.325
It's just, it's a very straight

464
464
00:17:39.465 --> 00:17:41.525
yet nuanced reading of this. Right.

465
465
00:17:42.125 --> 00:17:44.365
I hear a little bit because she's 25, right?

466
466
00:17:44.365 --> 00:17:47.005
When she makes this mm-hmm. This recording. Yeah.

467
467
00:17:47.115 --> 00:17:51.685
Even, and she sounds like, you know, 35,

468
468
00:17:51.685 --> 00:17:54.285
like 40, like a, a fully formed adult.

469
469
00:17:54.355 --> 00:17:56.125
It's a little Samara Joy0ish in the,

470
470
00:17:56.305 --> 00:17:57.685
in the sort of maturity in her voice.

471
471
00:17:57.785 --> 00:17:58.805
Not exactly the same quality,

472
472
00:17:58.905 --> 00:18:00.285
but like, just where you're like,

473
473
00:18:00.345 --> 00:18:02.325
how can this person so young sound

474
474
00:18:02.465 --> 00:18:06.085
so, you know, uh, uh, like she's lived

475
475
00:18:06.145 --> 00:18:07.725
so much life, you know. I just

476
476
00:18:07.725 --> 00:18:08.685
can't get over how did this get

477
477
00:18:08.685 --> 00:18:10.125
on the billboard pop charts? Can we go

478
478
00:18:10.125 --> 00:18:11.125
back to that time? It was a different day,

479
479
00:18:11.125 --> 00:18:13.005
but different day altogether. Yeah.

480
480
00:18:13.005 --> 00:18:16.605
So that was, so I, I, I totally hear that influence.

481
481
00:18:16.605 --> 00:18:18.245
And we're gonna talk with later about diff all the

482
482
00:18:18.245 --> 00:18:21.445
vocalists, which could be every vocalist in some way since

483
483
00:18:21.445 --> 00:18:23.085
then, in a lot of genres, very influential,

484
484
00:18:23.085 --> 00:18:25.125
maybe the most influential vocalists since this time.

485
485
00:18:25.275 --> 00:18:28.725
Like, uh, blues rock, uh, pop, you know, jazz.

486
486
00:18:28.725 --> 00:18:29.845
Musically, but also in the

487
487
00:18:29.945 --> 00:18:31.125
way that she handled her career.

488
488
00:18:31.265 --> 00:18:33.645
Yes. And her adventurous spirit too. Yeah. These things.

489
489
00:18:34.065 --> 00:18:37.765
But certainly an influence on Nina Simone was this,

490
490
00:18:37.795 --> 00:18:40.165
this is live in 1957. This is Sarah Vaughn

491
491
00:18:40.705 --> 00:18:41.705
The greatest. When's the Sarah

492
492
00:18:41.705 --> 00:18:42.725
Vaughan. Buddy? It's

493
493
00:18:42.725 --> 00:18:43.725
coming. Build

494
494
00:18:43.725 --> 00:18:46.125
a

495
495
00:18:46.205 --> 00:18:48.765
stairway to the Ssars.

496
496
00:18:50.025 --> 00:18:51.285
So this was out there in the world,

497
497
00:18:51.285 --> 00:18:52.285
Right.

498
498
00:18:52.665 --> 00:18:55.565
And climb that stairway

499
499
00:18:56.705 --> 00:18:57.805
To the stars. That's live in Mr.

500
500
00:18:57.805 --> 00:19:00.685
Kelly's Chicago, Illinois. Of course, 1957. I would

501
501
00:19:01.075 --> 00:19:02.285
Love to play for Sarah Vaughn.

502
502
00:19:02.285 --> 00:19:03.365
Wouldn't it be so much fun

503
503
00:19:03.425 --> 00:19:05.565
to be Sarah Vaughn's piano player for a minute?

504
504
00:19:05.875 --> 00:19:07.725
That would be nice. But let's get in the record.

505
505
00:19:08.105 --> 00:19:11.965
So live at Town Hall, she's got some hits. She's out there.

506
506
00:19:12.305 --> 00:19:14.405
The promoter, they're, they're putting her on the town hall

507
507
00:19:14.415 --> 00:19:15.725
stage, which was a big deal.

508
508
00:19:16.635 --> 00:19:18.805
This is crazy. So Ben Riley,

509
509
00:19:18.875 --> 00:19:20.445
fantastic drummer, one of my favorite.

510
510
00:19:20.605 --> 00:19:22.685
I actually got a chance to play with him back in the back

511
511
00:19:22.685 --> 00:19:25.045
when he was still around in the nineties, which is great.

512
512
00:19:25.045 --> 00:19:26.205
Like such a, an honor

513
513
00:19:26.225 --> 00:19:28.405
and like to be a little bit connected with

514
514
00:19:28.405 --> 00:19:29.485
that, with Thelonious Monk.

515
515
00:19:29.485 --> 00:19:30.925
He famously played in the, one

516
516
00:19:30.925 --> 00:19:32.405
of the best groups with Monk for many years.

517
517
00:19:32.425 --> 00:19:35.085
You're so old. Dude. I am old af Wilber Ware

518
518
00:19:35.105 --> 00:19:36.205
on Bass. Wilber Ware.

519
519
00:19:36.205 --> 00:19:39.645
Amazing. Chicago's Finest played with monks. Oh, yeah.

520
520
00:19:39.645 --> 00:19:40.645
We were talking about, so Rollins

521
521
00:19:40.645 --> 00:19:41.645
Right? We talked about Wilbur

522
522
00:19:41.645 --> 00:19:42.365
Ware last week Yeah.

523
523
00:19:42.365 --> 00:19:44.725
In that, uh, in that Amon Tobin track.

524
524
00:19:45.025 --> 00:19:48.325
Yes. Um, and they were both, you know, together

525
525
00:19:48.425 --> 00:19:49.645
and separately played with Monk.

526
526
00:19:49.645 --> 00:19:50.565
They were actually, were both playing

527
527
00:19:50.565 --> 00:19:51.445
with Monk at this time.

528
528
00:19:51.785 --> 00:19:52.805
The crazy thing about this,

529
529
00:19:53.055 --> 00:19:54.485
guess when they met Nina Simone

530
530
00:19:54.835 --> 00:19:55.965
when they first played with her?

531
531
00:19:56.065 --> 00:19:57.405
You want me to legitimately guess? Yes.

532
532
00:19:57.915 --> 00:20:00.285
Well, I'll say because of the way you're phrasing it,

533
533
00:20:00.385 --> 00:20:02.685
It, I about the rhythm section bass drummer.

534
534
00:20:02.685 --> 00:20:04.365
Yeah, yeah. No, I got it. I would Riley Wilber,

535
535
00:20:04.545 --> 00:20:07.405
the way you're setting this up, probably earlier that day.

536
536
00:20:08.145 --> 00:20:10.725
No. As the curtain rose, they did not rehearse.

537
537
00:20:10.725 --> 00:20:12.525
They didn't even, they literally, I mean,

538
538
00:20:12.565 --> 00:20:13.565
I sourced this into them.

539
539
00:20:13.565 --> 00:20:14.885
Who talking about I, Hey man,

540
540
00:20:15.555 --> 00:20:16.645
Wait, wait, wait, wait. What?

541
541
00:20:16.835 --> 00:20:17.885
They met right

542
542
00:20:17.885 --> 00:20:18.885
before, like, that's how,

543
543
00:20:19.065 --> 00:20:20.885
how thrown together this thing was.

544
544
00:20:21.025 --> 00:20:22.245
Oh my God. Which is really gonna

545
545
00:20:22.245 --> 00:20:23.285
be crazy as we listen to this.

546
546
00:20:23.315 --> 00:20:24.405
Have you ever done that before?

547
547
00:20:24.875 --> 00:20:26.765
Yeah, but not when it came. Sounded like this.

548
548
00:20:27.025 --> 00:20:28.645
No. Like, and then it's on our live record.

549
549
00:20:29.065 --> 00:20:30.565
No, of course not like this.

550
550
00:20:30.675 --> 00:20:33.125
This was another time, man. So let's, let's, for

551
551
00:20:33.125 --> 00:20:34.165
The love of Jeff, just

552
552
00:20:34.165 --> 00:20:37.165
Thinking of that, let's jump right into the first track.

553
553
00:20:37.255 --> 00:20:39.285
Black is the Color of My True Love's Hair.

554
554
00:20:39.305 --> 00:20:42.085
And I believe this song is like some kind of old

555
555
00:20:42.755 --> 00:20:43.755
Yeah. It's a Scottish

556
556
00:20:43.755 --> 00:20:44.605
or Norwegian.

557
557
00:20:44.675 --> 00:20:46.445
Yeah, yeah. Yeah. It's, it's an old, uh,

558
558
00:20:46.685 --> 00:20:48.005
Northern European folk song. And

559
559
00:20:48.005 --> 00:20:50.325
We have nothing on the, like how this came to Nina Simone

560
560
00:20:50.385 --> 00:20:51.765
or how she ended up doing it.

561
561
00:20:51.765 --> 00:20:53.525
But it's a beautiful way to start the record.

562
562
00:20:56.565 --> 00:20:58.245
I mean, you hear the classical chops from

563
563
00:20:58.245 --> 00:20:59.245
The beginning. Right.

564
564
00:20:59.245 --> 00:21:00.605
Well, her,

565
565
00:21:00.605 --> 00:21:03.165
throughout her tone output is ridiculously beautiful.

566
566
00:21:03.905 --> 00:21:05.325
How do you feel about the recording quality

567
567
00:21:05.445 --> 00:21:06.445
Of this? I don't

568
568
00:21:06.445 --> 00:21:07.845
love it, be honest.

569
569
00:21:08.105 --> 00:21:09.245
But there is a vibe to it, I guess.

570
570
00:21:09.245 --> 00:21:09.445
Yeah.

571
571
00:21:33.645 --> 00:21:34.705
Of my true

572
572
00:21:45.005 --> 00:21:45.785
so soft.

573
573
00:22:00.885 --> 00:22:01.885
And

574
574
00:22:35.535 --> 00:22:38.035
So this is incredible track.

575
575
00:22:38.035 --> 00:22:41.195
Beautiful. And I was just thinking like, you know, one thing

576
576
00:22:41.195 --> 00:22:42.555
that Nina, Simone, Simone brings,

577
577
00:22:42.555 --> 00:22:44.915
and we're gonna get into some jazzy stuff, jazzier stuff.

578
578
00:22:44.915 --> 00:22:46.475
It's, it's an interesting kind

579
579
00:22:46.475 --> 00:22:47.755
of different styles on this record,

580
580
00:22:48.015 --> 00:22:49.755
but one thing she really brings to the party

581
581
00:22:49.825 --> 00:22:54.635
that if she was a true, I mean, she is a true jazz singer.

582
582
00:22:54.705 --> 00:22:56.955
Well, but she's not coming from like, that's one.

583
583
00:22:56.955 --> 00:22:58.355
Not according to her. Right, exactly.

584
584
00:22:58.935 --> 00:23:02.265
That's not, that's not what she's coming from.

585
585
00:23:02.265 --> 00:23:04.425
That's one thing that she can do among other things.

586
586
00:23:04.885 --> 00:23:09.585
But she has this, she has this ability that's harder for us

587
587
00:23:09.605 --> 00:23:13.625
as jazz pianists especially, um, to just play the tri

588
588
00:23:13.625 --> 00:23:16.145
and then go down there and like to really connect with this

589
589
00:23:16.695 --> 00:23:18.345
folk song, with the essence,

590
590
00:23:18.375 --> 00:23:20.305
very diatonic kind of way of playing.

591
591
00:23:20.305 --> 00:23:22.945
Like we would be, and she gets into a little bit of like,

592
592
00:23:22.945 --> 00:23:25.825
the second time she kind of goes to a suss, which is nice,

593
593
00:23:25.965 --> 00:23:27.105
but she lays it out.

594
594
00:23:27.135 --> 00:23:31.825
Whereas almost any other jazz pianist, we,

595
595
00:23:31.965 --> 00:23:33.105
we would, we'd be all like,

596
596
00:23:36.645 --> 00:23:38.905
You know, It sounds

597
597
00:23:38.905 --> 00:23:40.105
like some Peter Martin s**t right there.

598
598
00:23:40.105 --> 00:23:42.865
Yeah. Which I like. But, um, she has so many different,

599
599
00:23:42.865 --> 00:23:45.025
like, lenses with which she can look at this music.

600
600
00:23:45.145 --> 00:23:47.005
So she can start with the very simple voice.

601
601
00:23:47.465 --> 00:23:48.685
You know, the, the, the control

602
602
00:23:48.685 --> 00:23:50.085
with the vibrato and stuff is stunning.

603
603
00:23:50.185 --> 00:23:51.525
You actually hear this all over the album.

604
604
00:23:51.745 --> 00:23:53.085
She, she treats it as if

605
605
00:23:53.345 --> 00:23:55.365
how a classical musician would treat like,

606
606
00:23:55.365 --> 00:23:58.405
would respect the harmony of it in a way that you're right.

607
607
00:23:58.485 --> 00:24:00.605
I think jazz musicians would want to Yeah.

608
608
00:24:00.665 --> 00:24:01.805
Put their own spin on.

609
609
00:24:01.805 --> 00:24:04.805
But she, I think it's absolutely perfect. Yeah.

610
610
00:24:04.875 --> 00:24:06.165
That accompaniment there. Yeah.

611
611
00:24:06.165 --> 00:24:08.645
Playing a chord and letting that beautiful piano ring out.

612
612
00:24:08.665 --> 00:24:11.525
Yep. And then, uh, singing those phrases in between.

613
613
00:24:11.725 --> 00:24:14.045
I think it's exactly what the song calls for.

614
614
00:24:14.425 --> 00:24:16.925
And I love the triads that she's doing there.

615
615
00:24:16.965 --> 00:24:18.365
I think they're absolutely gorgeous. And can I just say,

616
616
00:24:18.365 --> 00:24:20.565
like, from the, what stands out from this album,

617
617
00:24:20.565 --> 00:24:22.165
because it's a live album, right?

618
618
00:24:22.165 --> 00:24:24.725
Yeah. And it's not as well recorded as what we just heard,

619
619
00:24:24.725 --> 00:24:25.805
even on Little Girl Blue

620
620
00:24:25.825 --> 00:24:28.205
and what of course we're gonna hear later on in her career

621
621
00:24:28.755 --> 00:24:31.285
with how good, um, her voice is gonna be recorded.

622
622
00:24:31.425 --> 00:24:35.325
But she is gifted with, uh, a couple of instruments.

623
623
00:24:35.325 --> 00:24:39.165
Like her hands are her, her classical technique

624
624
00:24:39.165 --> 00:24:40.845
that she has her piano technique Yeah.

625
625
00:24:40.925 --> 00:24:42.725
I think is really special. Oh, yeah.

626
626
00:24:42.825 --> 00:24:45.045
And we don't hear it a lot in jazz pianists, honestly.

627
627
00:24:45.045 --> 00:24:47.645
Right. Like, the way that she produces a tone.

628
628
00:24:47.645 --> 00:24:49.205
We just had a classical pianist in

629
629
00:24:49.205 --> 00:24:50.285
here yesterday, so I'm thinking about it.

630
630
00:24:50.285 --> 00:24:52.085
Yeah, yeah, yeah. A lot. We had Daniel Anastasio in here

631
631
00:24:52.085 --> 00:24:53.805
and made some stuff with him, and he was talking a lot about

632
632
00:24:54.155 --> 00:24:56.685
that tradition of creating tone on the, on the keyboard.

633
633
00:24:56.985 --> 00:25:00.365
And you could just hear the, the sort of like, uh, she's a,

634
634
00:25:00.695 --> 00:25:02.765
she's a really, uh,

635
635
00:25:03.195 --> 00:25:05.885
sophisticated keyboardist Yeah.

636
636
00:25:05.905 --> 00:25:09.085
In that, like her control over that, over those triads,

637
637
00:25:09.085 --> 00:25:10.845
even when she's doing something simple as so great.

638
638
00:25:11.105 --> 00:25:12.925
It almost comes out more on the really simple

639
639
00:25:12.925 --> 00:25:13.925
Stuff. It does. You

640
640
00:25:13.925 --> 00:25:14.485
know, it does.

641
641
00:25:14.715 --> 00:25:16.325
Like, that's where you can really appreciate the high

642
642
00:25:16.325 --> 00:25:17.565
level of, of technical

643
643
00:25:17.565 --> 00:25:18.565
Skill. The, the voicing, not

644
644
00:25:18.565 --> 00:25:19.405
the chord she's playing,

645
645
00:25:19.425 --> 00:25:21.685
but how she's voicing. Exactly. The notes in

646
646
00:25:21.685 --> 00:25:22.325
There. The touch, the

647
647
00:25:22.325 --> 00:25:23.325
Touch. And then the second instrument

648
648
00:25:23.325 --> 00:25:24.885
that she was gifted with.

649
649
00:25:24.885 --> 00:25:26.805
And I don't mean this as like, she didn't work

650
650
00:25:26.825 --> 00:25:28.765
for these things, but I I'm saying like, these are,

651
651
00:25:29.305 --> 00:25:30.685
it the kind of like they are

652
652
00:25:30.685 --> 00:25:31.885
natural gifts that she has Yeah.

653
653
00:25:31.905 --> 00:25:34.845
Is like, the quality of her voice is so unique. Yeah.

654
654
00:25:34.845 --> 00:25:36.685
Like, she doesn't sound like that's a

655
655
00:25:36.685 --> 00:25:37.685
Contralto. Did you know that?

656
656
00:25:37.685 --> 00:25:39.085
Well, but she doesn't sound like a

657
657
00:25:39.085 --> 00:25:40.245
trained opera singer at all.

658
658
00:25:40.305 --> 00:25:42.845
No. And she also kind of doesn't sound like Sarah Vaughn.

659
659
00:25:42.845 --> 00:25:44.125
Right. She sounds like

660
660
00:25:44.385 --> 00:25:46.245
You hear those influences. You hear the influence

661
661
00:25:46.335 --> 00:25:47.565
Voice, but both of those Yeah.

662
662
00:25:47.665 --> 00:25:49.685
But her voice is her from the start. Yes.

663
663
00:25:49.685 --> 00:25:51.525
From right here when she's 25, 26 years old.

664
664
00:25:51.635 --> 00:25:56.125
Like it's sounds so her and so, so honest, so different.

665
665
00:25:56.265 --> 00:25:59.805
Oh my gosh. And vulnerable. Yeah. And confident. Yeah.

666
666
00:26:00.145 --> 00:26:02.725
And it's really special From the opening notes

667
667
00:26:02.725 --> 00:26:06.165
of this album, you just feel like she is like,

668
668
00:26:06.165 --> 00:26:07.405
like some other vocalists

669
669
00:26:07.405 --> 00:26:08.925
that we've heard in the show recently, I'm thinking

670
670
00:26:08.925 --> 00:26:10.165
of like Erika Badu we talked about,

671
671
00:26:10.165 --> 00:26:12.205
but like, she sets a vibe with this.

672
672
00:26:12.395 --> 00:26:15.965
Yeah. That is more than just a music nerd's paradise. Yeah.

673
673
00:26:15.965 --> 00:26:18.165
It is a human connection. It's very special.

674
674
00:26:18.515 --> 00:26:21.445
Yeah. And I think maybe not having that baggage of,

675
675
00:26:22.145 --> 00:26:24.885
you know, I mean, certainly she'd heard Ella Fitzgerald,

676
676
00:26:24.905 --> 00:26:25.565
I'm sure, and

677
677
00:26:25.565 --> 00:26:27.045
Sarah Vaughn to a certain degree, but everybody

678
678
00:26:27.045 --> 00:26:28.045
Had Yeah. But I mean, like in

679
679
00:26:28.045 --> 00:26:29.365
her religious family, if they're like,

680
680
00:26:29.365 --> 00:26:30.565
that's the devil's music, you

681
681
00:26:30.565 --> 00:26:31.845
know, probably not listen to it a lot.

682
682
00:26:32.065 --> 00:26:34.005
You know? So she wasn't growing up with that.

683
683
00:26:34.005 --> 00:26:36.525
Like, I'm trying to be, that I'm trying

684
684
00:26:36.525 --> 00:26:37.845
to imitate them or whatever.

685
685
00:26:38.155 --> 00:26:39.645
Perhaps I'm projecting, I mean,

686
686
00:26:39.665 --> 00:26:40.805
I'm doing a little improv now,

687
687
00:26:40.885 --> 00:26:42.085
a little philosophical improv.

688
688
00:26:42.305 --> 00:26:44.885
But perhaps she was able to get the essence of

689
689
00:26:45.025 --> 00:26:47.645
who she was quicker than others because of that.

690
690
00:26:47.905 --> 00:26:51.285
And by the way, the, the, the selection too black is the

691
691
00:26:51.285 --> 00:26:52.765
color of my true love's hair, uh,

692
692
00:26:52.945 --> 00:26:55.805
is a really sophisticated choice Yes.

693
693
00:26:55.865 --> 00:26:57.045
To open this album with,

694
694
00:26:57.065 --> 00:26:58.325
I'm not sure if she opened the show with it.

695
695
00:26:58.335 --> 00:27:00.085
Right. But probably. Um,

696
696
00:27:00.265 --> 00:27:02.165
but it means something different Yes.

697
697
00:27:02.165 --> 00:27:04.565
When she sings it than when a Scottish

698
698
00:27:04.565 --> 00:27:06.565
or Norwegian person sings it.

699
699
00:27:06.565 --> 00:27:07.965
Do you know what I mean? Like, this means, how

700
700
00:27:07.965 --> 00:27:08.965
Could a Norwegian sing it? Don't

701
701
00:27:08.965 --> 00:27:10.205
they all have blonde hair? That's,

702
702
00:27:10.205 --> 00:27:11.205
Oops. You can't

703
703
00:27:11.205 --> 00:27:12.845
say that anymore. But, uh, no.

704
704
00:27:12.845 --> 00:27:13.765
You know what I mean? Like, that's

705
705
00:27:13.765 --> 00:27:14.565
a really beautiful blonde hair.

706
706
00:27:14.565 --> 00:27:16.685
Like she's already commenting on something. Yes.

707
707
00:27:16.685 --> 00:27:20.645
She's already has something to say, which is very, very, uh,

708
708
00:27:20.755 --> 00:27:22.205
promising for the rest of her career,

709
709
00:27:22.345 --> 00:27:23.685
as we will later find out.

710
710
00:27:23.715 --> 00:27:26.205
Yeah. Um, okay. Let's go on to track number two.

711
711
00:27:26.265 --> 00:27:28.365
So for now, for something entirely different. Okay.

712
712
00:27:28.585 --> 00:27:31.925
Um, the diversity of, of like styles,

713
713
00:27:31.925 --> 00:27:34.805
even though this is all piano trio with vocals, you know,

714
714
00:27:34.805 --> 00:27:37.205
it's the jazz trio with, with the vocal singer,

715
715
00:27:37.505 --> 00:27:39.645
but there's such a diversity of styles and grooves.

716
716
00:27:39.645 --> 00:27:41.285
We've already heard that from the first track to this.

717
717
00:27:41.595 --> 00:27:42.685
This is one of the more kind

718
718
00:27:42.685 --> 00:27:43.925
of like swinging or straighter ones.

719
719
00:27:43.965 --> 00:27:45.325
I always love this tune. Exactly Like

720
720
00:27:45.325 --> 00:27:46.325
You man, Jimmy ue. Jimmy

721
721
00:27:46.325 --> 00:27:47.805
Ue killing it. RIP shadow.

722
722
00:27:47.875 --> 00:27:48.965
Yeah. 1930.

723
723
00:27:49.545 --> 00:27:52.245
You know, first, I mean, I think the first big kind of hit,

724
724
00:27:52.245 --> 00:27:53.645
or people hearing this, especially in the jazz

725
725
00:27:53.645 --> 00:27:54.725
style, was Louis Armstrong.

726
726
00:27:54.725 --> 00:27:57.165
Yeah. But everybody recorded this. So let's check this out.

727
727
00:27:57.185 --> 00:28:00.565
And we're gonna get, oh, let me start this again.

728
728
00:28:00.565 --> 00:28:03.165
Just because that first chord, maybe it was fading in,

729
729
00:28:03.165 --> 00:28:06.325
but I love the way that this is some exciting stuff.

730
730
00:28:06.665 --> 00:28:08.205
And should we be keeping in mind too that,

731
731
00:28:08.275 --> 00:28:09.645
that Wilbur Ware and Ben Riley

732
732
00:28:09.645 --> 00:28:11.285
have no idea what's about to happen? No.

733
733
00:28:11.285 --> 00:28:13.205
No, no. So that's why there's a lot of these like intros

734
734
00:28:13.205 --> 00:28:14.405
or kind of extended and stuff.

735
735
00:28:14.525 --> 00:28:15.605
'cause they didn't rehearse, they didn't have,

736
736
00:28:15.775 --> 00:28:17.205
She's teaching them the song She's teaching.

737
737
00:28:17.205 --> 00:28:18.725
It's like, this is the vibe. This is the groove.

738
738
00:28:18.725 --> 00:28:19.925
F*****g not. And there's some funny little

739
739
00:28:19.925 --> 00:28:21.165
things that happen, man.

740
740
00:28:21.395 --> 00:28:23.645
Nuts. They go along like pros with it. It's so good.

741
741
00:28:24.835 --> 00:28:27.685
That almost sounds like inside the piano, perhaps.

742
742
00:28:27.685 --> 00:28:28.725
It does sound a little bit Like that.

743
743
00:28:28.725 --> 00:28:29.725
And she's tapping.

744
744
00:28:31.015 --> 00:28:32.125
She's giving them the temp. Yeah.

745
745
00:28:32.125 --> 00:28:33.125
They don't know what's about to happen.

746
746
00:28:35.825 --> 00:28:36.965
But this is definitely one of those kind

747
747
00:28:36.965 --> 00:28:38.485
of standards you could just call it, you know,

748
748
00:28:38.485 --> 00:28:39.725
good players are gonna know it.

749
749
00:28:40.545 --> 00:28:40.765
Woo.

750
750
00:28:47.475 --> 00:28:51.685
Yeah. Man. Her swing feel is definitely there. Her

751
751
00:28:51.685 --> 00:28:52.685
Feel is legit.

752
752
00:28:52.765 --> 00:28:53.765
Great. Yeah.

753
753
00:28:59.815 --> 00:29:01.245
She's Still been running what she

754
754
00:29:01.245 --> 00:29:02.245
Wants.

755
755
00:29:03.365 --> 00:29:06.165
I had no idea that was the Case. I knew why I waited.

756
756
00:29:08.145 --> 00:29:09.525
Ooh, Knew why

757
757
00:29:09.985 --> 00:29:10.985
I'm been blue. It

758
758
00:29:10.985 --> 00:29:12.285
helps have the swing and rhythm section.

759
759
00:29:12.285 --> 00:29:15.165
Exactly. I've been waiting each day

760
760
00:29:16.585 --> 00:29:19.005
for someone exactly like

761
761
00:29:19.065 --> 00:29:22.325
you. Why? Oh,

762
762
00:29:22.325 --> 00:29:23.325
Ask Peter.

763
763
00:29:23.335 --> 00:29:26.365
Spend some money On

764
764
00:29:26.365 --> 00:29:27.365
The show. Up to,

765
765
00:29:27.365 --> 00:29:28.245
that's

766
766
00:29:28.245 --> 00:29:29.525
A little Sarah thing going up there.

767
767
00:29:30.795 --> 00:29:32.725
Everybody sing songs

768
768
00:29:34.835 --> 00:29:36.525
exactly like you are.

769
769
00:29:37.145 --> 00:29:38.325
You made me feel,

770
770
00:29:45.825 --> 00:29:46.365
you make me.

771
771
00:29:46.425 --> 00:29:47.685
That's kind of Duke Elling today.

772
772
00:29:48.595 --> 00:29:50.765
There's some count basing in Duke ing Yeah. As

773
773
00:29:50.765 --> 00:29:51.765
Well. For sure.

774
774
00:29:51.765 --> 00:29:55.645
Now I

775
775
00:29:55.675 --> 00:30:00.365
know why she taught

776
776
00:30:00.385 --> 00:30:01.405
me to be true.

777
777
00:30:03.545 --> 00:30:08.045
She knew just around the corner was

778
778
00:30:08.685 --> 00:30:09.765
somebody like you.

779
779
00:30:23.755 --> 00:30:25.205
It's a gutsy move to go into double

780
780
00:30:25.205 --> 00:30:26.325
time. Right at right at

781
781
00:30:26.325 --> 00:30:27.325
The top. So clean with

782
782
00:30:27.325 --> 00:30:28.485
it though. She's so clean with,

783
783
00:30:33.955 --> 00:30:35.725
It's Doing a lot of AFL catatonic.

784
784
00:30:35.745 --> 00:30:36.745
And then

785
785
00:30:39.695 --> 00:30:40.695
Black Chords

786
786
00:30:43.355 --> 00:30:45.365
Make me feel so grand.

787
787
00:30:46.965 --> 00:30:49.325
I want to give this word to you.

788
788
00:30:49.455 --> 00:30:50.765
Those black chords were swinging. Yeah.

789
789
00:30:50.945 --> 00:30:53.085
Be you make me understand

790
790
00:30:54.785 --> 00:30:56.925
the he foolish dreams.

791
791
00:30:57.345 --> 00:31:01.485
I'm dreaming out now.

792
792
00:31:01.685 --> 00:31:02.685
I know where

793
793
00:31:04.825 --> 00:31:06.685
And locked in.

794
794
00:31:06.795 --> 00:31:09.365
Damn. And like her coing,

795
795
00:31:09.985 --> 00:31:11.685
it almost seems like she's constantly playing,

796
796
00:31:11.945 --> 00:31:14.085
but every time she comes in, she's like right in there.

797
797
00:31:14.145 --> 00:31:15.845
She knew just around the corner.

798
798
00:31:17.075 --> 00:31:19.325
Hopefully she's dialed there, but she's floating too.

799
799
00:31:20.235 --> 00:31:22.005
Exactly. Like You,

800
800
00:31:24.635 --> 00:31:26.125
They didn't know what was gonna happen hanging

801
801
00:31:26.125 --> 00:31:27.245
Down the E flat.

802
802
00:31:29.865 --> 00:31:31.925
That's, that's some on the gig arranging

803
803
00:31:32.125 --> 00:31:33.245
right there. Pretty

804
804
00:31:33.635 --> 00:31:34.805
That run the end too.

805
805
00:31:34.805 --> 00:31:37.605
Yeah. You know, the, I love, I actually love this album

806
806
00:31:37.605 --> 00:31:38.725
because is that swinging like a gate?

807
807
00:31:38.865 --> 00:31:41.805
Oh my God. Like a well oiled WD 40. I, I'm gonna say it.

808
808
00:31:41.845 --> 00:31:43.965
I think this is definitely her most like swinging

809
809
00:31:43.965 --> 00:31:45.005
album that she has.

810
810
00:31:45.005 --> 00:31:46.805
Right. Where like, later she's gonna get into a lot more

811
811
00:31:47.125 --> 00:31:48.405
orchestration and arrangements

812
812
00:31:48.425 --> 00:31:51.605
and even like on the poppier side of things and

813
813
00:31:51.665 --> 00:31:53.525
or the pop jazz, whatever you wanna call it,

814
814
00:31:53.525 --> 00:31:54.565
mid-century pop side of things.

815
815
00:31:54.565 --> 00:31:56.765
Yeah. But this is like a trio.

816
816
00:31:57.235 --> 00:31:59.565
It's swinging, you know, the solo, I hear,

817
817
00:31:59.795 --> 00:32:01.125
like you said Duke Ellington.

818
818
00:32:01.165 --> 00:32:02.565
I hear Count Bassy. Yeah, I hear a little

819
819
00:32:02.565 --> 00:32:03.805
Oscar Peterson. Like the

820
820
00:32:03.805 --> 00:32:04.925
Little melodies in between the vocal.

821
821
00:32:05.075 --> 00:32:06.485
Yeah. I hear some Errol Garner.

822
822
00:32:06.925 --> 00:32:10.725
I don't hear a lot of Bud Powell or a lot of bird.

823
823
00:32:10.725 --> 00:32:12.485
Like, I don't hear a lot of bebop inter playing.

824
824
00:32:12.485 --> 00:32:13.765
There's a lot of pentatonic. Like you said,

825
825
00:32:13.765 --> 00:32:15.845
there's way more blues than there's bebop for sure.

826
826
00:32:15.845 --> 00:32:16.765
There's pentatonics, there's

827
827
00:32:16.815 --> 00:32:18.045
blues, there's the block chords.

828
828
00:32:18.045 --> 00:32:19.285
There's pure Melody. Maybe a little

829
829
00:32:19.285 --> 00:32:20.285
Pentecostal too. We don't

830
830
00:32:20.285 --> 00:32:21.925
know. Maybe a little Pentatonic Pentecostal.

831
831
00:32:22.065 --> 00:32:24.045
But I don't hear, I don't hear that.

832
832
00:32:24.115 --> 00:32:27.285
Like sort of, um, Wint and Kelly version of this too.

833
833
00:32:27.285 --> 00:32:29.645
Right, right. Where there's like some bebop lines happening

834
834
00:32:29.645 --> 00:32:30.725
underneath that, which is cool.

835
835
00:32:30.725 --> 00:32:32.565
Like it's, it's actually really works.

836
836
00:32:32.775 --> 00:32:35.845
Again, very unique voice on the piano as an improviser.

837
837
00:32:36.025 --> 00:32:37.845
As well as as a vocalist. Right,

838
838
00:32:38.055 --> 00:32:39.055
Right. This

839
839
00:32:39.055 --> 00:32:40.645
is interesting. I'm just seeing in our notes here

840
840
00:32:41.075 --> 00:32:43.685
that we, she was just saying jazz was just part of

841
841
00:32:43.685 --> 00:32:46.085
what she was, but she identified more as a folk singer.

842
842
00:32:46.305 --> 00:32:47.605
That's awesome. Which is an interesting thing.

843
843
00:32:47.605 --> 00:32:49.685
Duke Elling talked about that, you know, being, you know,

844
844
00:32:49.715 --> 00:32:52.165
folk music around the world being the kind

845
845
00:32:52.165 --> 00:32:54.685
of a unifying thing as opposed to a stylistic box, you know.

846
846
00:32:55.865 --> 00:32:57.835
Um, okay.

847
847
00:32:58.375 --> 00:33:02.235
So, uh, let's see. What are we going on to now?

848
848
00:33:02.295 --> 00:33:03.595
Oh, number three, the other woman.

849
849
00:33:03.975 --> 00:33:05.275
So this one, this is the first,

850
850
00:33:05.275 --> 00:33:07.475
there was three tracks on here that they went back

851
851
00:33:07.475 --> 00:33:09.075
and recorded in the studio the next month.

852
852
00:33:09.075 --> 00:33:10.075
This, this record was,

853
853
00:33:10.865 --> 00:33:12.955
this concert was on September 12th, 1959.

854
854
00:33:12.955 --> 00:33:14.795
And then it came out in December. Why can't

855
855
00:33:14.795 --> 00:33:16.635
we have records come out that quick? And came out

856
856
00:33:16.715 --> 00:33:17.715
December, 1959. 19. So

857
857
00:33:17.715 --> 00:33:18.795
pretty much 1960? Well, no,

858
858
00:33:18.795 --> 00:33:20.515
it was Giant Steps came out in 1959.

859
859
00:33:20.515 --> 00:33:21.995
This came out in 1960. No, well, no,

860
860
00:33:21.995 --> 00:33:22.995
No. It was close. But this one

861
861
00:33:22.995 --> 00:33:24.555
actually did come out in 1959.

862
862
00:33:24.625 --> 00:33:25.715
Just trying to rehash that all over. I

863
863
00:33:25.715 --> 00:33:26.835
like it when you lean into your errors.

864
864
00:33:26.835 --> 00:33:27.835
That's, that's one way to do it.

865
865
00:33:28.295 --> 00:33:30.515
Um, but they went back in and recorded,

866
866
00:33:30.535 --> 00:33:33.635
and I couldn't get the story in my research, uh,

867
867
00:33:34.025 --> 00:33:37.515
exactly why, but I, it feels like there was, can

868
868
00:33:37.515 --> 00:33:39.475
I take a guess why they went and rerecorded stuff?

869
869
00:33:39.705 --> 00:33:41.035
They, because they, they just met

870
870
00:33:41.055 --> 00:33:42.755
as the rhythm they just met as the curtain

871
871
00:33:42.855 --> 00:33:43.855
Was rising, I think was, yeah. But then there

872
872
00:33:43.855 --> 00:33:44.835
was some allusions

873
873
00:33:44.835 --> 00:33:46.875
to That's maybe a different rhythm section on here.

874
874
00:33:47.125 --> 00:33:49.035
We're gonna listen, but I, I couldn't actually hear a,

875
875
00:33:50.025 --> 00:33:51.115
it's a different recording.

876
876
00:33:51.115 --> 00:33:53.555
It's in the studio. There's three of these tracks that were,

877
877
00:33:53.665 --> 00:33:56.395
were redone, which is not uncommon on live records at part.

878
878
00:33:56.425 --> 00:33:57.915
Yeah. But this is the other one. We're not gonna listen.

879
879
00:33:58.155 --> 00:34:00.355
I want to get through actually every track, which is unusual

880
880
00:34:00.415 --> 00:34:01.835
for, so we're gonna around a

881
881
00:34:19.405 --> 00:34:19.755
there.

882
882
00:34:19.795 --> 00:34:21.235
I heard some of that, Sarah. I don't know.

883
883
00:34:23.345 --> 00:34:25.275
It's definitely there. It's definitely there. Oh, this

884
884
00:34:25.275 --> 00:34:26.515
Was recorded by Sarah or

885
885
00:34:32.895 --> 00:34:36.715
The other woman, ENC.

886
886
00:34:38.425 --> 00:34:39.835
This, this is a beautiful ballet here.

887
887
00:34:39.975 --> 00:34:41.555
But I was saying, I hear a little bit of that.

888
888
00:34:41.645 --> 00:34:43.035
We're just gonna listen to Sarah again.

889
889
00:34:45.165 --> 00:34:47.395
Build That vibrato

890
890
00:34:49.655 --> 00:34:50.655
To the stars.

891
891
00:34:52.815 --> 00:34:55.275
You know, the, The

892
892
00:34:55.275 --> 00:34:59.275
Nuance usage Of it to the stars.

893
893
00:34:59.655 --> 00:35:00.755
That's a little bit, I don't know,

894
894
00:35:00.755 --> 00:35:02.755
maybe they just both got to that same part with love.

895
895
00:35:02.855 --> 00:35:04.115
And then also like, that's,

896
896
00:35:04.115 --> 00:35:05.995
that's the influence on Nina Simone.

897
897
00:35:06.375 --> 00:35:09.195
The influence coming off, this is Betty Carter in 1960.

898
898
00:35:11.895 --> 00:35:13.275
So a year later, very young

899
899
00:35:13.275 --> 00:35:15.235
Betty Carter, teenage, I believe.

900
900
00:35:18.375 --> 00:35:23.315
Stormy. So Betty's

901
901
00:35:23.315 --> 00:35:24.675
voice higher, and this was kind of

902
902
00:35:24.675 --> 00:35:26.835
before she was Betty Bebop became her nickname.

903
903
00:35:27.375 --> 00:35:30.035
And definitely more, not timid.

904
904
00:35:30.035 --> 00:35:32.355
Her voice is amazing, but like, you can tell the influences.

905
905
00:35:32.355 --> 00:35:33.395
So I think, well, I know,

906
906
00:35:33.475 --> 00:35:34.715
'cause I remember she used to talk about Nina

907
907
00:35:34.715 --> 00:35:35.955
Simone was definitely an influence.

908
908
00:35:36.185 --> 00:35:38.765
Yeah. Uh, on her, uh, being a little bit younger.

909
909
00:35:38.905 --> 00:35:42.165
By the way, I love the genre of the song The Other Woman,

910
910
00:35:42.165 --> 00:35:43.965
which is like, it's a list song, right?

911
911
00:35:43.965 --> 00:35:44.965
Yeah. Like she's listing things.

912
912
00:35:44.965 --> 00:35:47.645
It's a list, but it's a comparative mind list song.

913
913
00:35:47.885 --> 00:35:49.205
Like you're comparing yourself.

914
914
00:35:49.435 --> 00:35:51.845
It's a little bit like, uh, in the tradition, uh,

915
915
00:35:51.845 --> 00:35:54.685
that Jolene Jolly Parton's Jolene would be in.

916
916
00:35:54.685 --> 00:35:57.845
Yeah. You know what I mean? Um, it's a little bit like, uh,

917
917
00:35:58.075 --> 00:35:59.925
there's a, oh, what's the Sinatra one?

918
918
00:35:59.925 --> 00:36:01.005
That's a very similar vibe.

919
919
00:36:01.105 --> 00:36:03.405
Anyway, I love that genre of, first of all,

920
920
00:36:03.405 --> 00:36:04.525
I love list song genres.

921
921
00:36:04.525 --> 00:36:06.405
Yeah. If I Were A Bell is a great list song. Yeah.

922
922
00:36:06.405 --> 00:36:07.725
There's so many. Yeah. But then like,

923
923
00:36:07.725 --> 00:36:11.645
the psychological reversed comparing. Anyway. Right.

924
924
00:36:11.835 --> 00:36:14.405
Mama said Knock You Out by LL Cool J That's a list song.

925
925
00:36:14.785 --> 00:36:16.045
I'm gonna knock you out. And then you go

926
926
00:36:16.045 --> 00:36:17.365
through all the reasons why he's gonna knock you out.

927
927
00:36:17.365 --> 00:36:18.605
Anyway, different show. What

928
928
00:36:18.605 --> 00:36:19.605
Are you musicologist? Amazing.

929
929
00:36:19.605 --> 00:36:21.965
Here's Under the Low Amazing Commentary. This

930
930
00:36:21.965 --> 00:36:23.485
Is one of the only, um,

931
931
00:36:23.845 --> 00:36:25.885
I think there's two instrumentals on

932
932
00:36:25.885 --> 00:36:26.925
here. This is the Blues. That's

933
933
00:36:26.925 --> 00:36:27.925
Why your award winning peak.

934
934
00:36:28.465 --> 00:36:32.765
We hope Original by,

935
935
00:36:32.985 --> 00:36:34.965
um, Nina Simone.

936
936
00:36:34.965 --> 00:36:36.085
And this would've been an easy one.

937
937
00:36:37.665 --> 00:36:40.845
Woo. An easy one to rehearse. To not rehearse.

938
938
00:36:40.845 --> 00:36:42.525
Well, that means he just called the blue. Exactly.

939
939
00:36:42.555 --> 00:36:43.555
What key

940
940
00:36:45.405 --> 00:36:45.845
A Yeah.

941
941
00:36:50.155 --> 00:36:50.645
Unusual

942
942
00:36:50.905 --> 00:36:51.905
Key.

943
943
00:36:52.715 --> 00:36:55.285
This is kind of a classical of musicians.

944
944
00:36:55.575 --> 00:36:57.005
Blues key, wouldn't you say a

945
945
00:36:58.905 --> 00:37:00.965
Oh, You don't get a lot

946
946
00:37:00.965 --> 00:37:02.445
of blues called an A. At least on our

947
947
00:37:02.445 --> 00:37:03.445
Game. Yeah. Horn play's

948
948
00:37:03.445 --> 00:37:04.565
not gonna call this. No.

949
949
00:37:04.725 --> 00:37:07.525
I mean, a guitarist would. Yeah. Down in Sard.

950
950
00:37:11.625 --> 00:37:15.565
That's Duke Elliot right there. Influencer.

951
951
00:37:20.585 --> 00:37:25.245
Ooh. I think this is her best playing

952
952
00:37:25.625 --> 00:37:26.625
Man. Her, her blues

953
953
00:37:26.625 --> 00:37:27.925
playing is so,

954
954
00:37:29.595 --> 00:37:30.595
Come on, Ben Riley.

955
955
00:37:30.865 --> 00:37:32.925
What's up with Ben Reilly's bass drum man. Oh, his

956
956
00:37:32.925 --> 00:37:34.445
Ba He, he drops the bomb.

957
957
00:37:34.445 --> 00:37:35.765
Like, it's nothing. Why can't

958
958
00:37:35.765 --> 00:37:36.765
We get that from more drummers?

959
959
00:37:36.765 --> 00:37:39.245
I know nowadays. That's great. Feels so good.

960
960
00:37:39.625 --> 00:37:42.325
And I feel like Nina Simone, her blues playing is so great

961
961
00:37:42.325 --> 00:37:45.005
because she's not encumbered.

962
962
00:37:45.005 --> 00:37:47.925
The reason I'm saying Duke Ellington is not to be reductive

963
963
00:37:47.925 --> 00:37:49.285
and be like, oh, that's just Duke Ellington.

964
964
00:37:49.585 --> 00:37:52.885
No, I mean, and maybe it's almost like they're not

965
965
00:37:52.935 --> 00:37:56.765
encumbered by that bebop pull, you know what I mean?

966
966
00:37:57.035 --> 00:38:00.765
It's like straight like dia onic blues, like very,

967
967
00:38:00.835 --> 00:38:01.965
very melodic.

968
968
00:38:02.235 --> 00:38:04.725
It's not using any harmonic tricks outside

969
969
00:38:04.725 --> 00:38:06.245
of what's built into the blues.

970
970
00:38:06.245 --> 00:38:07.245
Right.

971
971
00:38:15.555 --> 00:38:16.555
Yeah. Woo.

972
972
00:38:16.795 --> 00:38:18.885
It's like she said it too.

973
973
00:38:19.195 --> 00:38:20.605
It's storytelling. You know what I mean? She

974
974
00:38:20.605 --> 00:38:21.605
Says that a lot on this album. Do

975
975
00:38:21.605 --> 00:38:22.545
you notice? Yeah.

976
976
00:38:23.745 --> 00:38:25.525
Man, she went in this bad boy confident.

977
977
00:38:26.305 --> 00:38:27.445
I'm telling you, her confidence

978
978
00:38:27.445 --> 00:38:28.885
is what makes her so appealing. Which

979
979
00:38:28.885 --> 00:38:31.365
Is crazy because she's 24, 25 years old.

980
980
00:38:31.365 --> 00:38:33.845
Yeah. And, um, she's headlining.

981
981
00:38:33.935 --> 00:38:35.805
Guess who opened up for her at this concert?

982
982
00:38:36.385 --> 00:38:39.965
Uh, you want me to legitimately guess? No.

983
983
00:38:40.035 --> 00:38:42.085
Okay. Horace Silver, Bill Haley

984
984
00:38:42.505 --> 00:38:47.165
And, um, uh, JJ Johnson both, but with their

985
985
00:38:47.165 --> 00:38:49.405
Bands, Horace Silver and JJ Johnson's bands opened.

986
986
00:38:49.405 --> 00:38:50.485
Yeah. She was the headliner

987
987
00:38:50.485 --> 00:38:52.005
of this, her first time with town. I wonder

988
988
00:38:52.005 --> 00:38:53.005
How they felt about that.

989
989
00:38:53.195 --> 00:38:54.245
Well, I mean, you know, they've

990
990
00:38:54.245 --> 00:38:55.245
Been around for A minute time.

991
991
00:38:55.315 --> 00:38:58.085
Yeah. So, I mean, but she came in. Wow. Just killing it.

992
992
00:38:58.275 --> 00:39:02.965
Okay. So that was the Blues original under the lowest. Oh.

993
993
00:39:03.025 --> 00:39:05.125
So this is Irving Berlin's. You can have him.

994
994
00:39:05.125 --> 00:39:06.125
This is fun here

995
995
00:39:16.305 --> 00:39:17.305
To being a harp here.

996
996
00:39:17.555 --> 00:39:22.205
Yeah. Tell him what to do.

997
997
00:39:24.385 --> 00:39:26.045
She just called him in on this. Yeah, yeah. You're right.

998
998
00:39:27.805 --> 00:39:30.965
I don't want him. You can have him.

999
999
00:39:32.395 --> 00:39:34.085
He's not worth fighting for.

1000
1000
00:39:35.145 --> 00:39:37.765
Ooh, that's a Betty card. You definitely got that from,

1001
1001
00:39:39.035 --> 00:39:41.485
Besides there's Pliny more where he came from.

1002
1002
00:39:43.145 --> 00:39:45.125
We gotta talk about Shirley Hors the influence

1003
1003
00:39:45.125 --> 00:39:46.445
of Neon and Shirley too. Yeah,

1004
1004
00:39:46.445 --> 00:39:47.445
Yeah. Yeah. I don't want

1005
1005
00:39:47.445 --> 00:39:50.645
him. You, you can have him.

1006
1006
00:39:52.425 --> 00:39:53.925
I'm giving him the S sock

1007
1007
00:39:56.585 --> 00:40:01.085
and he can

1008
1008
00:40:01.305 --> 00:40:02.445
go right back.

1009
1009
00:40:03.595 --> 00:40:05.405
It's like a boy. She's got the Broadway thing too.

1010
1010
00:40:07.185 --> 00:40:09.805
He is a Broadway song. This is from

1011
1011
00:40:10.465 --> 00:40:11.465
I'm Afraid I Miss Liberty.

1012
1012
00:40:11.705 --> 00:40:13.045
Try it. Loved him

1013
1013
00:40:16.235 --> 00:40:17.235
Sweetie. He'd

1014
1014
00:40:17.235 --> 00:40:18.965
be better off with you.

1015
1015
00:40:19.675 --> 00:40:21.165
This is the verse, right? Yeah.

1016
1016
00:40:22.645 --> 00:40:26.685
I Could never make him

1017
1017
00:40:30.545 --> 00:40:32.285
Wilber wears, like figuring it out. Wil.

1018
1018
00:40:33.265 --> 00:40:34.285
See, I know the verse on this.

1019
1019
00:40:45.265 --> 00:40:49.325
Run my fingers through his curly lives.

1020
1020
00:40:51.335 --> 00:40:54.685
Curly Bend, his underwear

1021
1021
00:40:54.685 --> 00:40:55.885
Rhythmic than anything.

1022
1022
00:40:58.065 --> 00:40:59.685
And his socks.

1023
1023
00:41:03.465 --> 00:41:05.195
Yeah. It's just, it's like so much.

1024
1024
00:41:05.785 --> 00:41:08.925
Yeah, no, I was just gonna say, um, real quick.

1025
1025
00:41:09.345 --> 00:41:10.405
So what we were talking about

1026
1026
00:41:10.405 --> 00:41:12.165
before about like, the sophistication

1027
1027
00:41:12.465 --> 00:41:15.285
of her using triads is something you don't hear a lot

1028
1028
00:41:15.285 --> 00:41:16.845
of jazz p do when they accompany.

1029
1029
00:41:16.875 --> 00:41:19.445
Yeah. Which is like when she hit that, like when they walk

1030
1030
00:41:19.445 --> 00:41:22.405
that down, when the Key V here,

1031
1031
00:41:23.435 --> 00:41:25.085
most jazz pianists on this one

1032
1032
00:41:25.695 --> 00:41:27.485
would play maybe something like this

1033
1033
00:41:28.345 --> 00:41:29.965
at the least, right. By like an E

1034
1034
00:41:30.145 --> 00:41:31.805
Six nine, kind of Six nine thing.

1035
1035
00:41:31.805 --> 00:41:34.445
Yeah. Right. But she straight up went like,

1036
1036
00:41:35.905 --> 00:41:38.525
Da da Like a knee major triad.

1037
1037
00:41:38.525 --> 00:41:40.365
Yeah. Right. Which I, if you're like a, a rock

1038
1038
00:41:40.365 --> 00:41:41.885
or pop musician, you're like, uh, yeah.

1039
1039
00:41:41.905 --> 00:41:43.605
That's called a chord buddy. It's called a chord.

1040
1040
00:41:43.745 --> 00:41:45.725
But we are are kind of, we're

1041
1041
00:41:45.725 --> 00:41:46.445
Fancy. We are

1042
1042
00:41:46.445 --> 00:41:47.925
Fancy and we like these things. We're

1043
1043
00:41:47.925 --> 00:41:48.925
Sophisticated. We're sophisticated,

1044
1044
00:41:48.925 --> 00:41:51.005
but it really works for her man.

1045
1045
00:41:51.005 --> 00:41:52.045
Yeah. And like, that's

1046
1046
00:41:52.045 --> 00:41:53.165
what I'm saying with just like, her being

1047
1047
00:41:53.425 --> 00:41:55.925
Her, because it's like the, like that adds a lot of color

1048
1048
00:41:55.945 --> 00:41:57.605
and nuance to the sort

1049
1049
00:41:57.605 --> 00:41:59.485
of ver vertical thing that's happening.

1050
1050
00:41:59.485 --> 00:42:01.365
Well, but like her voice is able to add

1051
1051
00:42:01.365 --> 00:42:02.605
that when she just does that also,

1052
1052
00:42:02.605 --> 00:42:03.965
Man, it's a dang tonic cord.

1053
1053
00:42:04.325 --> 00:42:05.565
Like it's one, it's what going

1054
1054
00:42:05.565 --> 00:42:07.085
to the e going, you know what I mean?

1055
1055
00:42:07.195 --> 00:42:08.805
No's It's really, really powerful. And

1056
1056
00:42:08.825 --> 00:42:10.605
That's the thing she's got, I was just saying like,

1057
1057
00:42:10.605 --> 00:42:12.165
she's like a broad, she has the drama

1058
1058
00:42:12.705 --> 00:42:14.365
and understanding of the lyric and melody.

1059
1059
00:42:14.365 --> 00:42:15.685
Like a Broadway singer. Yeah.

1060
1060
00:42:15.785 --> 00:42:17.925
But then she brings like the jazz flair

1061
1061
00:42:17.925 --> 00:42:18.965
and the blues inflection.

1062
1062
00:42:19.115 --> 00:42:21.645
It's, it's, and but she considered herself a folk

1063
1063
00:42:21.645 --> 00:42:22.645
Singer. So this is, by the

1064
1064
00:42:22.645 --> 00:42:24.805
way, I did not know this fact that

1065
1065
00:42:25.385 --> 00:42:28.205
Wilbur Ware and Ben Riley were introduced to Nina

1066
1066
00:42:28.205 --> 00:42:29.205
as the curtain was rising.

1067
1067
00:42:30.065 --> 00:42:32.685
And I'm hearing everything now. Totally different.

1068
1068
00:42:32.685 --> 00:42:34.405
Like Yeah. Her calling them in. Yeah.

1069
1069
00:42:34.745 --> 00:42:36.805
Now I'm like, oh, she's just

1070
1070
00:42:37.315 --> 00:42:39.205
arranging on the spot essentially. Stick

1071
1071
00:42:39.205 --> 00:42:40.205
With me buddy. You'll learn some things.

1072
1072
00:42:40.205 --> 00:42:40.845
Okay. Oh my gosh.

1073
1073
00:42:41.585 --> 00:42:42.645
But I've learned so much already.

1074
1074
00:42:44.975 --> 00:42:47.325
Summertime track number six. Never

1075
1075
00:42:47.325 --> 00:42:48.325
Heard of it.

1076
1076
00:42:49.265 --> 00:42:51.085
Ooh. Little foreshadowing there.

1077
1077
00:42:53.745 --> 00:42:55.365
Coming along. Coming along.

1078
1078
00:43:00.665 --> 00:43:02.325
Ooh. So good. Wilbur

1079
1079
00:43:02.535 --> 00:43:03.485
Heard the way they played that

1080
1080
00:43:03.485 --> 00:43:04.925
line. Can I, can I take that back?

1081
1081
00:43:04.955 --> 00:43:06.165
Back it up. Sorry.

1082
1082
00:43:07.185 --> 00:43:08.925
And the fact they didn't know what was gonna happen.

1083
1083
00:43:13.945 --> 00:43:18.085
Ooh, We win.

1084
1084
00:43:25.815 --> 00:43:27.325
She's playing really quiet now.

1085
1085
00:43:27.485 --> 00:43:30.125
'cause remember how soft the drums were before in the mix.

1086
1086
00:43:33.435 --> 00:43:35.285
What A beautiful sound she gets too. Yeah.

1087
1087
00:43:35.355 --> 00:43:37.205
It's just such a great piano sound,

1088
1088
00:43:47.315 --> 00:43:48.315
Blooper Wear.

1089
1089
00:43:49.145 --> 00:43:52.245
Ooh. They're literally arranging it on the spot.

1090
1090
00:43:52.855 --> 00:43:54.285
Collective arrangement.

1091
1091
00:43:58.465 --> 00:44:01.005
And this would've been a song that they all knew. Yeah.

1092
1092
00:44:01.005 --> 00:44:02.445
That every juxtaposition is

1093
1093
00:44:04.865 --> 00:44:06.005
So the way This, and most

1094
1094
00:44:06.005 --> 00:44:07.085
classical musicians know real.

1095
1095
00:44:07.295 --> 00:44:09.245
Right. So the way this was on the original record was

1096
1096
00:44:09.245 --> 00:44:10.965
split up into like, instrumental, but it's,

1097
1097
00:44:12.665 --> 00:44:13.725
and then vocal version.

1098
1098
00:44:16.055 --> 00:44:17.605
Sorry, I fast forward a little bit.

1099
1099
00:44:25.055 --> 00:44:25.725
Great call.

1100
1100
00:44:32.385 --> 00:44:32.805
That's

1101
1101
00:44:32.805 --> 00:44:33.805
Such a great, yeah.

1102
1102
00:44:36.175 --> 00:44:37.485
She's singing the counter melody

1103
1103
00:44:37.505 --> 00:44:39.085
and playing the real melody on top

1104
1104
00:44:46.625 --> 00:44:47.765
And All As

1105
1105
00:44:58.145 --> 00:44:59.145
Are you changing your zone? Change

1106
1106
00:44:59.145 --> 00:45:01.925
my, my apex. These are,

1107
1107
00:45:05.475 --> 00:45:06.475
It's Like two zones.

1108
1108
00:45:08.425 --> 00:45:09.925
Yes. I mean, all this stuff is great.

1109
1109
00:45:10.145 --> 00:45:11.205
I'm, I'm, yeah, I'm going.

1110
1110
00:45:11.345 --> 00:45:12.405
We, we will talk about the apex

1111
1111
00:45:12.405 --> 00:45:14.045
and maybe even come back to it again because Cool.

1112
1112
00:45:14.105 --> 00:45:15.485
But that's such a, like,

1113
1113
00:45:15.715 --> 00:45:17.085
that would probably be the subtlest

1114
1114
00:45:17.115 --> 00:45:18.325
apex moment I've ever done.

1115
1115
00:45:18.345 --> 00:45:19.565
But it's so genius.

1116
1116
00:45:19.755 --> 00:45:21.005
Well, what she does there,

1117
1117
00:45:21.265 --> 00:45:22.605
and like, when you listen to this whole track,

1118
1118
00:45:22.605 --> 00:45:23.885
and I encourage you guys don't just take

1119
1119
00:45:23.885 --> 00:45:25.765
what we're doing for copyright reasons.

1120
1120
00:45:25.825 --> 00:45:27.125
We can't play the whole track. Right.

1121
1121
00:45:27.585 --> 00:45:31.925
But the thing is, it's, it's such a, um, it's such a,

1122
1122
00:45:33.715 --> 00:45:36.285
like this is exactly what great art is.

1123
1123
00:45:36.285 --> 00:45:38.005
Like, it's so beautiful and simple

1124
1124
00:45:38.025 --> 00:45:39.285
and you guys will probably hear that

1125
1125
00:45:39.285 --> 00:45:41.045
and you're like, why are you guys overexplaining it?

1126
1126
00:45:41.045 --> 00:45:44.485
That's just for fun. But like the sophistication, it's,

1127
1127
00:45:44.485 --> 00:45:47.925
it's just like one little way of, it's like taking salt

1128
1128
00:45:47.925 --> 00:45:49.765
and chocolate, whoever figured that out at first.

1129
1129
00:45:49.865 --> 00:45:52.485
Genius. 'cause it works. It shouldn't work, but it does.

1130
1130
00:45:53.085 --> 00:45:54.365
I eat it every night. I can tell you,

1131
1131
00:45:54.385 --> 00:45:55.385
You know, that's an American thing.

1132
1132
00:45:55.425 --> 00:45:57.125
Is that an American thing? Oh, you give some sweet and

1133
1133
00:45:57.145 --> 00:45:58.805
and salty to a European, they don't

1134
1134
00:45:58.805 --> 00:45:59.525
Want that. Yeah. They're gonna kick

1135
1135
00:45:59.525 --> 00:46:00.645
You outta their country. But this

1136
1136
00:46:00.645 --> 00:46:02.565
Is like that way of playing the me up there.

1137
1137
00:46:02.715 --> 00:46:05.725
It's so simple and but sophisticated at the same time.

1138
1138
00:46:05.845 --> 00:46:07.485
I love it. So yeah. What she's doing here in the key

1139
1139
00:46:07.485 --> 00:46:09.885
of D is, you know, normally you would sing

1140
1140
00:46:09.885 --> 00:46:13.605
what the melody is, which would be like summertime

1141
1141
00:46:14.265 --> 00:46:15.645
And A living is easy.

1142
1142
00:46:16.115 --> 00:46:18.165
What she sings is just the tonic. Right? Yeah.

1143
1143
00:46:18.225 --> 00:46:22.085
And summertime. And she holds it. Oh,

1144
1144
00:46:23.255 --> 00:46:25.325
While she plays the melody up high. Yeah.

1145
1145
00:46:25.475 --> 00:46:28.085
It's such a great orchestration technique. It is.

1146
1146
00:46:28.105 --> 00:46:29.725
Is what she's doing. And it's like, and

1147
1147
00:46:29.725 --> 00:46:32.325
Then Ben Riley and Wil were ware are like adding their

1148
1148
00:46:32.325 --> 00:46:35.085
parts to their, they're coming up with this, this, uh,

1149
1149
00:46:35.525 --> 00:46:38.045
spontaneous arrangement that just sounds right.

1150
1150
00:46:38.305 --> 00:46:40.005
And they'd be like, after you do that,

1151
1151
00:46:40.005 --> 00:46:41.325
you'd be like, oh, we, we should never

1152
1152
00:46:41.325 --> 00:46:42.325
Rehearse. You know what? I think we don't

1153
1153
00:46:42.325 --> 00:46:42.805
need to rehearse

1154
1154
00:46:42.805 --> 00:46:43.805
Peter. And there's,

1155
1155
00:46:43.805 --> 00:46:45.445
there's like the, that degree

1156
1156
00:46:45.445 --> 00:46:48.525
of like unexpected that you don't get if you over rehearse.

1157
1157
00:46:48.525 --> 00:46:50.525
It's nice. I think this, I think this young woman has a

1158
1158
00:46:50.525 --> 00:46:51.565
future in the, she has a future.

1159
1159
00:46:51.855 --> 00:46:53.285
She's got a future in this business. Well, you know

1160
1160
00:46:53.285 --> 00:46:54.245
What, let's, this will be a good time for

1161
1161
00:46:54.245 --> 00:46:55.205
us to jump forward a little bit.

1162
1162
00:46:55.445 --> 00:46:58.005
Speaking of a future, here's, but six years later,

1163
1163
00:46:58.705 --> 00:46:59.605
Flying high,

1164
1164
00:47:03.845 --> 00:47:07.445
1965 In the sky, you know how I feel.

1165
1165
00:47:10.395 --> 00:47:13.845
Breathe drifting on by, you know how feel

1166
1166
00:47:16.795 --> 00:47:18.045
it's a new dawn.

1167
1167
00:47:18.745 --> 00:47:22.685
It is a new day. It's a new

1168
1168
00:47:22.835 --> 00:47:24.005
life for me.

1169
1169
00:47:24.475 --> 00:47:27.085
Yeah. It's a new dawn. It's a new day.

1170
1170
00:47:27.675 --> 00:47:29.085
It's a new life for me.

1171
1171
00:47:35.185 --> 00:47:37.005
And I'm feeling good.

1172
1172
00:47:38.875 --> 00:47:43.045
Damn. Such a great, such a,

1173
1173
00:47:43.115 --> 00:47:44.205
such a great story.

1174
1174
00:47:44.205 --> 00:47:48.845
Ridiculously so I feel so, you know,

1175
1175
00:47:48.845 --> 00:47:50.165
there was a whole evolution there and,

1176
1176
00:47:50.385 --> 00:47:52.565
and you might say, okay, this is more indicative.

1177
1177
00:47:52.745 --> 00:47:53.805
The voice is the same,

1178
1178
00:47:54.145 --> 00:47:57.005
but there's like another, like, it's so recognizable,

1179
1179
00:47:57.225 --> 00:47:59.125
but there's like an even more enhanced sort

1180
1180
00:47:59.125 --> 00:48:02.125
of maturity the way to this very simplistic kind

1181
1181
00:48:02.125 --> 00:48:03.325
of like pentatonic based melody.

1182
1182
00:48:03.325 --> 00:48:04.485
And then, and then of course it goes

1183
1183
00:48:04.785 --> 00:48:07.405
So many qualities too that we hear in like a lot

1184
1184
00:48:07.405 --> 00:48:08.845
of well-known modern artists.

1185
1185
00:48:08.955 --> 00:48:12.205
Like whether that's like, you can hear it in Amy Winehouse.

1186
1186
00:48:12.205 --> 00:48:13.605
Yeah. You can even, I was just hearing like

1187
1187
00:48:13.605 --> 00:48:14.725
a little Tracy Chapman.

1188
1188
00:48:14.825 --> 00:48:16.245
Yep. You know, from that.

1189
1189
00:48:16.485 --> 00:48:17.845
Absolutely. Absolutely. Little Fiona

1190
1190
00:48:17.855 --> 00:48:19.365
Apple. Ooh. Like a lot of people.

1191
1191
00:48:19.915 --> 00:48:21.965
Yeah. Nina influenced. Yeah, for

1192
1192
00:48:21.965 --> 00:48:22.965
Sure. Alright, here's track

1193
1193
00:48:22.965 --> 00:48:23.325
seven.

1194
1194
00:48:23.665 --> 00:48:25.885
We got 10 tracks to get through Cotton igel.

1195
1195
00:48:25.885 --> 00:48:30.725
This is an old 19th century American folk song.

1196
1196
00:48:45.775 --> 00:48:47.115
Do you come from

1197
1197
00:48:49.775 --> 00:48:52.755
and where do you go?

1198
1198
00:48:59.685 --> 00:49:01.145
Do you come from,

1199
1199
00:49:11.285 --> 00:49:12.285
You crying?

1200
1200
00:49:12.365 --> 00:49:14.705
No, I got some, uh, I got some moisturizer. Nice.

1201
1201
00:49:15.895 --> 00:49:17.905
They Should play this version at sporting events

1202
1202
00:49:17.905 --> 00:49:19.545
instead of the nineties dance version.

1203
1203
00:49:19.685 --> 00:49:21.745
That's like you think. And I'm on a Cotton

1204
1204
00:49:22.495 --> 00:49:23.745
Been, Yeah. This

1205
1205
00:49:23.745 --> 00:49:24.785
Has been Country fight, hasn't it?

1206
1206
00:49:25.185 --> 00:49:26.865
I would love to hear this. The Cardinals game, honestly.

1207
1207
00:49:27.875 --> 00:49:28.905
There you go. Um,

1208
1208
00:49:29.845 --> 00:49:31.385
now we're gonna move actually Track eight.

1209
1209
00:49:31.385 --> 00:49:32.905
For some reason I don't have, what was Track eight?

1210
1210
00:49:32.905 --> 00:49:34.585
Oh, we turn home. I've got the LP here.

1211
1211
00:49:34.845 --> 00:49:35.745
We don't have that, but that's okay.

1212
1212
00:49:35.785 --> 00:49:36.465
'cause we're running outta time.

1213
1213
00:49:36.465 --> 00:49:38.945
Anyway, we're gonna start to kind of, we're going

1214
1214
00:49:38.945 --> 00:49:40.105
to get towards the end of here,

1215
1215
00:49:40.105 --> 00:49:42.105
but I wanna jump into a few categories

1216
1216
00:49:42.105 --> 00:49:46.985
because this one I believe you have as this is, uh,

1217
1217
00:49:47.095 --> 00:49:48.105
wild As the Wind.

1218
1218
00:49:48.925 --> 00:49:50.265
Yes. This is my Desert Island

1219
1219
00:49:50.265 --> 00:49:51.265
Track. This is your desert Island

1220
1220
00:49:51.265 --> 00:49:51.745
track.

1221
1221
00:49:51.745 --> 00:49:52.825
Yeah. Okay. So we're gonna check this out.

1222
1222
00:49:52.855 --> 00:49:54.025
It's a beautiful song. It is.

1223
1223
00:50:08.015 --> 00:50:09.905
Love Me. Love Me.

1224
1224
00:50:12.775 --> 00:50:13.985
This Is another one that was in the

1225
1225
00:50:13.985 --> 00:50:15.505
studio, not for the live version.

1226
1226
00:50:15.535 --> 00:50:17.585
This is written by Dmitri Temkin

1227
1227
00:50:17.585 --> 00:50:21.625
and Ned Washington for the 1957 film Island is The Wind.

1228
1228
00:50:21.895 --> 00:50:22.185
Yeah.

1229
1229
00:50:38.825 --> 00:50:39.245
So good.

1230
1230
00:50:39.835 --> 00:50:43.045
Give me more Than

1231
1231
00:50:43.625 --> 00:50:44.625
One.

1232
1232
00:50:48.245 --> 00:50:51.245
I just really, I love, I love the song itself.

1233
1233
00:50:51.405 --> 00:50:54.365
I love the lyrics, but I also love that it really leans on,

1234
1234
00:50:54.385 --> 00:50:56.365
you know, like the ninth of the chord.

1235
1235
00:50:56.365 --> 00:50:58.685
Yeah. A lot. It leans on some really odd notes.

1236
1236
00:50:58.745 --> 00:51:01.085
And to hear again, this amazing voice

1237
1237
00:51:01.085 --> 00:51:04.005
that she has this unique, uh, soul that comes

1238
1238
00:51:04.125 --> 00:51:07.085
through in her singing for her to lay on those notes

1239
1239
00:51:07.085 --> 00:51:10.245
that aren't, um, folk song notes.

1240
1240
00:51:10.245 --> 00:51:11.925
Right, right. That is more of,

1241
1241
00:51:12.285 --> 00:51:14.565
I I would say like a jazz musician. Kind of like melody,

1242
1242
00:51:14.655 --> 00:51:15.655
Right? Yeah. Melodic

1243
1243
00:51:15.655 --> 00:51:16.765
movement through the Ballad.

1244
1244
00:51:16.765 --> 00:51:18.245
More jazz. It sounds like Mount Davis. Exactly. Right.

1245
1245
00:51:18.245 --> 00:51:21.085
You know, and I love her in that zone. Yeah.

1246
1246
00:51:21.105 --> 00:51:23.605
And it was, it was originally sung by Johnny Mathis.

1247
1247
00:51:23.625 --> 00:51:25.765
So, so, you know, I don't know exactly

1248
1248
00:51:25.765 --> 00:51:27.525
where the influences for this.

1249
1249
00:51:27.675 --> 00:51:30.205
This is Shirley Horn's original

1250
1250
00:51:30.205 --> 00:51:31.565
recording, but she definitely love

1251
1251
00:51:31.665 --> 00:51:34.045
Me Of the same song.

1252
1252
00:51:34.275 --> 00:51:35.845
Love me. So two years later,

1253
1253
00:51:36.945 --> 00:51:38.485
Say you do

1254
1254
00:51:41.915 --> 00:51:42.915
Similar Vibes.

1255
1255
00:51:42.915 --> 00:51:43.915
Yeah.

1256
1256
00:51:44.255 --> 00:51:48.245
Lemme fly Away with You

1257
1257
00:51:48.395 --> 00:51:49.395
Beautiful song.

1258
1258
00:51:50.505 --> 00:51:51.965
And then this is Shirley Horn.

1259
1259
00:51:52.665 --> 00:51:54.725
Here's to Life Jumping ahead to the early nineties.

1260
1260
00:51:54.725 --> 00:51:55.725
We've covered this one.

1261
1261
00:51:57.795 --> 00:52:02.445
Love me. Love me. Save. You do.

1262
1262
00:52:02.785 --> 00:52:04.485
Wow. Yeah. Yeah.

1263
1263
00:52:07.185 --> 00:52:09.085
Oh, that one. Got that, that one always gets it.

1264
1264
00:52:09.165 --> 00:52:10.885
I have, he loves this record. Man. I've got

1265
1265
00:52:10.885 --> 00:52:11.965
A moisturizer in my eye, man.

1266
1266
00:52:12.505 --> 00:52:14.205
You know, you don't, you, you, you hadn't looked like

1267
1267
00:52:14.205 --> 00:52:15.245
you'd had a dry eye before.

1268
1268
00:52:15.245 --> 00:52:17.165
You didn't need to put moisturizer in. You're all good.

1269
1269
00:52:17.905 --> 00:52:19.165
Um, cool.

1270
1270
00:52:19.165 --> 00:52:20.605
Alright, we got one more track,

1271
1271
00:52:20.625 --> 00:52:25.445
but let's get to some, uh, actually no, let's listen

1272
1272
00:52:25.445 --> 00:52:27.605
to a little bit of this because this is not officially

1273
1273
00:52:27.925 --> 00:52:29.125
'cause I switched my Apex moment.

1274
1274
00:52:29.195 --> 00:52:31.805
Okay. But this is a great, this is fine. And Melon fine.

1275
1275
00:52:31.805 --> 00:52:35.165
And Meow the, the classic Billy Holiday.

1276
1276
00:52:38.305 --> 00:52:39.645
My manny don't love me,

1277
1277
00:52:41.465 --> 00:52:43.325
he teach me. Oh, show me.

1278
1278
00:52:43.545 --> 00:52:45.405
So Nina Moon had definitely hurt Billy Hol.

1279
1279
00:52:45.445 --> 00:52:46.805
I mean, you can tell from this. Yeah.

1280
1280
00:52:47.365 --> 00:52:49.645
Famously there's that video, right?

1281
1281
00:52:49.745 --> 00:52:50.725
Yes. Billy Holiday

1282
1282
00:52:50.725 --> 00:52:51.885
singing this. I forget what the name of that.

1283
1283
00:52:52.105 --> 00:52:54.925
Ben Webster. Yeah, Jerry Mulligan. That's

1284
1284
00:52:55.045 --> 00:52:56.045
Right.

1285
1285
00:52:56.395 --> 00:52:58.445
That was like early fifties I

1286
1286
00:52:58.445 --> 00:52:59.525
Think. I think so. Yeah.

1287
1287
00:53:00.475 --> 00:53:04.085
I've ever seen, Man, she wrote this in 1939.

1288
1288
00:53:04.505 --> 00:53:05.605
Really? Holiday. Yeah.

1289
1289
00:53:05.905 --> 00:53:07.805
My baby wears high peg pants

1290
1290
00:53:09.425 --> 00:53:12.005
And like beat Simon Old's choice of when not to comp

1291
1291
00:53:12.425 --> 00:53:16.085
or to play on the piano is really cool and important

1292
1292
00:53:16.475 --> 00:53:18.525
Baby with hot pig pants.

1293
1293
00:53:19.235 --> 00:53:22.205
Yeah. Stripes are really yellow.

1294
1294
00:53:23.195 --> 00:53:24.205
Stripes are really yellow.

1295
1295
00:53:24.795 --> 00:53:29.405
When he starts in to love me, he's so fried and mellow.

1296
1296
00:53:29.545 --> 00:53:30.925
Can I get you a wet nap or something for

1297
1297
00:53:30.925 --> 00:53:31.925
Your eye? S SPF 30

1298
1298
00:53:31.925 --> 00:53:32.645
in my eye, man.

1299
1299
00:53:33.675 --> 00:53:37.285
Love will make you drink and gamble. Make it stay

1300
1300
00:53:37.285 --> 00:53:38.285
Back. Is it a break or not a break?

1301
1301
00:53:38.285 --> 00:53:38.725
It doesn't

1302
1302
00:53:38.725 --> 00:53:39.925
matter. Ben Riley's gonna keep going.

1303
1303
00:53:40.325 --> 00:53:41.525
That's right. He just played right

1304
1304
00:53:41.525 --> 00:53:42.765
through it. He didn't know

1305
1305
00:53:43.635 --> 00:53:45.485
Love will make you drink again if you,

1306
1306
00:53:45.885 --> 00:53:47.605
I mean, you guys, you meant to do it.

1307
1307
00:53:47.605 --> 00:53:49.325
Yeah, that's right. That's so awesome, man.

1308
1308
00:53:49.475 --> 00:53:51.245
Like I said, I gotta, now I gotta go listen to this

1309
1309
00:53:51.305 --> 00:53:52.805
and like hear all these things that are happening.

1310
1310
00:53:53.235 --> 00:53:54.235
Amazing.

1311
1311
00:53:55.195 --> 00:53:57.365
Yeah. But what a cool thing to have something that was

1312
1312
00:53:57.365 --> 00:53:59.685
that spontaneous to be preserved for.

1313
1313
00:53:59.995 --> 00:54:01.325
It's beautiful feels Preserved.

1314
1314
00:54:01.325 --> 00:54:02.765
It's not just like, oh, that's a fun thing,

1315
1315
00:54:02.765 --> 00:54:04.965
but it's like, no, this is a great record to listen

1316
1316
00:54:04.965 --> 00:54:05.965
To. You know? I mean, buddy, how

1317
1317
00:54:05.965 --> 00:54:07.125
many live shows have you been

1318
1318
00:54:07.125 --> 00:54:09.365
with at where like people are just meeting each other

1319
1319
00:54:09.365 --> 00:54:10.685
for the first time and it's a great

1320
1320
00:54:10.685 --> 00:54:11.805
vibe. You're getting to know each other.

1321
1321
00:54:11.995 --> 00:54:13.405
I've been at 'em, but that's like

1322
1322
00:54:13.425 --> 00:54:14.565
one outta 10, to be honest.

1323
1323
00:54:14.715 --> 00:54:15.765
When they're good. Yeah.

1324
1324
00:54:15.805 --> 00:54:16.845
I mean it's like, it feels good,

1325
1325
00:54:16.845 --> 00:54:17.845
but if you were to listen back

1326
1326
00:54:17.845 --> 00:54:19.085
to a lot of those, you'd be like, ugh.

1327
1327
00:54:19.745 --> 00:54:21.525
It wouldn't be as consistent as this. I would say.

1328
1328
00:54:21.545 --> 00:54:23.005
That's okay. That's unusual.

1329
1329
00:54:23.155 --> 00:54:24.925
I'll give you that. But occasionally, yeah,

1330
1330
00:54:24.985 --> 00:54:26.245
you do get some really good energy.

1331
1331
00:54:26.345 --> 00:54:27.645
Of course, for sure. Because everybody's like,

1332
1332
00:54:27.645 --> 00:54:29.645
what's gonna happen for like, when the musicians kind

1333
1333
00:54:29.645 --> 00:54:31.125
of don't know, there's like this excitement

1334
1334
00:54:31.125 --> 00:54:32.205
and danger in the air is great.

1335
1335
00:54:32.205 --> 00:54:34.285
Yeah. And you guys might not realize when you hear this

1336
1336
00:54:34.285 --> 00:54:35.605
because it's such great performing,

1337
1337
00:54:35.605 --> 00:54:36.885
but there is an, I mean,

1338
1338
00:54:37.065 --> 00:54:39.605
Nina's probably the most confident on there in a way,

1339
1339
00:54:39.825 --> 00:54:42.125
but Wilbur Ware, I mean, because she's leading the thing.

1340
1340
00:54:42.125 --> 00:54:43.365
Yeah. But they are like,

1341
1341
00:54:43.625 --> 00:54:45.205
you wouldn't know that they never played

1342
1342
00:54:45.365 --> 00:54:46.365
Together. Well, let's be honest here. Wilbur

1343
1343
00:54:46.365 --> 00:54:46.765
Ware

1344
1344
00:54:46.765 --> 00:54:48.525
and Ben Riley are, they're good.

1345
1345
00:54:48.525 --> 00:54:49.965
They're pros. I guess they're pros.

1346
1346
00:54:49.965 --> 00:54:51.165
Like it's, this isn't their first time

1347
1347
00:54:51.165 --> 00:54:52.005
that they've accompanied someone

1348
1348
00:54:52.005 --> 00:54:52.805
without a rehearsal. Are you

1349
1349
00:54:52.805 --> 00:54:53.805
Saying it's not their first rodeo? Definitely.

1350
1350
00:54:53.805 --> 00:54:55.125
You're about to say it. Definitely

1351
1351
00:54:55.125 --> 00:54:56.125
Not. I'll say it. These are two masters.

1352
1352
00:54:56.125 --> 00:54:57.405
So yeah, we're

1353
1353
00:54:57.405 --> 00:54:58.485
Getting to some categories here.

1354
1354
00:54:58.485 --> 00:54:59.725
Let's do it. Desert Island tracks.

1355
1355
00:54:59.725 --> 00:55:01.845
You already said yours is wild as the wind. That's great.

1356
1356
00:55:02.005 --> 00:55:03.365
I mean, that one would be correct.

1357
1357
00:55:03.805 --> 00:55:05.245
I said exactly like you just,

1358
1358
00:55:05.245 --> 00:55:08.165
because it's probably in, in a way, the most sort

1359
1359
00:55:08.165 --> 00:55:10.405
of stylistically atypical on this.

1360
1360
00:55:10.505 --> 00:55:12.645
But like, I don't know, needless is swinging so hard.

1361
1361
00:55:12.985 --> 00:55:14.965
Wilbur and band of course is. I mean, I don't know.

1362
1362
00:55:15.115 --> 00:55:16.325
It's just such a fun thing.

1363
1363
00:55:16.405 --> 00:55:19.245
I love that song and I think it's so, it's, it's probably,

1364
1364
00:55:20.285 --> 00:55:22.605
I I can just listen to that every day on my desert on We'll

1365
1365
00:55:22.605 --> 00:55:23.325
Allow it. We'll allow it.

1366
1366
00:55:23.325 --> 00:55:24.685
Okay. Uh, apex moment.

1367
1367
00:55:25.265 --> 00:55:26.525
So I have this portion

1368
1368
00:55:26.625 --> 00:55:28.245
of the under the lowest solo, right?

1369
1369
00:55:28.245 --> 00:55:29.565
Yeah. Which is that blues. Yeah.

1370
1370
00:55:29.625 --> 00:55:32.045
Uh, starting at about a minute 30 Peter, if you don't mind.

1371
1371
00:55:33.315 --> 00:55:35.725
Here we go. She gets into this repeated note,

1372
1372
00:55:37.945 --> 00:55:38.945
Huh? Yeah. Yeah. It sounds very

1373
1373
00:55:38.945 --> 00:55:39.485
modern.

1374
1374
00:55:39.835 --> 00:55:40.125
Yeah.

1375
1375
00:55:50.355 --> 00:55:52.085
Like, Is that Brad Mill now?

1376
1376
00:55:52.215 --> 00:55:54.445
Right. And shout out to Ben Riley

1377
1377
00:55:54.625 --> 00:55:58.965
for not going

1378
1378
00:55:58.975 --> 00:56:00.165
crazy. Yeah,

1379
1379
00:56:00.395 --> 00:56:01.395
Yeah, yeah. And then the,

1380
1380
00:56:01.395 --> 00:56:02.685
yeah, at the end it's all just like,

1381
1381
00:56:02.685 --> 00:56:03.805
that's such a great, that's a great

1382
1382
00:56:03.805 --> 00:56:05.125
cherry on top. That's my favorite part.

1383
1383
00:56:05.245 --> 00:56:07.005
I think the, the, the mini apex moments on

1384
1384
00:56:07.005 --> 00:56:08.045
here are so understated.

1385
1385
00:56:08.065 --> 00:56:11.205
That's, that's the fun part about it, you know? Um, yeah.

1386
1386
00:56:11.305 --> 00:56:15.045
And so the summertime when as we explained the two zones

1387
1387
00:56:15.045 --> 00:56:16.485
for me, that is the, uh, well,

1388
1388
00:56:16.485 --> 00:56:18.685
when she's playing the melody and top singing,

1389
1389
00:56:18.685 --> 00:56:20.165
Singing the tonic, The

1390
1390
00:56:20.165 --> 00:56:21.685
Counter melody, and then eventually she sings like the

1391
1391
00:56:21.685 --> 00:56:23.405
fifth when it goes to the five chord. Yeah.

1392
1392
00:56:23.505 --> 00:56:24.725
But she's still like, storytelling

1393
1393
00:56:24.725 --> 00:56:25.925
with, with, with both of them.

1394
1394
00:56:26.035 --> 00:56:27.405
It's like she's telling two different stories.

1395
1395
00:56:27.475 --> 00:56:29.605
It's f*****g amazing. You know, it's really fun.

1396
1396
00:56:29.825 --> 00:56:31.645
Uh, bespoke playlist. What you got?

1397
1397
00:56:32.025 --> 00:56:33.045
Uh, I, wait, you Know what?

1398
1398
00:56:33.045 --> 00:56:33.805
We have a lot of new

1399
1399
00:56:33.805 --> 00:56:35.405
listeners and viewers. Did you know that?

1400
1400
00:56:35.505 --> 00:56:37.165
Did you just ask me a question and interrupt me? Yes,

1401
1401
00:56:37.165 --> 00:56:38.165
I did. Okay. I,

1402
1402
00:56:38.165 --> 00:56:39.245
I, I, no, I just want you to,

1403
1403
00:56:39.305 --> 00:56:40.925
can you let people know what we're talking about?

1404
1404
00:56:41.065 --> 00:56:43.365
We assume everyone knows what we mean by bespoke

1405
1405
00:56:43.565 --> 00:56:44.565
Playlist. Okay. That's actually a great call.

1406
1406
00:56:44.565 --> 00:56:46.325
So, bespoke playlist is,

1407
1407
00:56:46.385 --> 00:56:47.485
Did you just question me and then come

1408
1408
00:56:47.485 --> 00:56:48.965
back and dap me up right after that? No.

1409
1409
00:56:49.035 --> 00:56:52.805
Okay. Bespoke playlist is, uh, imagine a playlist

1410
1410
00:56:52.835 --> 00:56:57.325
that was created by a Spotify Apple Music YouTube user,

1411
1411
00:56:57.695 --> 00:57:00.885
where they put their favorite things into a playlist

1412
1412
00:57:00.985 --> 00:57:03.845
and they give it a stupid name, which people love to do.

1413
1413
00:57:04.185 --> 00:57:06.125
And so we thought, well, we can do this with this album.

1414
1414
00:57:06.225 --> 00:57:07.885
If this album were to appear in one

1415
1415
00:57:07.885 --> 00:57:09.045
of those bespoke playlists,

1416
1416
00:57:09.115 --> 00:57:10.805
what would be the stupid name we would give it? I'm

1417
1417
00:57:10.805 --> 00:57:11.805
Glad I had you explain it. I never knew there

1418
1418
00:57:11.805 --> 00:57:13.325
was a stu stupid angle to it.

1419
1419
00:57:13.805 --> 00:57:15.245
I mean, everything we do has a little bit

1420
1420
00:57:15.245 --> 00:57:16.445
of a stupid angle to it appear.

1421
1421
00:57:16.705 --> 00:57:19.325
But I have, for this one, I have from Conservatory

1422
1422
00:57:19.505 --> 00:57:20.645
to the club and you got it.

1423
1423
00:57:20.765 --> 00:57:21.805
Not my best work, but it works.

1424
1424
00:57:21.805 --> 00:57:24.205
You've got it. The both Cs are capitalized. I like that.

1425
1425
00:57:24.635 --> 00:57:27.205
I've got it. I'm calling this quartet of three. Okay.

1426
1426
00:57:27.315 --> 00:57:29.605
What that which is both stupid and crafty at the same time.

1427
1427
00:57:29.835 --> 00:57:30.925
Well, because it's a

1428
1428
00:57:31.085 --> 00:57:32.165
Trio quartet of three,

1429
1429
00:57:32.265 --> 00:57:33.605
But there's four instruments playing.

1430
1430
00:57:35.925 --> 00:57:37.825
It sounds like a, I Confused him. Look at him.

1431
1431
00:57:38.135 --> 00:57:39.145
He's doing the math now.

1432
1432
00:57:39.455 --> 00:57:41.305
He's like, it sounds like a Max Jazz album.

1433
1433
00:57:41.795 --> 00:57:44.505
Corte a Max Jazz album.

1434
1434
00:57:44.745 --> 00:57:47.465
A Max Jazz album. Quibble Bits.

1435
1435
00:57:47.465 --> 00:57:48.665
Should we explain quibble bits

1436
1436
00:57:48.665 --> 00:57:49.665
Too? Yes. Should we explain

1437
1437
00:57:49.665 --> 00:57:50.825
The Show? Are we overexplaining it?

1438
1438
00:57:51.565 --> 00:57:53.305
Uh, Quibble. I think that one's self-explanatory.

1439
1439
00:57:53.605 --> 00:57:56.825
You got any quibble bits? Um, just, you know,

1440
1440
00:57:57.225 --> 00:57:58.905
I think there's a little bit of inconsistency

1441
1441
00:57:58.925 --> 00:58:01.825
as you would have for the sound and the vibe,

1442
1442
00:58:01.965 --> 00:58:03.465
and possibly even on the rhythm section.

1443
1443
00:58:03.485 --> 00:58:06.385
We don't know between the, the three studio redos.

1444
1444
00:58:06.645 --> 00:58:08.825
Um, although you can tell they mixed it in a way to try

1445
1445
00:58:08.825 --> 00:58:10.585
to make it sound like you almost wouldn't know. Did

1446
1446
00:58:10.585 --> 00:58:11.745
They add tape, tape p**s to the studio?

1447
1447
00:58:12.055 --> 00:58:13.545
They, I mean, there's a lot of reverb.

1448
1448
00:58:13.825 --> 00:58:16.265
Probably more than, yeah, there's a town hall reverb

1449
1449
00:58:16.265 --> 00:58:17.185
That was probably, Sam, can you add

1450
1450
00:58:17.185 --> 00:58:18.185
some tape p**s to the show please?

1451
1451
00:58:18.845 --> 00:58:20.665
You know, so to me that gives it a little bit

1452
1452
00:58:20.665 --> 00:58:22.385
of an inconsistent vibe.

1453
1453
00:58:22.485 --> 00:58:24.265
And the order seems like it is not,

1454
1454
00:58:24.325 --> 00:58:26.385
it doesn't feel like this is the way

1455
1455
00:58:26.385 --> 00:58:27.425
it was presented, which is fine.

1456
1456
00:58:27.425 --> 00:58:29.065
You can change, but I love live albums when it's

1457
1457
00:58:29.065 --> 00:58:30.185
like from beginning to end.

1458
1458
00:58:30.265 --> 00:58:32.425
I, there's, I have no quibble bits with any of the tracks.

1459
1459
00:58:32.505 --> 00:58:33.505
I think they're all,

1460
1460
00:58:33.525 --> 00:58:35.385
and it's probably put together in, in the best way.

1461
1461
00:58:35.385 --> 00:58:36.865
But this is not, the sequencing

1462
1462
00:58:36.865 --> 00:58:39.665
and the vibe inconsistency is a little bit off

1463
1463
00:58:39.685 --> 00:58:40.685
For me. Yeah. Mine

1464
1464
00:58:40.685 --> 00:58:41.465
is very similar.

1465
1465
00:58:41.565 --> 00:58:44.105
The the sound is noisy. That tape p**s is,

1466
1466
00:58:44.105 --> 00:58:45.105
Well just come out and say it. The

1467
1467
00:58:45.105 --> 00:58:46.345
sound is noisy. Got it. Sound

1468
1468
00:58:46.345 --> 00:58:47.905
Is noisy. And I would, there's

1469
1469
00:58:47.905 --> 00:58:48.625
Some p**s. You

1470
1470
00:58:48.625 --> 00:58:49.625
Know. A and that's

1471
1471
00:58:49.625 --> 00:58:50.305
a very,

1472
1472
00:58:50.615 --> 00:58:52.025
it's actually a pretty small quibble bit

1473
1473
00:58:52.025 --> 00:58:53.505
because a live albums,

1474
1474
00:58:53.505 --> 00:58:55.305
especially if it's a fifties live album,

1475
1475
00:58:55.805 --> 00:58:57.025
I'm not expecting it to sound

1476
1476
00:58:57.025 --> 00:58:58.105
like kind of blue. You know what I mean?

1477
1477
00:58:58.155 --> 00:59:01.225
60 59. We don't know. It Was, we don't know.

1478
1478
00:59:01.665 --> 00:59:03.905
S anter. Now this, we really have to, because I look

1479
1479
00:59:03.925 --> 00:59:05.345
To your, we should not even Talk about No, no, no.

1480
1480
00:59:05.345 --> 00:59:06.905
We have to explain it because on, don't know. We don't

1481
1481
00:59:06.925 --> 00:59:07.925
To, we can't explain it.

1482
1482
00:59:07.975 --> 00:59:09.985
There's no explanation for the snow. Well, but

1483
1483
00:59:10.225 --> 00:59:12.585
You've, you're really getting aggressive here with your

1484
1484
00:59:13.305 --> 00:59:15.145
Sno Sno bombers from one to 10,

1485
1485
00:59:15.145 --> 00:59:17.585
formerly the SnoBall meter. But you,

1486
1486
00:59:17.805 --> 00:59:19.185
I'm tired of these weak ass fives, Peter.

1487
1487
00:59:19.725 --> 00:59:20.785
That's true. But,

1488
1488
00:59:20.885 --> 00:59:24.325
but explain why you're giving it a one. Because I see that big

1489
1489
00:59:24.345 --> 00:59:26.285
Fat, I'm giving it a one because I think it's very,

1490
1490
00:59:26.395 --> 00:59:27.605
very not snobby.

1491
1491
00:59:27.685 --> 00:59:30.245
I think it's very, very available to your average listener

1492
1492
00:59:30.505 --> 00:59:31.685
who doesn't know anything about jazz.

1493
1493
00:59:32.155 --> 00:59:34.885
Yeah. But this is, okay. That doesn't make any sense.

1494
1494
00:59:35.145 --> 00:59:37.565
Why, because this is probably like, if you were to say,

1495
1495
00:59:37.565 --> 00:59:39.405
what's your favorite, if I were

1496
1496
00:59:39.405 --> 00:59:40.965
to ask you what's your favorite Nina Simone record

1497
1497
00:59:41.225 --> 00:59:44.125
and you said Sim Nina Simone at Town Hall, you'd be like,

1498
1498
00:59:44.185 --> 00:59:46.005
you would be the Snubbies Jazziest

1499
1499
00:59:46.825 --> 00:59:48.485
guy wearing a blue blazer.

1500
1500
00:59:49.395 --> 00:59:52.125
Okay. That's, that's a But you've, you've reduced it down

1501
1501
00:59:52.125 --> 00:59:54.525
to the category of Nina Simone, if I, if you were to say,

1502
1502
00:59:54.525 --> 00:59:56.725
what's your favorite, uh, jazz album?

1503
1503
00:59:56.865 --> 00:59:58.885
And I said, Nina Simone Live at Town Hall, you'd be like,

1504
1504
00:59:58.885 --> 01:00:00.765
that's pretty commercial, don't you think? You

1505
1505
01:00:00.765 --> 01:00:01.765
Know what I mean? I don't know.

1506
1506
01:00:01.765 --> 01:00:03.365
Well, maybe you're right.

1507
1507
01:00:03.365 --> 01:00:05.445
So I that, that's why I put two or nine.

1508
1508
01:00:05.885 --> 01:00:06.925
'cause I wasn't sure which one of

1509
1509
01:00:06.925 --> 01:00:08.405
those. Look at that. I've got it there.

1510
1510
01:00:08.405 --> 01:00:10.045
Maybe we should explain the category to you, Peter.

1511
1511
01:00:10.665 --> 01:00:11.685
No, it's a two or nine,

1512
1512
01:00:11.685 --> 01:00:13.005
depending on which way we look at it.

1513
1513
01:00:13.005 --> 01:00:15.005
Let's move on. Uh, average of five.

1514
1514
01:00:15.265 --> 01:00:19.565
Is it better than kind of blue? Nope. Nope. Uh, acc malts.

1515
1515
01:00:19.835 --> 01:00:22.725
Okay. I'm gonna get mine first, if that's okay. Go ahead.

1516
1516
01:00:22.905 --> 01:00:25.605
Uh, because I'm, I'm very surprised by yours.

1517
1517
01:00:25.745 --> 01:00:26.765
I'm going with a seven.

1518
1518
01:00:27.425 --> 01:00:29.405
And that's really low for me in a way,

1519
1519
01:00:29.835 --> 01:00:32.605
because like, I'm not crazy about the picture

1520
1520
01:00:32.705 --> 01:00:33.805
of Nina Simone,

1521
1521
01:00:34.365 --> 01:00:35.965
although it's like compositionally, it's interesting.

1522
1522
01:00:35.965 --> 01:00:37.005
You've got these mics here.

1523
1523
01:00:37.395 --> 01:00:40.085
It's out of focus, but it's just not a great

1524
1524
01:00:40.085 --> 01:00:41.125
picture, I don't think.

1525
1525
01:00:41.765 --> 01:00:44.405
I mean, you, you can go look at it, but I love this design.

1526
1526
01:00:44.475 --> 01:00:46.685
Like, I love the combination.

1527
1527
01:00:46.985 --> 01:00:49.605
Uh, you know, it, it is really interesting. The, so you

1528
1528
01:00:49.605 --> 01:00:51.165
See this design, you mean the Nina that's at the top?

1529
1529
01:00:51.775 --> 01:00:54.005
Multi topography, multicolored block typography.

1530
1530
01:00:54.105 --> 01:00:56.765
It reminds me of Zoom, zoom, zoom, zoom, zoom, zoom,

1531
1531
01:00:56.795 --> 01:00:58.965
zoom on PBS in the seventies. Oh,

1532
1532
01:00:58.965 --> 01:00:59.965
Yeah, I know what you're talking about. Okay. Yeah. Yeah.

1533
1533
01:00:59.965 --> 01:01:00.725
I gave it a two.

1534
1534
01:01:01.345 --> 01:01:03.405
And the only reason it gets a two and not a one is

1535
1535
01:01:03.405 --> 01:01:05.525
because of the block, Nina. Yeah. Because the,

1536
1536
01:01:05.525 --> 01:01:06.525
That's what got a seven. The

1537
1537
01:01:06.525 --> 01:01:08.045
photo is out of focus and it's not a

1538
1538
01:01:08.045 --> 01:01:09.885
great composition of a photo. No, I said

1539
1539
01:01:09.885 --> 01:01:10.525
That. They

1540
1540
01:01:10.525 --> 01:01:12.165
Don't even mention who's playing bass

1541
1541
01:01:12.325 --> 01:01:13.525
and drums on the album notes.

1542
1542
01:01:13.605 --> 01:01:15.245
I that, I hate that Hate. It's ridiculous. Yeah.

1543
1543
01:01:15.325 --> 01:01:16.925
I mean, there's a little bit, like, there's a couple

1544
1544
01:01:16.925 --> 01:01:18.965
paragraphs of a blurb from, uh,

1545
1545
01:01:18.985 --> 01:01:20.245
Don Ross. They got both Howard

1546
1546
01:01:20.245 --> 01:01:21.245
Burke. Yeah. They got the

1547
1547
01:01:21.245 --> 01:01:22.325
producer's name on there. Not the

1548
1548
01:01:22.525 --> 01:01:23.685
Musicians, but not the rhythm section.

1549
1549
01:01:23.795 --> 01:01:25.645
Yeah. Yeah. It's also, if you look at this too,

1550
1550
01:01:25.645 --> 01:01:26.765
it's like this is crooked.

1551
1551
01:01:26.795 --> 01:01:28.645
This like, the notes are crooked on that. Okay. That

1552
1552
01:01:28.645 --> 01:01:30.765
Might be the, uh, bootleg reprint. Well, we

1553
1553
01:01:30.765 --> 01:01:31.765
Can't name that. I'm just saying

1554
1554
01:01:31.765 --> 01:01:33.365
like, I don't think it's great. P****d.

1555
1555
01:01:33.365 --> 01:01:34.365
Future months. You're p****d. I'm not

1556
1556
01:01:34.365 --> 01:01:35.765
p****d. Think they could do better.

1557
1557
01:01:36.225 --> 01:01:37.225
Oh, you said because of this. She's

1558
1558
01:01:37.225 --> 01:01:38.725
such a striking looking person. I

1559
1559
01:01:38.725 --> 01:01:39.445
Know. Put

1560
1560
01:01:39.445 --> 01:01:41.725
A picture of her, an amazing looking face on the

1561
1561
01:01:41.735 --> 01:01:43.525
cover of the album, you know what I mean? I know, I know.

1562
1562
01:01:44.105 --> 01:01:45.485
And if you're gonna have a picture from the concert,

1563
1563
01:01:45.795 --> 01:01:47.045
capture the trio.

1564
1564
01:01:47.155 --> 01:01:48.765
Yeah. Playing together for the first time.

1565
1565
01:01:48.935 --> 01:01:50.765
Thats a cool thing, man. Yeah. Okay.

1566
1566
01:01:51.265 --> 01:01:53.405
Um, what do you have up next?

1567
1567
01:01:53.825 --> 01:01:56.365
So up next is like something that would pair with this.

1568
1568
01:01:56.365 --> 01:01:57.485
It doesn't have to be the same artist.

1569
1569
01:01:57.545 --> 01:01:59.205
It doesn't even have to be the same time.

1570
1570
01:01:59.315 --> 01:02:00.365
It'd be like, you listen to this

1571
1571
01:02:00.365 --> 01:02:01.485
and then you listen to another record

1572
1572
01:02:01.505 --> 01:02:04.165
and it would be some sort of congeniality between them.

1573
1573
01:02:04.555 --> 01:02:07.125
Yeah. I have Roberta Flack killing me softly. Ooh.

1574
1574
01:02:07.225 --> 01:02:08.645
And I'll tell you why. Great call. Great call.

1575
1575
01:02:08.735 --> 01:02:10.845
We've done a whole episode on Roberta Flack

1576
1576
01:02:10.845 --> 01:02:12.405
and they have such a similar story.

1577
1577
01:02:12.405 --> 01:02:13.525
Like, I don't know if you remember Yes.

1578
1578
01:02:13.585 --> 01:02:16.285
But Roberta Flack grew up playing classical music. Yes.

1579
1579
01:02:16.285 --> 01:02:18.405
She went to Howard University and studied Chopin. Yeah.

1580
1580
01:02:18.425 --> 01:02:21.485
You know, a lot, lot like how Nina Simone wanted to play Box

1581
1581
01:02:21.485 --> 01:02:24.805
and Chopin and she eventually started playing at

1582
1582
01:02:24.805 --> 01:02:25.885
a club in the DC area.

1583
1583
01:02:25.955 --> 01:02:29.205
Yeah. And people discovered her for this sort

1584
1584
01:02:29.205 --> 01:02:31.085
of like folk singer songwriter.

1585
1585
01:02:31.095 --> 01:02:32.565
Right. And this is going on

1586
1586
01:02:32.565 --> 01:02:35.045
after Nina Simone had already had a very successful career.

1587
1587
01:02:35.345 --> 01:02:39.845
So I think those two women, um, making very different music,

1588
1588
01:02:40.385 --> 01:02:42.205
but from a very similar, at

1589
1589
01:02:42.205 --> 01:02:43.805
First take kind of a jazz, kind

1590
1590
01:02:43.805 --> 01:02:45.085
of her jazz record too, but

1591
1591
01:02:45.085 --> 01:02:46.845
Not really a jazz. And I don't think, maybe even

1592
1592
01:02:46.845 --> 01:02:48.005
Less than this, Less than that.

1593
1593
01:02:48.005 --> 01:02:49.365
I don't think Roberta Flack would consider

1594
1594
01:02:49.365 --> 01:02:50.565
herself a jazz musician at all.

1595
1595
01:02:50.565 --> 01:02:52.325
Right. But I do think that, um,

1596
1596
01:02:52.325 --> 01:02:53.605
there's a lot of similarities there.

1597
1597
01:02:53.605 --> 01:02:55.285
And also I think they would sound nice next to each other.

1598
1598
01:02:55.925 --> 01:02:57.045
Absolutely. That's great. I've

1599
1599
01:02:57.045 --> 01:02:58.085
got Sarah Vaughn live and Mr.

1600
1600
01:02:58.105 --> 01:02:59.245
Kellys, we listen to some of that.

1601
1601
01:02:59.265 --> 01:03:01.485
That's the, like, that's a incredible record.

1602
1602
01:03:01.485 --> 01:03:03.365
Yeah, that's a great call. It's from two years before this.

1603
1603
01:03:03.535 --> 01:03:05.765
It'll, it, it's, you know, two sides of a,

1604
1604
01:03:05.765 --> 01:03:07.165
of coin that are very different.

1605
1605
01:03:07.465 --> 01:03:09.485
Uh, but I think super complimentary. So,

1606
1606
01:03:09.745 --> 01:03:10.745
Hey Peter. Yeah. I just wanna

1607
1607
01:03:10.745 --> 01:03:11.885
remind our dear listeners here

1608
1608
01:03:11.885 --> 01:03:13.205
that we do have a newsletter

1609
1609
01:03:13.205 --> 01:03:15.405
that comes out every week called You'll read it.

1610
1610
01:03:15.405 --> 01:03:16.725
You're gonna get a nice email with some

1611
1611
01:03:16.725 --> 01:03:18.605
behind the scenes stories of the podcast

1612
1612
01:03:18.825 --> 01:03:21.245
and even some things that we've left out

1613
1613
01:03:21.245 --> 01:03:23.125
of the show. So in the description,

1614
1614
01:03:23.135 --> 01:03:24.165
Maybe some corrections, we

1615
1615
01:03:24.165 --> 01:03:25.205
need to start putting some corrections.

1616
1616
01:03:25.525 --> 01:03:27.085
There's usually a lot of corrections. 1960.

1617
1617
01:03:27.545 --> 01:03:28.685
Um, so you can check that out.

1618
1618
01:03:28.685 --> 01:03:30.405
There's a link in the, in the show notes here

1619
1619
01:03:30.405 --> 01:03:31.765
where you can sign up for our newsletter

1620
1620
01:03:31.825 --> 01:03:33.405
and you get a little message from,

1621
1621
01:03:33.425 --> 01:03:34.525
uh, the team here at, you'll

1622
1622
01:03:34.525 --> 01:03:35.525
Hear it. And then you get a whole

1623
1623
01:03:35.525 --> 01:03:37.685
bunch of spam from Open Studios. So

1624
1624
01:03:37.685 --> 01:03:39.245
You do not get a whole bunch of anything

1625
1625
01:03:39.505 --> 01:03:40.725
Useful stuff, useful stuff.

1626
1626
01:03:40.725 --> 01:03:42.645
Only until next time You'll hear it.