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Ray Charles invented soul using his voice and his piano.

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Then at the peak of his power, he set them both aside and went back to where it

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all started.

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This is Genius Plus Soul Equals Jazz.

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I'm Adam Maness.

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And I'm Peter Martin.

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

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Music explored.

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Brought to you today by Open Studio.

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Go to openstudiojazz.com for, oh,

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your jazz lesson needs-

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Yes, sir

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... Peter, it's a big day.

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It is a big day. We say that often, but this, we have

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actual evidence at the table with this.

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Yeah. We're listening to an amazing album-

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Yes

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... of an amazing person.

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Yes.

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The great Christian McBride is with us today.

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What's up, Christian?

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What's up, fellas?

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It's good to have you here.

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It's great to be with you, too.

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Yeah.

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I watch you on the YouTube.

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On the tubes.

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Gotta put the S on the end, YouTubes.

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That's right.

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That's the best version of us, so we'll try to keep that energy going for this

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show. But man, we're listening today to a pretty amazing album, Ray

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Charles, Genius Plus Soul Equals Jazz.

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Christian, this was your pick.

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Yes.

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Why this album?

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Well, I think when people say, "Christian,

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pick one of your desert island recordings,"

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everyone assumes I'm going to pick James Brown.

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But you got to go deeper than that because who do your heroes listen to?

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Yeah.

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Even your heroes had a hero.

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That's right.

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And it's important to realize that while James Brown was called the

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Godfather of Soul, the person who actually laid the groundwork

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for soul music,

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basically,

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really the beginning, the genesis, is Ray Charles.

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Mm.

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If you talk to anybody who was around in the

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mid-'60s, including the members of James Brown's band,

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like Fred Wesley and Maceo Parker,

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they looked up to Ray Charles. Everybody in

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the whole pattern of

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being your own

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corporation.

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Mm.

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Had his own record label. He had a jet.

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Yeah.

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He had his own studio.

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Yeah.

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He had his

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own building. Ray Charles was really

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the man.

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Mm.

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He really set the tone for every independent artist that came

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after him, and I'm sad that so many so-called

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musicologists somehow think that

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Black music started in 1965.

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Mm.

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Mm-hmm.

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There's a whole lot of innovators and a whole lot of

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groundbreakers long before the mid-'60s and Motown.

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It's an interesting pull, too, because it's kind of a different kind of Ray

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Charles album.

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Right.

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He's playing B3, he's playing a Hammond organ.

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Yeah, a lot of B3.

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Right? He's playing a lot of B3. It's with a big band, which we'll talk about.

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Yeah.

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Which that's not that unusual.

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Yeah.

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Ray did a bunch of different kinds of settings-

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Yeah

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... over the course of his career, but it's a really interesting pull.

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And it's also, I remember hearing this record.

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In fact, I think you might have played this for me when we were on

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those tours in the early '90s. We used to come to your room in Japan. Remember?

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Yes.

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We'd all gather after the gig.

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Yeah.

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And you had a laptop. Well, first of all, we were like, "Damn, what is this thing

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you got?" But you had all this music on there, and I remember, and we would

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exchange listening. It was such an exciting time, but I think that was the first

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time I heard it. I didn't hear it for a while, and I always assumed, and when you

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brought this up a couple weeks ago, said you wanted to do it, I thought it was so

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interesting because I always thought this was earlier.

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But this was after Ray was already, this is after Georgia on My Mind.

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He was a star.

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Yeah, that's right.

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He was a huge star.

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Yeah.

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So this could've been seen as a little bit of a risky move.

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Yes.

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He's got his own label, but he's coming over to Impulse.

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This was one of the first couple of records on Impulse.

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Exactly. The catalog number is A2.

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Oh, nice.

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That's great.

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That's incredible.

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Yeah.

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That's really good.

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Yeah, it's basically Ray Charles with the Count Basie Orchestra.

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Yeah.

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Quincy Jones did all of the charts that featured the

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Basie band.

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Right.

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And Ralph Burns, who was one of the main arrangers for the

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Woody Herman band,

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was the other arranger, and they used

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New York

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hired guns for that, and Sarah Vaughan's rhythm section-

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Right

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... with Joe Benjamin and Roy Haynes.

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Yeah.

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Yeah. Well, let's listen to a little music.

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The first track is "From The Heart." This is a Ray Charles original?

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And there's some parts of this that I used,

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when I first started learning how to write for big band, this was one of my go-to

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albums.

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Yeah.

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So, there's a part in there that I used for, it

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wasn't a straight rip-

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Mm.

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But in my-

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Influence

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... piece, "Blues in Alphabet City." I'll point it out.

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If we're getting called out for- ...

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doing stuff like Ray Charles, we're all in trouble.

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Exactly. Right.

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That's right. And this is a Quincy arrangement, right?

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Quincy-

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Yeah

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... with the Basie band.

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Yeah.

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This is "From the Heart."

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Whoo.

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Already.

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This part here.

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Whoo.

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Damn.

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Freddie Green.

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Yeah.

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Ooh.

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Ha, do it again.

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So good, man.

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One of Quincy's favorite licks right here with the 16th notes.

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Whoo.

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He uses that all the time.

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Yeah. Whoo. Man, phrasing on this? Damn.

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The phrasing right here.

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Oh. Mm.

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Whoa. This is so good

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It's an interesting organ sound, right?

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It's very. We're going to talk about that.

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That's Jimmy Smith.

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We'll talk about that.

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We definitely

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are.

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Ah. Ah, man, the space and the patience on this.

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I know.

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Damn.

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Wait, we said it's Roy Haynes, right?

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No, that's-

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No

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... that's Sonny Payne.

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Oh, Sonny Payne.

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Okay, yeah.

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Just no vibrato.

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No, nothing.

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No chorus.

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Nothing on it.

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Just straight up.

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I love what he plays here.

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Put a little bebop in there.

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Yeah.

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You said it.

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It's kind of Bud Powell on organ a little bit.

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There's for sure.

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Mm.

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Man.

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Woo, come on.

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The great Phillip Guilbeau, who played-

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Yeah

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...

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with Ray Charles for many years.

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That was Ray's guy. Yeah, yeah.

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That was Ray's guy. Yeah.

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Yeah.

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Woo.

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I love starting out the album instrumental for Ray Charles.

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Right.

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Woo.

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I want to point out something at the end of the track.

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Okay.

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I want you to listen to the cutoff

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and hear how the final chord rings-

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Ooh

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... just in the room.

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It's otherworldly. The cutoff is perfect, and the ring.

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Mm.

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Just check it out.

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Ooh.

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That

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feel

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though.

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Man.

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Just floating. Just-

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Floating.

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Yeah. Yeah.

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That feels so good.

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That's a vibe.

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Did Ray record this song on anything else?

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I don't think so.

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Yeah, it seems like it's like a-

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That's specifically for that record.

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Man, what a

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vibe. And I'm thinking, like, 1960.

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I think it was recorded in '60, came out in '61.

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'60, right.

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This is right in like... Oh, no. This is before

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Sinatra and Basie at the Sands a couple years before.

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Yeah, a couple years before, yeah.

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But this is still later stage, like

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big band.

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Yes.

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They get into a lot of groovy '60s kind of stuff.

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Right.

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But this is a little bit of a looking back, but the freshness. Oh, my God.

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Oh, my gosh, man.

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And Van Gelder, I haven't heard a lot of big band stuff from him-

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Correct

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... but he nailed it.

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Man, it sounds so good.

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Except possibly the organ sound.

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I knew you were going to say that.

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Well, I don't know.

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I knew that's what you were going to do.

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No, I want to ask. I want to know. What's your feelings on the organ sound on this

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record?

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Well, by 1960, Jimmy Smith was equally as big

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a star. I mean, not as big as Ray Charles-

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Yeah

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... but he has certainly set the template for what modern

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organ playing was.

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Yeah.

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And that was a sound.

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Yeah.

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So,

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not that Ray Charles needed to follow Jimmy Smith in any way, shape, or form, but

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that sound almost more like a

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Farfisa organ sound or like a-

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Yeah, like a Calliope.

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Exactly.

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Yeah.

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But

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I think he even said on that episode that maybe there's not even a Leslie

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speaker on this organ.

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Mm.

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That it's just the dry signal.

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Yeah.

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And it certainly seems that way. Like I said, you can't hear any vibrato.

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Certainly don't hear any like-

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It's a little bit like the way Van Gelder records a piano, let's be honest.

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Well, and also it says here-

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That's what I mean. Listen

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... Rudy Van Gelder adjusted the inside of Ray's Hammond B3 so it had more of a

277
00:10:07,392 --> 00:10:10,812
percussive sound. He had done this before on other organs for other recordings.

278
00:10:10,822 --> 00:10:11,152
Mm-hmm.

279
00:10:11,192 --> 00:10:12,192
So it's even sort of a Van Gelder-

280
00:10:12,222 --> 00:10:13,072
Really? He didn't do it to Jimmy.

281
00:10:13,332 --> 00:10:14,432
He didn't mess with Jimmy Smith.

282
00:10:14,552 --> 00:10:15,152
I mean, that sound.

283
00:10:15,212 --> 00:10:15,992
Or Jack McDuff.

284
00:10:16,092 --> 00:10:17,472
Yeah, those sounds are his-

285
00:10:17,481 --> 00:10:17,482
Yeah

286
00:10:17,481 --> 00:10:17,981
...

287
00:10:18,352 --> 00:10:19,132
sweet and smooth.

288
00:10:19,152 --> 00:10:19,182
Yeah.

289
00:10:19,232 --> 00:10:23,092
And this doesn't have that same beautiful, bubbly attack that

290
00:10:23,132 --> 00:10:23,372
those-

291
00:10:23,422 --> 00:10:23,423
Yeah

292
00:10:23,422 --> 00:10:24,732
... it's like a harsher attack.

293
00:10:24,852 --> 00:10:24,962
Or depth, yeah.

294
00:10:24,962 --> 00:10:28,912
Or the depth of like when Jimmy Smith holds a big chord-

295
00:10:28,932 --> 00:10:29,022
Yeah

296
00:10:29,292 --> 00:10:29,392
... it

297
00:10:30,492 --> 00:10:32,912
blossoms almost, and this organ doesn't have that.

298
00:10:33,492 --> 00:10:33,542
No.

299
00:10:33,652 --> 00:10:37,152
Yeah. It's a very interesting sound. I mean, if it wasn't Ray Charles.

300
00:10:37,192 --> 00:10:37,622
Well, that's the thing.

301
00:10:37,632 --> 00:10:37,912
Right.

302
00:10:38,032 --> 00:10:39,252
He still plays the hell out of it.

303
00:10:39,412 --> 00:10:40,292
I know. I know.

304
00:10:40,612 --> 00:10:40,622
Yeah.

305
00:10:40,632 --> 00:10:44,252
I was thinking, how hard would it be to play some of those bebop lines on such a

306
00:10:44,312 --> 00:10:45,552
dry instrument like that?

307
00:10:45,582 --> 00:10:45,952
Right. Yeah.

308
00:10:46,232 --> 00:10:46,392
Yeah.

309
00:10:46,452 --> 00:10:47,312
It's really impressive.

310
00:10:47,452 --> 00:10:51,272
Yeah. And he shows off the bebop stuff just like that's just a little

311
00:10:51,632 --> 00:10:52,732
part of the other thing.

312
00:10:52,772 --> 00:10:54,972
And I feel like he doesn't get enough credit for that.

313
00:10:55,052 --> 00:10:55,412
I know.

314
00:10:55,892 --> 00:10:59,442
Ray Charles is one of those kind of people where he did so many different things

315
00:10:59,812 --> 00:11:00,492
so well.

316
00:11:00,692 --> 00:11:00,832
Yeah.

317
00:11:00,972 --> 00:11:04,912
At some point, you're just like, "Man, I'm sick of this guy doing everything well."

318
00:11:05,032 --> 00:11:05,252
Yeah.

319
00:11:05,312 --> 00:11:08,642
So you kind of overlook certain things, but he got his bebop together.

320
00:11:08,672 --> 00:11:08,932
For sure.

321
00:11:08,972 --> 00:11:12,112
I mean, on that opening line, I almost said, "This is annoying how good he is- ...

322
00:11:12,132 --> 00:11:13,272
at all of this stuff," man.

323
00:11:13,432 --> 00:11:16,492
Well, and just the fact that he's known as a pianist first, and then electric

324
00:11:16,572 --> 00:11:16,901
piano.

325
00:11:16,901 --> 00:11:19,852
Yeah, but he's also the world's greatest vocalist at this point.

326
00:11:19,862 --> 00:11:19,871
That's right.

327
00:11:19,872 --> 00:11:20,262
You know what I mean?

328
00:11:20,332 --> 00:11:20,401
That's right.

329
00:11:20,401 --> 00:11:20,532
Right.

330
00:11:20,901 --> 00:11:20,911
Yeah.

331
00:11:20,912 --> 00:11:21,022
It's

332
00:11:21,872 --> 00:11:22,772
a little bit of a knack.

333
00:11:22,892 --> 00:11:24,112
And an arranger.

334
00:11:24,342 --> 00:11:24,541
Right.

335
00:11:24,542 --> 00:11:24,571
Yeah.

336
00:11:24,572 --> 00:11:25,932
He wrote a lot of his own arrangements.

337
00:11:25,992 --> 00:11:26,152
Right.

338
00:11:26,292 --> 00:11:27,182
Not on this album, but-

339
00:11:27,512 --> 00:11:28,132
And band leader.

340
00:11:28,322 --> 00:11:30,592
And band leader. Innovative.

341
00:11:30,892 --> 00:11:32,452
How many stars came out of his band?

342
00:11:32,732 --> 00:11:32,772
Right.

343
00:11:32,812 --> 00:11:34,612
David 'Fathead' Newman, Hank Crawford.

344
00:11:34,732 --> 00:11:34,822
Yep.

345
00:11:35,452 --> 00:11:37,412
Marcus Belgrave is kind of nuts.

346
00:11:37,602 --> 00:11:41,462
And is there, even beyond just the stylistic lineage, is there a James

347
00:11:41,532 --> 00:11:43,432
Brown in terms of how he ran his bands?

348
00:11:44,252 --> 00:11:46,812
Not even talking about him running his business without Ray Charles.

349
00:11:46,872 --> 00:11:48,612
Does that even happen?

350
00:11:48,952 --> 00:11:49,852
I doubt it.

351
00:11:49,892 --> 00:11:50,072
Right.

352
00:11:50,212 --> 00:11:53,572
I seriously doubt it, because everybody needs a template.

353
00:11:53,612 --> 00:11:54,992
They need to look at something and go.

354
00:11:55,352 --> 00:11:59,202
Either someone doesn't have it, or somebody has it and says,

355
00:11:59,372 --> 00:12:00,692
"I need to figure out what that is."

356
00:12:00,812 --> 00:12:01,992
Right. It's possible, at least.

357
00:12:02,192 --> 00:12:03,091
Yeah. That's right.

358
00:12:03,412 --> 00:12:03,532
Yeah.

359
00:12:04,164 --> 00:12:08,044
Quick one. If "You'll Hear It Is All About Loving Music," then Open Studio is

360
00:12:08,144 --> 00:12:11,964
all about living it. Courses, community, and conversations with

361
00:12:12,024 --> 00:12:14,704
musicians who have done the work. Go to

362
00:12:14,764 --> 00:12:17,004
openstudiojazz.com to start your free trial.

363
00:12:17,084 --> 00:12:20,964
That's openstudiojazz.com for all your jazz lesson needs.

364
00:12:21,544 --> 00:12:24,144
Back to the show. Well, let's go on to the next track.

365
00:12:24,164 --> 00:12:27,764
This is "I've Got News for You." This was written by Roy Alfred, arranged by Ralph

366
00:12:27,804 --> 00:12:28,264
Burns.

367
00:12:32,084 --> 00:12:34,744
The band is screaming on this.

368
00:12:34,904 --> 00:12:35,424
Yeah.

369
00:12:35,524 --> 00:12:38,584
This is blues at its highest level.

370
00:12:40,964 --> 00:12:42,064
And this is Roy on this, right?

371
00:12:42,484 --> 00:12:43,704
No, that's still Sonny Stitt.

372
00:12:43,894 --> 00:12:43,914
That's still Sonny Stitt. Okay.

373
00:12:43,944 --> 00:12:45,684
Yeah, I believe.

374
00:12:50,044 --> 00:12:50,444
Yeah.

375
00:12:50,524 --> 00:12:52,004
Yeah, that was Ralph Burns.

376
00:12:53,464 --> 00:12:53,844
Man.

377
00:12:54,964 --> 00:12:56,244
I don't know, though. You know why?

378
00:13:00,504 --> 00:13:01,293
They've got it as Sonny Stitt.

379
00:13:01,324 --> 00:13:04,824
Those sound sort of like Quincy-isms, like digga-da-dee,

380
00:13:04,924 --> 00:13:05,464
digga-da-dee.

381
00:13:05,624 --> 00:13:05,844
Right.

382
00:13:06,244 --> 00:13:07,524
Oh, instead of Ralph Burns?

383
00:13:08,464 --> 00:13:10,604
It says arrangement by Ralph Burns, but...

384
00:13:12,484 --> 00:13:14,044
You said before we met-

385
00:13:14,404 --> 00:13:14,604
Ah

386
00:13:14,724 --> 00:13:17,384
... that your life was awful tame.

387
00:13:17,864 --> 00:13:18,164
Woo.

388
00:13:18,564 --> 00:13:22,144
Well, I took you to a nightclub and the

389
00:13:22,244 --> 00:13:25,564
whole band knew our name. Oh.

390
00:13:26,504 --> 00:13:27,464
That's a great line, too.

391
00:13:28,204 --> 00:13:28,784
It's true. It's true.

392
00:13:28,864 --> 00:13:29,584
That's a great line.

393
00:13:30,884 --> 00:13:31,274
I've got news for you.

394
00:13:31,284 --> 00:13:31,904
He didn't make it up.

395
00:13:35,404 --> 00:13:36,184
Woo.

396
00:13:36,424 --> 00:13:37,484
Hey, baby.

397
00:13:37,744 --> 00:13:37,754
I don't know, man.

398
00:13:37,764 --> 00:13:38,734
This whole arrangement is-

399
00:13:38,734 --> 00:13:39,644
I think this is cute.

400
00:13:39,904 --> 00:13:40,404
It does sound-

401
00:13:40,644 --> 00:13:41,614
Somehow your story don't ring true.

402
00:13:41,624 --> 00:13:41,934
But, I mean, cute-

403
00:13:41,944 --> 00:13:43,144
No offense, Mr. Burns.

404
00:13:43,244 --> 00:13:43,624
Yeah. Yeah.

405
00:13:43,854 --> 00:13:44,114
Well,

406
00:13:45,384 --> 00:13:47,264
I've got news for you.

407
00:13:48,224 --> 00:13:48,604
By the way.

408
00:13:48,864 --> 00:13:49,104
Right.

409
00:13:51,244 --> 00:13:52,584
Especially that ba-da-da. Yeah.

410
00:13:52,624 --> 00:13:56,604
Can we just say, too, what a win for Impulse, for this to be their second album-

411
00:13:56,764 --> 00:13:56,774
I know

412
00:13:56,774 --> 00:13:57,644
... that they release.

413
00:13:58,514 --> 00:13:58,523
What was their first?

414
00:13:58,524 --> 00:13:59,804
And we gotta look it up. Great.

415
00:13:59,824 --> 00:14:00,084
I know.

416
00:14:00,464 --> 00:14:04,124
And then you walked in smiling with your

417
00:14:04,224 --> 00:14:06,643
lipstick, oh, a mess.

418
00:14:06,674 --> 00:14:07,084
Woo. Man.

419
00:14:08,344 --> 00:14:10,394
Could anybody sing a break like Ray Charles?

420
00:14:10,454 --> 00:14:10,634
No. Right.

421
00:14:10,924 --> 00:14:13,104
He went out of time, like his sense of time-

422
00:14:13,404 --> 00:14:13,413
Yeah

423
00:14:13,413 --> 00:14:14,964
... he's just floating with it all.

424
00:14:15,524 --> 00:14:17,164
And the band being able to-

425
00:14:17,374 --> 00:14:17,375
Yeah. I know

426
00:14:17,374 --> 00:14:18,124
... be in that space.

427
00:14:18,664 --> 00:14:18,764
Oh.

428
00:14:18,844 --> 00:14:19,164
You know.

429
00:14:19,544 --> 00:14:20,364
It's so free.

430
00:14:20,654 --> 00:14:21,844
Ah,

431
00:14:22,884 --> 00:14:24,924
your story don't ring true, little girl.

432
00:14:26,424 --> 00:14:27,744
Mm, trombones down in there.

433
00:14:28,004 --> 00:14:28,204
Yeah.

434
00:14:28,244 --> 00:14:29,724
Well, I've got news for you.

435
00:14:30,584 --> 00:14:30,594
Ha.

436
00:14:55,624 --> 00:14:56,424
Woo.

437
00:14:57,784 --> 00:14:58,603
I love this right here.

438
00:15:05,624 --> 00:15:06,864
Like how did it get from there to that?

439
00:15:06,874 --> 00:15:07,884
How'd he get that bebop in there and do it?

440
00:15:08,424 --> 00:15:09,284
Just throw some Bird in.

441
00:15:09,404 --> 00:15:13,353
Yeah. Man, that sound is raw. It's

442
00:15:13,404 --> 00:15:13,904
like no upright-

443
00:15:13,944 --> 00:15:16,364
I was just going to say, you know what's so attractive about this?

444
00:15:17,164 --> 00:15:17,834
Hold on, hold on.

445
00:15:17,834 --> 00:15:18,384
Hold on.

446
00:15:18,424 --> 00:15:19,334
Hold on. Hold on.

447
00:15:19,384 --> 00:15:20,823
This scream here is like...

448
00:15:25,434 --> 00:15:25,934
Oh.

449
00:15:26,224 --> 00:15:31,324
Woo.

450
00:15:36,204 --> 00:15:38,204
Man.

451
00:15:38,624 --> 00:15:39,904
Here we go again with the bebop.

452
00:15:46,584 --> 00:15:49,164
I mean, they are pushing this tape to its edge, too.

453
00:15:49,254 --> 00:15:49,374
I know. I know.

454
00:15:49,384 --> 00:15:52,084
Ray's voice is, the organ is, but especially the band.

455
00:15:52,164 --> 00:15:52,344
Yeah.

456
00:15:52,564 --> 00:15:53,734
It's on the edge of like-

457
00:15:53,814 --> 00:15:54,194
They are screaming

458
00:15:54,244 --> 00:15:54,964
... oh, my God.

459
00:15:58,284 --> 00:15:58,504
Yeah.

460
00:15:58,514 --> 00:16:00,764
Oh, you wore a diamond watch.

461
00:16:01,844 --> 00:16:01,853
Little backbeat.

462
00:16:01,864 --> 00:16:04,304
Claimed it was from Uncle Joe.

463
00:16:04,824 --> 00:16:05,184
Woo.

464
00:16:05,564 --> 00:16:09,504
When I looked at the inscription, it said,

465
00:16:09,584 --> 00:16:12,624
"Love from Daddy-o." Woo.

466
00:16:12,964 --> 00:16:14,064
Ah, come on, now.

467
00:16:14,204 --> 00:16:16,744
Well, baby. Oh, little girl.

468
00:16:16,824 --> 00:16:16,994
Oh.

469
00:16:18,224 --> 00:16:20,744
I want to say I've got news for you.

470
00:16:20,983 --> 00:16:22,423
And they're swinging.

471
00:16:26,384 --> 00:16:29,404
If you think that jive will do,

472
00:16:30,504 --> 00:16:34,064
let me tell you, oh, I've got news for

473
00:16:34,184 --> 00:16:35,044
you.

474
00:16:38,384 --> 00:16:42,084
Well, somehow your

475
00:16:42,164 --> 00:16:43,604
story don't ring true.

476
00:16:43,944 --> 00:16:44,464
Woo.

477
00:16:46,304 --> 00:16:49,644
Oh, I've got news for you.

478
00:16:52,204 --> 00:16:52,624
Oh.

479
00:16:53,124 --> 00:16:53,404
Woo.

480
00:16:53,424 --> 00:16:55,704
Damn.

481
00:16:58,864 --> 00:16:59,204
Wow.

482
00:16:59,604 --> 00:17:00,424
I love to think about-

483
00:17:00,744 --> 00:17:01,644
That's the second track

484
00:17:01,824 --> 00:17:02,184
... the great-

485
00:17:03,104 --> 00:17:06,264
All the great vocalists have great screams.

486
00:17:06,344 --> 00:17:06,585
Yeah.

487
00:17:06,744 --> 00:17:06,944
Yeah.

488
00:17:06,984 --> 00:17:09,664
They, "Wow!" So Ray's is the most distinctive.

489
00:17:09,734 --> 00:17:09,763
It is.

490
00:17:09,764 --> 00:17:11,785
But then you also have, obviously, James Brown.

491
00:17:12,124 --> 00:17:12,325
Right.

492
00:17:12,444 --> 00:17:14,565
Paul McCartney's got a decent scream, actually.

493
00:17:14,904 --> 00:17:16,644
No, you didn't mention Paul McCartney.

494
00:17:16,704 --> 00:17:18,854
I know, but he can't hold a candle to any of these.

495
00:17:19,085 --> 00:17:20,744
But it is like-

496
00:17:20,964 --> 00:17:21,374
He's trying to slip it in

497
00:17:21,384 --> 00:17:22,085
... the wow.

498
00:17:22,325 --> 00:17:22,744
Wow.

499
00:17:22,805 --> 00:17:24,404
Kind of stuff. Prince.

500
00:17:24,825 --> 00:17:25,254
Yeah, of course.

501
00:17:25,364 --> 00:17:29,104
Whole other stratosphere in the voice of scream.

502
00:17:29,224 --> 00:17:29,364
Yeah.

503
00:17:29,944 --> 00:17:30,654
But that scream at the end is-

504
00:17:30,724 --> 00:17:31,324
Michael Jackson.

505
00:17:31,584 --> 00:17:31,714
Well-

506
00:17:31,804 --> 00:17:34,594
I'm just realizing, he's very influenced by Ray Charles.

507
00:17:34,864 --> 00:17:35,524
You can hear it in the-

508
00:17:35,564 --> 00:17:38,524
Michael's scream is more of a, I don't know, there's something more melodic about

509
00:17:38,544 --> 00:17:38,644
it.

510
00:17:38,884 --> 00:17:39,024
Yeah.

511
00:17:39,274 --> 00:17:40,304
You know what I mean?

512
00:17:40,334 --> 00:17:43,964
But I mean, now, I just want to get back to Ray, the way he enters on that.

513
00:17:44,064 --> 00:17:46,384
It's stunning. I'm still feeling that.

514
00:17:46,764 --> 00:17:48,124
But that groove-

515
00:17:48,444 --> 00:17:49,224
Oh, that slow...

516
00:17:49,644 --> 00:17:50,694
Man, it's

517
00:17:51,564 --> 00:17:52,624
just straight tipping.

518
00:17:52,694 --> 00:17:52,703
Yeah.

519
00:17:52,704 --> 00:17:54,584
But there's also this undertone of da-

520
00:17:55,304 --> 00:17:55,854
Da-da-da. That's right

521
00:17:55,854 --> 00:17:56,683
... like they never do it.

522
00:17:56,724 --> 00:17:57,184
That's right.

523
00:17:57,264 --> 00:17:59,224
But you feel that. Wow.

524
00:17:59,284 --> 00:18:03,084
Which is why, talking to younger musicians, when they play those kind of slow

525
00:18:03,124 --> 00:18:05,344
tempos, that's what I'm hearing, the triplet.

526
00:18:05,424 --> 00:18:05,764
Right.

527
00:18:06,104 --> 00:18:06,884
So they

528
00:18:11,084 --> 00:18:11,324
Yeah.

529
00:18:12,344 --> 00:18:14,724
There's some nasty stuff simmering underneath.

530
00:18:15,124 --> 00:18:16,744
Right. That's how Elvin played.

531
00:18:17,224 --> 00:18:17,264
Yeah.

532
00:18:17,304 --> 00:18:17,524
You know?

533
00:18:17,704 --> 00:18:21,644
Oh, absolutely. But can we just listen to how, I just want to hear Ray's, I

534
00:18:21,664 --> 00:18:22,624
know we got a lot of music to get through.

535
00:18:22,764 --> 00:18:22,994
We really do.

536
00:18:23,004 --> 00:18:25,344
But just the way he enters, because to me-

537
00:18:25,384 --> 00:18:26,444
Well, we might not get the whole album.

538
00:18:26,644 --> 00:18:27,494
No, I mean, we can do what we can do.

539
00:18:27,524 --> 00:18:27,534
Yeah.

540
00:18:27,864 --> 00:18:29,564
Go back. Let's get some more of that.

541
00:18:31,264 --> 00:18:31,814
I was going to say-

542
00:18:31,814 --> 00:18:33,764
You know, it's like almost distorting the-

543
00:18:33,984 --> 00:18:34,224
Yeah.

544
00:18:34,254 --> 00:18:35,024
Yeah, it's like

545
00:18:35,164 --> 00:18:38,924
It's right on the edge. Which is crazy because the big band never,

546
00:18:39,084 --> 00:18:40,944
Rudy Van Gelder's got that under control.

547
00:18:41,144 --> 00:18:41,814
He's got so much-

548
00:18:41,903 --> 00:18:42,104
Right

549
00:18:42,363 --> 00:18:43,334
... range, and that never distorts out.

550
00:18:43,604 --> 00:18:46,524
But the organ entering just but when Ray's-

551
00:18:46,544 --> 00:18:47,104
Gnarly.

552
00:18:47,204 --> 00:18:47,444
Yes.

553
00:18:47,504 --> 00:18:47,834
You hear that?

554
00:18:47,844 --> 00:18:50,224
Very gnarly. It's dirty, but it's like-

555
00:18:50,364 --> 00:18:50,864
Right.

556
00:18:57,364 --> 00:18:59,044
But when Ray comes in with the vocals, man.

557
00:19:00,784 --> 00:19:03,484
There's something about the way, the time.

558
00:19:08,224 --> 00:19:09,144
Because it's like coming in.

559
00:19:11,844 --> 00:19:13,504
You said before we met,

560
00:19:14,424 --> 00:19:16,744
that your life was awful tame.

561
00:19:17,884 --> 00:19:17,894
Ooh.

562
00:19:17,904 --> 00:19:21,484
Well, I took you to a nightclub, and the

563
00:19:21,604 --> 00:19:24,324
whole band knew your name. Oh.

564
00:19:25,084 --> 00:19:25,884
I mean, you can feel it.

565
00:19:25,954 --> 00:19:25,963
Man.

566
00:19:25,964 --> 00:19:27,624
You can feel it underneath it the whole time.

567
00:19:27,684 --> 00:19:27,784
Yep.

568
00:19:27,864 --> 00:19:28,484
The whole time.

569
00:19:28,824 --> 00:19:32,364
And he's just dr- he's not out of time, but he's in these other

570
00:19:32,924 --> 00:19:33,634
places as if oh-

571
00:19:33,644 --> 00:19:34,164
He's in the nook.

572
00:19:34,544 --> 00:19:34,784
Yeah.

573
00:19:34,834 --> 00:19:35,284
He's in the nook.

574
00:19:35,544 --> 00:19:36,304
Oh, so good.

575
00:19:36,964 --> 00:19:37,774
Next up we got

576
00:19:39,084 --> 00:19:39,203
-

577
00:19:39,204 --> 00:19:39,544
Oh, yeah

578
00:19:39,554 --> 00:19:40,014
... standard. This is standard.

579
00:19:40,304 --> 00:19:40,384
Yep.

580
00:19:40,664 --> 00:19:40,964
"Moanin'."

581
00:19:41,244 --> 00:19:42,924
But it was new then. I mean, he had-

582
00:19:42,994 --> 00:19:43,003
Yeah.

583
00:19:43,004 --> 00:19:43,724
Yeah. That's right.

584
00:19:43,844 --> 00:19:44,404
Yeah, it was.

585
00:19:44,984 --> 00:19:45,644
A couple of years old.

586
00:19:45,784 --> 00:19:45,834
Yep.

587
00:19:45,834 --> 00:19:45,934
Yeah.

588
00:19:46,044 --> 00:19:48,804
Quincy did numerous arrangements of this.

589
00:19:48,834 --> 00:19:48,843
Yeah.

590
00:19:48,844 --> 00:19:52,724
He did it for this album. He did one for the Basie

591
00:19:52,844 --> 00:19:53,264
Band.

592
00:19:53,294 --> 00:19:53,434
Mm-hmm.

593
00:19:53,564 --> 00:19:54,864
Just for the Basie Band.

594
00:19:54,904 --> 00:19:54,964
Yeah.

595
00:19:55,004 --> 00:19:56,444
He did one for his band.

596
00:19:56,484 --> 00:19:56,924
Mm-hmm.

597
00:19:57,604 --> 00:20:01,324
So there's at least three or four different Quincy

598
00:20:01,334 --> 00:20:03,124
Jones "Moanin'" arrangements.

599
00:20:03,184 --> 00:20:04,364
Yeah. And there's a lot of overlap between them.

600
00:20:04,424 --> 00:20:05,264
A lot of overlap.

601
00:20:05,324 --> 00:20:05,484
Yeah.

602
00:20:05,964 --> 00:20:07,164
This is Bobby Timmons' "Moanin'."

603
00:20:09,044 --> 00:20:19,643
He's

604
00:20:19,653 --> 00:20:21,324
just personalizing it from the beginning.

605
00:20:23,124 --> 00:20:24,324
Sloppy but funky.

606
00:20:26,044 --> 00:20:26,644
Yeah. Funky.

607
00:20:34,804 --> 00:20:35,294
That's just a

608
00:20:36,964 --> 00:20:37,164
woo.

609
00:20:38,364 --> 00:20:39,864
That's a very unique organ tone.

610
00:20:39,924 --> 00:20:40,204
Yeah.

611
00:20:42,584 --> 00:20:44,384
He changed up the sound on the second A, didn't he?

612
00:20:44,604 --> 00:20:44,844
Yeah.

613
00:20:46,034 --> 00:20:47,354
Yeah. Woo. Woo.

614
00:20:49,204 --> 00:20:49,804
Dun, dun.

615
00:20:49,844 --> 00:20:50,674
Yeah, that little-

616
00:20:50,824 --> 00:20:50,984
Yeah.

617
00:20:51,024 --> 00:20:51,744
Yeah.

618
00:20:52,864 --> 00:21:05,074
Another

619
00:21:05,164 --> 00:21:07,284
moment where the trumpets would blow your head off.

620
00:21:07,664 --> 00:21:07,864
Yeah.

621
00:21:10,604 --> 00:21:11,204
Come on, trumpets.

622
00:21:15,204 --> 00:21:18,824
That's

623
00:21:18,864 --> 00:21:19,384
crazy.

624
00:21:20,824 --> 00:21:27,624
Woo.

625
00:21:32,284 --> 00:21:34,123
That's a killing bass sound, man. Damn.

626
00:21:35,344 --> 00:21:37,064
My mama done told me.

627
00:21:40,984 --> 00:21:42,903
Here we go again.

628
00:21:46,164 --> 00:21:49,484
He's got them. He's got them in there.

629
00:21:49,704 --> 00:21:50,204
That's right.

630
00:21:50,244 --> 00:21:50,944
That's crazy.

631
00:21:52,784 --> 00:21:54,284
Great fall.

632
00:21:57,624 --> 00:21:58,304
And this one here.

633
00:21:59,074 --> 00:21:59,584
Is that Clark?

634
00:22:00,344 --> 00:22:00,504
Nah.

635
00:22:00,644 --> 00:22:01,164
Is that Clark?

636
00:22:01,174 --> 00:22:01,904
Phil Guilbeau, yeah.

637
00:22:01,964 --> 00:22:05,964
Okay.

638
00:22:07,364 --> 00:22:07,984
Woo.

639
00:22:09,864 --> 00:22:13,324
Woo.

640
00:22:17,244 --> 00:22:18,824
That's a call back to the original recording.

641
00:22:19,104 --> 00:22:19,264
Right.

642
00:22:19,804 --> 00:22:20,104
Yeah.

643
00:22:32,284 --> 00:22:40,843
Right.

644
00:22:42,924 --> 00:22:45,784
Ba-ding. Man, those trumpets coming in low on top.

645
00:22:45,944 --> 00:22:46,204
Right.

646
00:22:46,944 --> 00:22:48,864
Ba-ding. That sliding in.

647
00:23:01,264 --> 00:23:02,264
He messing with the vibe.

648
00:23:02,284 --> 00:23:02,744
Yeah.

649
00:23:05,244 --> 00:23:07,284
Oh, this is so good.

650
00:23:07,424 --> 00:23:08,064
Come on, trumpets.

651
00:23:22,324 --> 00:23:24,144
You know what, we're going to mix that right on top.

652
00:23:24,224 --> 00:23:24,324
Yeah.

653
00:23:24,344 --> 00:23:24,354
Yeah.

654
00:23:24,364 --> 00:23:25,194
Right on top. We're going to put that right on top of the mix.

655
00:23:25,204 --> 00:23:27,744
They're like, "We're getting that organ above the band."

656
00:23:27,864 --> 00:23:28,104
Right.

657
00:23:28,484 --> 00:23:30,344
Woo. Oh, that's great.

658
00:23:31,304 --> 00:23:34,564
Man, you don't hear a lot of organ big band albums anymore.

659
00:23:34,804 --> 00:23:34,964
No.

660
00:23:34,974 --> 00:23:35,344
You know what I mean?

661
00:23:35,664 --> 00:23:35,744
Yeah.

662
00:23:35,904 --> 00:23:36,364
I had one.

663
00:23:37,444 --> 00:23:37,614
Well

664
00:23:37,884 --> 00:23:38,544
Yeah, right.

665
00:23:38,664 --> 00:23:39,384
Obviously.

666
00:23:41,244 --> 00:23:42,034
Wasn't there a James-

667
00:23:42,054 --> 00:23:42,804
Shout out to Joey D.

668
00:23:43,064 --> 00:23:43,554
Yeah, Joey D.

669
00:23:43,724 --> 00:23:46,244
Wasn't there a James Brown, was James Brown's Dance Party?

670
00:23:47,104 --> 00:23:49,203
What's the James Brown album, you would know this.

671
00:23:50,164 --> 00:23:50,664
If only we had-

672
00:23:50,684 --> 00:23:52,324
If only I had the world's foremost.

673
00:23:53,124 --> 00:23:54,884
The one where he's playing organ.

674
00:23:55,464 --> 00:23:56,484
Oh, there's so many of those.

675
00:23:56,544 --> 00:23:59,184
I know, I know. I feel like there's one with a larger group, but I could be wrong

676
00:23:59,204 --> 00:23:59,444
about that.

677
00:23:59,484 --> 00:23:59,564
Yep.

678
00:24:00,164 --> 00:24:00,364
Anyway,

679
00:24:01,224 --> 00:24:01,564
next up.

680
00:24:01,744 --> 00:24:05,504
There's an instrumental record, called

681
00:24:05,864 --> 00:24:07,444
JB Plays Nothing But Soul.

682
00:24:08,004 --> 00:24:08,184
Ooh.

683
00:24:08,884 --> 00:24:11,464
Where he plays all, it's all organ.

684
00:24:11,624 --> 00:24:11,744
Yeah.

685
00:24:12,124 --> 00:24:12,304
Wow.

686
00:24:14,072 --> 00:24:15,412
Awesome. All right, what do we got now?

687
00:24:17,452 --> 00:24:18,012
Let's go.

688
00:24:18,152 --> 00:24:18,972
Let's go.

689
00:24:19,612 --> 00:24:23,011
Roy Haynes is on the next two tracks.

690
00:24:23,092 --> 00:24:23,652
This is with

691
00:24:24,652 --> 00:24:25,312
the New York

692
00:24:26,232 --> 00:24:26,692
Studio

693
00:24:29,532 --> 00:24:30,472
hired legends.

694
00:24:30,672 --> 00:24:30,852
Right.

695
00:24:30,872 --> 00:24:32,412
I know Clark Terry's in this,

696
00:24:33,332 --> 00:24:37,252
and Sarah Vaughan's rhythm section at that time with Joe Benjamin on

697
00:24:37,312 --> 00:24:40,492
bass and Roy Haynes on drums. And

698
00:24:40,512 --> 00:24:44,452
I had a chance to be around Mr.

699
00:24:44,492 --> 00:24:48,452
Haynes a whole lot, and he loved talking about

700
00:24:48,492 --> 00:24:49,032
this record.

701
00:24:49,252 --> 00:24:50,152
Oh, that's awesome.

702
00:24:50,612 --> 00:24:51,052
I think,

703
00:24:52,352 --> 00:24:55,492
if I'm not mistaken, this might be one of the most...

704
00:24:56,632 --> 00:24:58,332
Like you said, this was a Billboard hit.

705
00:24:58,452 --> 00:24:58,612
Yeah.

706
00:24:58,682 --> 00:24:59,182
Yeah.

707
00:24:59,392 --> 00:25:03,132
And to know that he was on the number one R&B single of

708
00:25:03,172 --> 00:25:04,042
1961-

709
00:25:04,492 --> 00:25:04,502
Yeah.

710
00:25:04,502 --> 00:25:04,762
Yeah, that's very cool

711
00:25:04,762 --> 00:25:05,932
... that stuck in his brain forever.

712
00:25:06,032 --> 00:25:06,512
That's great.

713
00:25:06,572 --> 00:25:07,132
Yeah.

714
00:25:07,141 --> 00:25:07,712
"I'm on that."

715
00:25:07,932 --> 00:25:08,132
Yeah.

716
00:25:08,641 --> 00:25:08,651
Yeah.

717
00:25:08,652 --> 00:25:11,192
Well, let's just talk about that real quick because I don't even think we've really

718
00:25:11,232 --> 00:25:12,712
gotten into it maybe before we started.

719
00:25:13,222 --> 00:25:13,231
Yeah.

720
00:25:13,232 --> 00:25:17,152
This album was number four on the Billboard top LPs.

721
00:25:17,252 --> 00:25:20,272
One Mint Julep, which we're going to get to, was number one

722
00:25:20,372 --> 00:25:23,392
R&B, but this was on the top LPs-

723
00:25:24,272 --> 00:25:24,482
Period

724
00:25:24,512 --> 00:25:25,692
... for 48 weeks, period.

725
00:25:25,712 --> 00:25:25,832
Yeah.

726
00:25:26,232 --> 00:25:29,852
And it went to number one. In 1961, we think, "Oh, that's the big..." This was not

727
00:25:29,872 --> 00:25:30,472
the big band era.

728
00:25:30,762 --> 00:25:30,763
No.

729
00:25:30,762 --> 00:25:32,492
This was a little bit past when-

730
00:25:32,692 --> 00:25:36,652
This is right that blurry period when you're coming out of the '50s

731
00:25:36,692 --> 00:25:40,092
into the '60s. The Beatles had not arrived yet.

732
00:25:40,162 --> 00:25:40,892
But they were close.

733
00:25:41,012 --> 00:25:42,712
They were about three years off.

734
00:25:42,812 --> 00:25:42,972
Yeah.

735
00:25:43,132 --> 00:25:46,692
But it was like the Sam Cooke era.

736
00:25:46,912 --> 00:25:47,632
Yeah.

737
00:25:47,732 --> 00:25:47,792
That's right.

738
00:25:49,052 --> 00:25:51,752
Sinatra was getting hot all over again.

739
00:25:51,792 --> 00:25:51,912
Right.

740
00:25:52,232 --> 00:25:53,292
The girl groups.

741
00:25:53,432 --> 00:25:53,712
Yeah.

742
00:25:54,012 --> 00:25:54,532
Yeah.

743
00:25:54,592 --> 00:25:54,732
Bobby Hebb, all that.

744
00:25:54,772 --> 00:25:56,882
But even Sinatra was a little up and down during this period too.

745
00:25:56,912 --> 00:25:57,232
That's right.

746
00:25:57,382 --> 00:25:57,391
Yeah.

747
00:25:57,392 --> 00:26:01,332
That's right. And even Motown wasn't really up and popping just yet.

748
00:26:01,472 --> 00:26:01,662
Right. That's right.

749
00:26:01,832 --> 00:26:04,292
They were still in the early stages.

750
00:26:04,472 --> 00:26:07,622
And this was not like an expected or like what diehard...

751
00:26:07,822 --> 00:26:11,332
And look, Ray Charles had crossed over in a way that kind of had never been done

752
00:26:11,372 --> 00:26:12,272
for a Black artist.

753
00:26:12,432 --> 00:26:12,672
Correct.

754
00:26:12,702 --> 00:26:15,752
He wasn't the first, but he was huge.

755
00:26:15,852 --> 00:26:16,582
On that scale, yeah.

756
00:26:16,592 --> 00:26:17,272
On that scale.

757
00:26:17,332 --> 00:26:17,652
That's right.

758
00:26:17,682 --> 00:26:20,952
And so this was not exactly like a record that's like, "Oh, this is going to take

759
00:26:20,972 --> 00:26:23,272
him to the next level with white America." It was not.

760
00:26:24,972 --> 00:26:25,912
"Cue organ!"

761
00:26:28,172 --> 00:26:30,032
But yet it landed, number four.

762
00:26:30,412 --> 00:26:30,632
Yeah.

763
00:26:30,712 --> 00:26:31,332
Very interesting.

764
00:26:31,412 --> 00:26:34,412
Yeah. By the way, Ray is 30 making this album, 30 years old.

765
00:26:34,512 --> 00:26:37,512
Quincy is 27 years old making this album.

766
00:26:38,212 --> 00:26:39,772
And then what is the... Okay, let's listen.

767
00:26:39,792 --> 00:26:42,592
Because I know you probably know about the Seattle connection and all that-

768
00:26:42,652 --> 00:26:42,662
Yeah

769
00:26:42,662 --> 00:26:44,972
... which I didn't even realize, which is fascinating.

770
00:26:45,232 --> 00:26:46,332
It's very fascinating.

771
00:26:46,572 --> 00:26:47,122
So, this is "Let's Go."

772
00:26:47,132 --> 00:26:48,092
Just so far away.

773
00:26:49,172 --> 00:26:49,852
Here we go.

774
00:26:58,712 --> 00:26:59,912
That's that Woody Herman sound.

775
00:26:59,942 --> 00:27:00,442
Oh.

776
00:27:00,512 --> 00:27:01,332
And that's what I'm saying.

777
00:27:01,472 --> 00:27:01,612
Yeah.

778
00:27:02,532 --> 00:27:03,852
Right. The other one didn't sound like it.

779
00:27:10,052 --> 00:27:11,232
Is it Thundering Herd?

780
00:27:13,772 --> 00:27:14,812
That close voicing in the

781
00:27:14,852 --> 00:27:23,852
saxophones.

782
00:27:23,882 --> 00:27:26,772
Yeah. Woo.

783
00:27:26,972 --> 00:27:27,692
This is great.

784
00:27:28,752 --> 00:27:29,252
Haynes.

785
00:27:29,332 --> 00:27:30,072
Go ahead, Mr. Haynes.

786
00:27:30,112 --> 00:27:30,312
Yeah.

787
00:27:32,592 --> 00:27:34,572
That's Bud Powell. That's straight up Bud Powell.

788
00:27:34,952 --> 00:27:36,172
Yeah, it is Bud Powell.

789
00:27:40,252 --> 00:27:40,962
Doobie, doobie,

790
00:27:44,052 --> 00:27:49,592
doobie,

791
00:27:50,092 --> 00:27:50,852
yeah.

792
00:27:52,392 --> 00:27:53,532
You stay right on the heads, right?

793
00:27:53,592 --> 00:27:53,892
Yeah.

794
00:27:59,052 --> 00:28:00,372
I

795
00:28:08,052 --> 00:28:09,952
think, is that Billy Mitchell on this?

796
00:28:12,012 --> 00:28:12,272
Very

797
00:28:12,282 --> 00:28:18,072
awesome.

798
00:28:18,112 --> 00:28:18,972
Ah, there we go.

799
00:28:22,132 --> 00:28:22,612
Woo.

800
00:28:23,632 --> 00:28:32,271
Beep,

801
00:28:32,542 --> 00:28:33,641
boop, bede, beep. Beep,

802
00:28:34,532 --> 00:28:37,132
boop, bede, beep. Bom, bom, beep, boop, bede,

803
00:28:37,162 --> 00:28:44,232
beep.

804
00:28:45,812 --> 00:28:46,012
Woo.

805
00:28:46,372 --> 00:28:49,972
Woo.

806
00:28:51,972 --> 00:28:52,632
Hey.

807
00:28:54,172 --> 00:29:11,092
Woo.

808
00:29:12,452 --> 00:29:13,812
It's a big band

809
00:29:15,492 --> 00:29:17,632
chart with a little bit of Ray thrown in in between.

810
00:29:18,512 --> 00:29:19,252
Basically.

811
00:29:25,312 --> 00:29:26,862
A, B, C, D.

812
00:29:29,212 --> 00:29:29,872
Yeah, I was about to say.

813
00:29:29,952 --> 00:29:30,492
That's what it is.

814
00:29:30,552 --> 00:29:30,642
That's it.

815
00:29:30,892 --> 00:29:31,002
Yeah.

816
00:29:31,372 --> 00:29:32,792
I thought it was on ABC, though. Oh, well.

817
00:29:32,962 --> 00:29:32,981
Huh?

818
00:29:32,982 --> 00:29:34,232
That's the thing about this album, though.

819
00:29:34,312 --> 00:29:36,591
It's as much about this band and these arrangements-

820
00:29:36,602 --> 00:29:36,631
Yeah.

821
00:29:36,632 --> 00:29:36,902
Oh, yeah

822
00:29:36,952 --> 00:29:40,612
... than it is about Ray. Obviously, it's Ray's album, but man, there's a lot of

823
00:29:40,832 --> 00:29:42,152
just featuring the band.

824
00:29:42,552 --> 00:29:42,672
Yeah.

825
00:29:42,682 --> 00:29:44,092
And Ray's coming in and just-

826
00:29:44,352 --> 00:29:48,212
And he's able to achieve what, all the times I played big band as a

827
00:29:48,252 --> 00:29:49,952
pianist, I don't know if you had this experience, it's like-

828
00:29:50,192 --> 00:29:50,952
You don't get to do much.

829
00:29:51,152 --> 00:29:53,132
And there's no space, so we usually just give up.

830
00:29:53,152 --> 00:29:55,732
We're like, "F**k it." But he knows how to grab.

831
00:29:55,892 --> 00:29:57,742
They're like, "Ba, ba, da, ba, boo, doo, doo, doo, ba, da, ba, da, ba, da."

832
00:29:57,752 --> 00:29:58,102
That's right.

833
00:29:58,492 --> 00:30:01,772
All loud and in your... That's the template, actually, of-

834
00:30:02,112 --> 00:30:02,222
Right

835
00:30:02,252 --> 00:30:03,772
... how do you fit into a chart like that?

836
00:30:04,092 --> 00:30:04,102
Yeah.

837
00:30:04,112 --> 00:30:04,872
It's fascinating, though.

838
00:30:04,932 --> 00:30:08,492
And I also love that Ray was always

839
00:30:08,572 --> 00:30:11,892
very generous with big band arrangers because,

840
00:30:13,592 --> 00:30:15,402
what's the album, the follow-up to this

841
00:30:15,492 --> 00:30:19,328
album?"Ingredients in

842
00:30:19,388 --> 00:30:20,688
a..." Oh, what's the name of that record?

843
00:30:21,268 --> 00:30:22,328
But, he uses

844
00:30:23,588 --> 00:30:27,148
Benny Carter and Gerald Wilson as arrangers on that album.

845
00:30:27,218 --> 00:30:27,278
Right.

846
00:30:27,728 --> 00:30:29,088
And so he was always

847
00:30:30,028 --> 00:30:31,288
letting the arrangers shine.

848
00:30:31,388 --> 00:30:31,608
Yeah.

849
00:30:31,918 --> 00:30:31,938
You know?

850
00:30:31,948 --> 00:30:33,088
Well, obviously that's what he wanted.

851
00:30:33,128 --> 00:30:34,608
I mean, that way it wouldn't get a get on here if it-

852
00:30:34,808 --> 00:30:34,818
Right.

853
00:30:35,408 --> 00:30:38,048
If he didn't want to be in the cracks, he would've been like, "Oh, lay out."

854
00:30:38,288 --> 00:30:39,228
Yeah. Exactly.

855
00:30:40,408 --> 00:30:43,868
Side A closes with the number one R&B

856
00:30:44,528 --> 00:30:48,398
song from this album. Huge hit, "One Mint Julep." This

857
00:30:48,488 --> 00:30:50,508
was written by Rudy Toombs.

858
00:30:51,348 --> 00:30:52,098
Rudy Toombs.

859
00:30:52,098 --> 00:30:52,668
Rudy Toombs, your favorite.

860
00:30:52,788 --> 00:30:53,528
Rudy Toombs.

861
00:30:53,588 --> 00:30:54,138
Rudy Toombs.

862
00:30:54,208 --> 00:30:54,708
Never heard of him.

863
00:30:54,908 --> 00:30:57,788
This was arranged by Quincy.

864
00:30:57,968 --> 00:30:58,058
Perfect.

865
00:30:58,058 --> 00:31:01,068
So not only did it go number one in R&B, but it went number eight on the pop

866
00:31:01,188 --> 00:31:01,508
charts.

867
00:31:01,628 --> 00:31:01,868
Damn.

868
00:31:01,888 --> 00:31:02,808
This was a huge hit.

869
00:31:02,948 --> 00:31:03,128
Yeah.

870
00:31:03,668 --> 00:31:04,908
He used to be a great country guys.

871
00:31:10,108 --> 00:31:12,188
I'm curious to how they described this,

872
00:31:13,028 --> 00:31:14,048
like the groove.

873
00:31:14,248 --> 00:31:14,368
Yeah.

874
00:31:14,668 --> 00:31:14,678
Right.

875
00:31:14,688 --> 00:31:17,748
Because, they weren't calling it funk in

876
00:31:17,768 --> 00:31:18,788
1961.

877
00:31:18,928 --> 00:31:20,628
Right. And it wasn't bossa nova.

878
00:31:20,708 --> 00:31:20,888
Right.

879
00:31:21,148 --> 00:31:21,327
But they-

880
00:31:21,528 --> 00:31:22,768
It's probably more like a cha-cha.

881
00:31:22,848 --> 00:31:23,328
Cha, yeah.

882
00:31:23,448 --> 00:31:23,628
Yeah.

883
00:31:23,778 --> 00:31:23,868
Yeah.

884
00:31:24,148 --> 00:31:24,368
Yeah.

885
00:31:26,108 --> 00:31:28,308
Swinging sixties.

886
00:31:33,508 --> 00:31:34,508
You guys hear that tom?

887
00:31:35,128 --> 00:31:35,808
Or the kick maybe?

888
00:31:36,128 --> 00:31:38,688
Yeah. It's got a little Cuban influence.

889
00:31:40,528 --> 00:31:43,308
Hear that?

890
00:31:46,548 --> 00:31:46,608
Yeah.

891
00:31:46,628 --> 00:31:47,788
That's Quincy with the sixteens.

892
00:31:48,388 --> 00:31:49,048
Oh, low tom.

893
00:31:50,228 --> 00:31:50,408
Yeah.

894
00:32:07,128 --> 00:32:08,208
Woo. Hey.

895
00:32:21,688 --> 00:32:36,128
New.

896
00:32:38,848 --> 00:32:41,988
Hey! Just a little bit of soul now.

897
00:32:42,448 --> 00:32:42,728
Ugh.

898
00:32:44,008 --> 00:32:45,608
That set the tone for the sixties.

899
00:32:45,648 --> 00:32:46,748
I know. It totally did.

900
00:32:49,788 --> 00:32:50,408
Go on, Roy.

901
00:32:52,388 --> 00:32:53,408
Yeah, he's pushing it.

902
00:33:03,688 --> 00:33:04,608
I'm trying to think of other

903
00:33:05,588 --> 00:33:08,648
Roy Haynes recordings that are anything quite like this.

904
00:33:08,708 --> 00:33:08,888
Right.

905
00:33:09,408 --> 00:33:09,668
Is there a-

906
00:33:09,708 --> 00:33:10,608
I mean, later on.

907
00:33:10,708 --> 00:33:11,538
Later on in his time.

908
00:33:11,538 --> 00:33:13,137
Yeah, but he was playing with Trane in '61, wasn't he?

909
00:33:13,168 --> 00:33:13,648
Yeah.

910
00:33:14,048 --> 00:33:14,628
'62?

911
00:33:16,688 --> 00:33:22,388
Man.

912
00:33:27,688 --> 00:33:27,908
Ugh.

913
00:33:28,618 --> 00:33:39,568
Ah!

914
00:34:08,169 --> 00:34:11,748
So is this the only Ray Charles hit in which he

915
00:34:11,788 --> 00:34:13,028
basically sings one line?

916
00:34:13,058 --> 00:34:15,028
"Just a little bit of soul."

917
00:34:15,038 --> 00:34:15,047
Right.

918
00:34:15,048 --> 00:34:16,828
But how effective is that line, though?

919
00:34:16,839 --> 00:34:16,840
Oh, I know.

920
00:34:16,839 --> 00:34:17,758
That's what I'm saying. How effective.

921
00:34:17,758 --> 00:34:19,208
Ray Charles to sing it, too.

922
00:34:19,268 --> 00:34:19,357
Yeah.

923
00:34:19,428 --> 00:34:21,528
You're just kind of laying in the groove there-

924
00:34:21,548 --> 00:34:21,569
Yeah

925
00:34:21,589 --> 00:34:24,268
... for a couple of minutes, and then Ray Charles gets in your ear.

926
00:34:24,428 --> 00:34:24,528
Yeah.

927
00:34:24,569 --> 00:34:24,748
Yeah.

928
00:34:24,768 --> 00:34:25,038
Just a little bit of soul.

929
00:34:25,069 --> 00:34:26,488
Just one little line.

930
00:34:26,528 --> 00:34:29,569
That's right. And he's way back on that. He's way, way back on it.

931
00:34:29,609 --> 00:34:30,667
Yeah, man.

932
00:34:30,728 --> 00:34:30,899
Yeah.

933
00:34:31,048 --> 00:34:31,328
It's great.

934
00:34:31,408 --> 00:34:33,488
That's the classic. That's the classic.

935
00:34:33,517 --> 00:34:33,988
That's the classic.

936
00:34:34,288 --> 00:34:36,089
I mean, the band sings more than he does on that.

937
00:34:36,129 --> 00:34:36,408
Right.

938
00:34:36,609 --> 00:34:37,629
There's more BGs.

939
00:34:37,888 --> 00:34:38,298
But you know that,

940
00:34:39,688 --> 00:34:42,928
I hate to say it, but they really captured something there.

941
00:34:43,109 --> 00:34:43,319
Oh, yeah. As a vibe.

942
00:34:43,508 --> 00:34:45,839
Some of these recordings, that could've gone wrong. You know what I mean?

943
00:34:45,879 --> 00:34:45,887
Right.

944
00:34:45,888 --> 00:34:49,069
Like that vibe and, not wrong, but it could've not worked as well.

945
00:34:49,228 --> 00:34:49,658
It could've been choppy.

946
00:34:49,658 --> 00:34:51,208
Something about it. There's some magic in there.

947
00:34:51,348 --> 00:34:51,359
Yeah.

948
00:34:51,359 --> 00:34:53,208
Like that, "Ah," and all the breath.

949
00:34:53,388 --> 00:34:56,268
Just everything is so put together perfectly for that.

950
00:34:56,348 --> 00:34:56,589
And,

951
00:34:57,628 --> 00:35:00,048
I think that's the combination of Ray and Quincy together.

952
00:35:00,068 --> 00:35:01,108
Yes. Absolutely.

953
00:35:01,568 --> 00:35:04,748
Those two had... Quincy always gave it up.

954
00:35:04,828 --> 00:35:08,668
So Ray helped him along the way how to arrange.

955
00:35:08,928 --> 00:35:09,078
Right.

956
00:35:09,108 --> 00:35:11,578
Literally, he would sit him on the piano and be, "Here's what you do with your

957
00:35:11,608 --> 00:35:12,508
trumpets."

958
00:35:12,588 --> 00:35:12,598
Wow.

959
00:35:12,598 --> 00:35:13,878
"Here's what you do with your trombones.

960
00:35:13,928 --> 00:35:15,448
Here's what you do with your saxophones."

961
00:35:15,508 --> 00:35:16,188
Yeah.

962
00:35:16,428 --> 00:35:20,168
And, I think you can hear that those two just trusted each

963
00:35:20,248 --> 00:35:21,148
other so much-

964
00:35:21,468 --> 00:35:21,588
Yeah

965
00:35:21,748 --> 00:35:23,808
... through every collaboration that they did.

966
00:35:24,028 --> 00:35:24,728
Yeah, absolutely.

967
00:35:24,808 --> 00:35:26,808
I think the Roy Haynes-ness of that track, too-

968
00:35:27,108 --> 00:35:27,248
Yeah

969
00:35:27,268 --> 00:35:30,058
... comes out listening to that. About keeping it, I don't know, there's something

970
00:35:30,088 --> 00:35:30,428
about that

971
00:35:31,268 --> 00:35:33,688
hit that he does on that kick. It might have been a floor tom.

972
00:35:33,728 --> 00:35:34,748
Sound like a floor tom.

973
00:35:34,768 --> 00:35:35,098
Could've been a floor tom.

974
00:35:35,228 --> 00:35:35,368
Right.

975
00:35:35,528 --> 00:35:39,268
But it's just put in this perfect spot, in this perfect way every

976
00:35:39,328 --> 00:35:39,968
single time.

977
00:35:40,088 --> 00:35:40,328
Right.

978
00:35:40,688 --> 00:35:41,068
Man.

979
00:35:41,128 --> 00:35:42,328
I mean, I

980
00:35:43,308 --> 00:35:46,148
wonder if we will know that feeling again.

981
00:35:46,248 --> 00:35:49,088
Like, we know that groove, that

982
00:35:50,008 --> 00:35:53,848
sort of cha-cha groove, within three to four years is going

983
00:35:53,888 --> 00:35:55,808
to turn into something completely different.

984
00:35:56,008 --> 00:35:56,168
Right.

985
00:35:56,228 --> 00:35:58,828
It's going to be like, boom ta cat, boom doom ta cat.

986
00:35:58,868 --> 00:35:59,188
Yeah.

987
00:35:59,388 --> 00:35:59,488
Yeah.

988
00:35:59,668 --> 00:36:00,068
Straight out-

989
00:36:00,248 --> 00:36:00,277
Yeah

990
00:36:00,328 --> 00:36:04,268
... snare drum on two and four. Bass drum, boom, ti, boom, boom, cat,

991
00:36:04,528 --> 00:36:05,458
boom, boom, cat, boom.

992
00:36:05,468 --> 00:36:08,708
Or branch off the other way in like a boogaloo kind of scenario or something.

993
00:36:08,748 --> 00:36:11,828
Yeah, but I mean, at its most popular version, it would be like

994
00:36:12,408 --> 00:36:14,568
James Brown would take that and go-

995
00:36:15,048 --> 00:36:15,148
Right

996
00:36:15,158 --> 00:36:16,588
... to the next stratosphere with that.

997
00:36:16,618 --> 00:36:17,087
Right.

998
00:36:17,088 --> 00:36:19,448
But at that time, it was kind of like,

999
00:36:19,498 --> 00:36:22,004
"Hey-"We're on to something here.

1000
00:36:22,334 --> 00:36:22,844
Right. We're getting a little sassy.

1001
00:36:22,884 --> 00:36:24,294
I don't really know what it is, but-

1002
00:36:25,304 --> 00:36:25,503
Right

1003
00:36:25,784 --> 00:36:27,034
... we on to something.

1004
00:36:27,244 --> 00:36:27,504
Wow.

1005
00:36:27,624 --> 00:36:28,003
That's great.

1006
00:36:28,014 --> 00:36:28,043
I have that.

1007
00:36:28,044 --> 00:36:31,564
So I wonder that feeling like you know

1008
00:36:31,624 --> 00:36:35,264
you're doing something different, but you can't put your finger on it.

1009
00:36:35,304 --> 00:36:35,464
Mm.

1010
00:36:35,624 --> 00:36:39,544
And then a couple of years later, you're like, "Oh, so that's what we were doing."

1011
00:36:39,904 --> 00:36:40,284
Wow.

1012
00:36:41,624 --> 00:36:42,394
So is this kind of-

1013
00:36:42,404 --> 00:36:43,344
We were pushing music forward.

1014
00:36:43,544 --> 00:36:46,444
Is this like funk lineage? Because there wouldn't have been the word funk yet,

1015
00:36:46,564 --> 00:36:46,614
right?

1016
00:36:46,644 --> 00:36:47,484
Big time. No.

1017
00:36:47,814 --> 00:36:48,314
Yeah.

1018
00:36:48,324 --> 00:36:48,344
I

1019
00:36:49,404 --> 00:36:53,304
think Cannonball was using the word, Horace

1020
00:36:53,404 --> 00:36:54,824
Silver was using the word. But

1021
00:36:55,664 --> 00:36:56,824
as a genre, no.

1022
00:36:57,144 --> 00:36:57,344
Right.

1023
00:36:57,404 --> 00:36:58,924
We were about a decade away from that.

1024
00:36:59,064 --> 00:36:59,324
Yeah.

1025
00:36:59,804 --> 00:37:00,504
But you know the bass.

1026
00:37:00,764 --> 00:37:04,424
Playing the

1027
00:37:04,464 --> 00:37:05,644
pattern, the repeated pattern.

1028
00:37:05,784 --> 00:37:06,384
Yeah.

1029
00:37:06,444 --> 00:37:08,283
Most jazz cats were-- I bet

1030
00:37:09,244 --> 00:37:11,104
even Joe Benjamin was like, "Man, what is this?"

1031
00:37:13,264 --> 00:37:14,364
"Where do I walk?"

1032
00:37:14,624 --> 00:37:14,904
Cha,

1033
00:37:17,004 --> 00:37:17,424
cha, cha.

1034
00:37:19,564 --> 00:37:19,674
Right.

1035
00:37:19,764 --> 00:37:20,754
Oh, this is fascinating, man.

1036
00:37:20,764 --> 00:37:21,184
But again,

1037
00:37:22,124 --> 00:37:24,344
we were talking about just the influence of Ray Charles,

1038
00:37:25,283 --> 00:37:26,844
for the funk lineage.

1039
00:37:27,084 --> 00:37:27,304
Yeah.

1040
00:37:27,354 --> 00:37:27,363
Yeah.

1041
00:37:27,364 --> 00:37:27,504
Right?

1042
00:37:27,764 --> 00:37:28,144
The tastemaker.

1043
00:37:28,264 --> 00:37:29,384
The tastemaker of that.

1044
00:37:29,854 --> 00:37:29,863
Yeah.

1045
00:37:29,864 --> 00:37:31,844
The fact that this is on a Ray Charles album.

1046
00:37:32,024 --> 00:37:32,204
Yeah.

1047
00:37:32,234 --> 00:37:32,243
Yeah.

1048
00:37:32,244 --> 00:37:34,304
And like you said, he's got one line on this.

1049
00:37:34,364 --> 00:37:38,044
This is not some big sung hit vocal

1050
00:37:38,144 --> 00:37:39,004
feature for him-

1051
00:37:39,204 --> 00:37:39,384
Right

1052
00:37:39,424 --> 00:37:40,884
... pop song kind of thing. But man.

1053
00:37:40,924 --> 00:37:42,304
And it wound up being a number one hit.

1054
00:37:42,584 --> 00:37:42,784
Right.

1055
00:37:43,094 --> 00:37:43,134
A number one hit.

1056
00:37:43,134 --> 00:37:46,504
Well, that kind of validates you if you're onto something normally. Not in jazz.

1057
00:37:46,584 --> 00:37:47,564
We run against that.

1058
00:37:49,124 --> 00:37:49,974
We run away from that.

1059
00:37:49,974 --> 00:37:52,864
We run away from that. Yeah. We're like, "Oh, that's some sass." So maybe-

1060
00:37:52,874 --> 00:37:53,444
You mean people like it?

1061
00:37:54,324 --> 00:37:54,634
Don't do that again.

1062
00:37:54,634 --> 00:37:55,584
You must be doing something wrong.

1063
00:37:56,024 --> 00:37:56,844
Don't do that again.

1064
00:37:57,584 --> 00:37:58,404
All right, the B side-

1065
00:37:58,414 --> 00:37:58,434
Side two

1066
00:37:58,464 --> 00:38:01,324
... starts off with, "I'm going to move to the outskirts of town."

1067
00:38:04,584 --> 00:38:06,324
Yeah.

1068
00:38:08,124 --> 00:38:09,104
Oh, that's Clark Terry there.

1069
00:38:09,324 --> 00:38:10,044
Oh,

1070
00:38:11,204 --> 00:38:11,924
yeah, definitely.

1071
00:38:12,124 --> 00:38:12,174
Yeah.

1072
00:38:12,174 --> 00:38:12,284
Yeah.

1073
00:38:13,404 --> 00:38:14,944
Here's where we nerd out a little bit because-

1074
00:38:15,964 --> 00:38:15,974
Okay

1075
00:38:15,974 --> 00:38:16,904
... Quincy uses the

1076
00:38:18,284 --> 00:38:19,004
double diminish

1077
00:38:20,244 --> 00:38:20,774
chords over here.

1078
00:38:20,774 --> 00:38:21,324
Oh, that's what you were playing over there.

1079
00:38:21,464 --> 00:38:22,104
Yeah, exactly.

1080
00:38:22,124 --> 00:38:24,684
Way out on the outskirts of town.

1081
00:38:24,724 --> 00:38:26,164
I asked James Williams about this.

1082
00:38:26,204 --> 00:38:27,644
I'm like, "Man, what is that sound?"

1083
00:38:27,724 --> 00:38:27,884
Yeah.

1084
00:38:28,214 --> 00:38:29,303
He's like, "Come over to the piano."

1085
00:38:29,444 --> 00:38:29,684
Yeah.

1086
00:38:30,144 --> 00:38:31,764
I'm going to move, baby.

1087
00:38:33,264 --> 00:38:35,084
I love when Ray uses this part of his voice, too.

1088
00:38:35,124 --> 00:38:36,373
Way out on the outskirts of town.

1089
00:38:36,444 --> 00:38:37,644
The sort of sweet-

1090
00:38:37,944 --> 00:38:37,994
Yeah

1091
00:38:38,004 --> 00:38:38,834
... high end of his voice.

1092
00:38:38,904 --> 00:38:38,924
You

1093
00:38:44,204 --> 00:38:46,524
see, I don't need nobody.

1094
00:38:49,224 --> 00:38:50,304
Come on, double diminish.

1095
00:38:50,364 --> 00:38:50,624
Yeah.

1096
00:38:50,644 --> 00:38:51,644
Always hanging around.

1097
00:38:54,004 --> 00:38:54,584
Woo.

1098
00:38:58,964 --> 00:38:59,474
Oh, killing it.

1099
00:38:59,524 --> 00:39:00,644
Let me tell you, honey.

1100
00:39:03,064 --> 00:39:04,624
We going to move away from here.

1101
00:39:06,944 --> 00:39:10,664
I don't need no ice man. I'm going to get you a Frigidaire.

1102
00:39:10,674 --> 00:39:11,784
And this is Roy Haynes on here.

1103
00:39:12,004 --> 00:39:12,304
Right.

1104
00:39:13,904 --> 00:39:14,424
Man, that

1105
00:39:15,664 --> 00:39:16,664
is so locked in.

1106
00:39:17,124 --> 00:39:17,424
Yes.

1107
00:39:17,544 --> 00:39:20,504
Way out on the outskirts of town.

1108
00:39:25,204 --> 00:39:28,524
Whoa. You see, we won't need nobody.

1109
00:39:31,604 --> 00:39:32,093
Always-

1110
00:39:32,164 --> 00:39:32,914
Is there an organ going on here?

1111
00:39:32,924 --> 00:39:33,724
Hit me one more again.

1112
00:39:40,884 --> 00:39:42,604
That's that double diminish when it goes up there?

1113
00:39:42,684 --> 00:39:42,984
Yeah.

1114
00:39:45,664 --> 00:39:46,384
Yeah.

1115
00:39:53,544 --> 00:39:54,124
So great.

1116
00:40:03,824 --> 00:40:05,764
Woo.

1117
00:40:07,424 --> 00:40:08,764
My mama done told me.

1118
00:40:08,884 --> 00:40:09,484
Yeah.

1119
00:40:13,924 --> 00:40:21,144
Ooh,

1120
00:40:21,324 --> 00:40:23,304
that

1121
00:40:23,624 --> 00:40:27,114
was Haynes. That was Haynes nailing that there.

1122
00:40:27,124 --> 00:40:29,444
Yo, big time. Roy Haynes, 101.

1123
00:40:31,864 --> 00:40:32,724
He is just padding.

1124
00:40:32,884 --> 00:40:33,014
He's old, man.

1125
00:40:33,014 --> 00:40:33,864
He's just padding underneath.

1126
00:40:33,894 --> 00:40:34,654
Oh, on the one.

1127
00:40:34,664 --> 00:40:38,183
Oh. Hogs better look like me when we move.

1128
00:40:38,223 --> 00:40:38,564
Oh, yeah.

1129
00:40:43,504 --> 00:40:44,224
Way

1130
00:40:45,144 --> 00:40:46,324
back to town.

1131
00:40:50,564 --> 00:40:51,104
Whoa.

1132
00:40:53,844 --> 00:40:55,724
We won't need nobody.

1133
00:40:57,904 --> 00:40:59,824
Always hanging

1134
00:40:59,884 --> 00:41:02,044
around.

1135
00:41:07,164 --> 00:41:10,764
We don't need nobody, baby. Oh!

1136
00:41:11,724 --> 00:41:15,243
Always hanging around.

1137
00:41:18,084 --> 00:41:18,464
Hanging around. Woo. Hanging

1138
00:41:18,484 --> 00:41:24,744
around.

1139
00:41:25,324 --> 00:41:26,983
Woo.

1140
00:41:30,374 --> 00:41:38,324
Man.

1141
00:41:38,384 --> 00:41:40,504
That bass trombone is almost like a keyboard.

1142
00:41:40,594 --> 00:41:40,603
Yeah.

1143
00:41:40,604 --> 00:41:40,924
It goes .

1144
00:41:41,744 --> 00:41:41,904
Yeah.

1145
00:41:42,004 --> 00:41:43,244
Yeah, like a synthesizer.

1146
00:41:43,284 --> 00:41:44,164
Like a didgeridoo.

1147
00:41:44,344 --> 00:41:44,524
Right.

1148
00:41:46,364 --> 00:41:49,804
Man. Well, our time is a little short, guys.

1149
00:41:49,884 --> 00:41:52,044
If we were to listen to one more track here-

1150
00:41:52,164 --> 00:41:53,104
Oh, man. Why are you doing that?

1151
00:41:53,134 --> 00:41:55,014
... on the second side, Christian, what do you think? What do you want to hear?

1152
00:41:55,264 --> 00:41:58,204
I will go with "Strike Up The Band."

1153
00:41:58,304 --> 00:41:58,404
Okay.

1154
00:41:58,484 --> 00:41:59,484
Just because I love how

1155
00:42:01,404 --> 00:42:01,504
he

1156
00:42:02,364 --> 00:42:03,924
bebops just enough-

1157
00:42:04,144 --> 00:42:04,194
Yeah

1158
00:42:04,244 --> 00:42:06,184
... to let you know he knows that language.

1159
00:42:06,764 --> 00:42:09,324
This is a Gershwin tune, "Strike Up The Band," arranged by Quincy.

1160
00:42:30,214 --> 00:42:30,793
Woo.

1161
00:42:35,934 --> 00:42:54,873
Woo.

1162
00:42:57,764 --> 00:42:58,274
And this one

1163
00:42:59,174 --> 00:43:00,934
sometimes feels more like Ralph Burns.

1164
00:43:01,654 --> 00:43:02,413
I almost wonder if they-

1165
00:43:02,494 --> 00:43:03,034
Ah.

1166
00:43:03,054 --> 00:43:04,434
They switched them out, yeah.

1167
00:43:10,774 --> 00:43:11,894
Yeah. Going with the patterns, right?

1168
00:43:11,934 --> 00:43:12,264
Yeah, yeah.

1169
00:43:12,274 --> 00:43:12,504
Right, right.

1170
00:43:12,514 --> 00:43:13,394
Taking it to the diminished.

1171
00:43:13,694 --> 00:43:14,314
Right.

1172
00:43:14,454 --> 00:43:15,054
Sha-ba-da-ba.

1173
00:43:17,014 --> 00:43:19,394
And this is funny, this isn't bebop language.

1174
00:43:19,454 --> 00:43:21,953
Some of that stuff is a little bit

1175
00:43:25,074 --> 00:43:25,674
Yeah.

1176
00:43:26,054 --> 00:43:32,034
Woo.

1177
00:43:33,114 --> 00:44:21,154
Woo.

1178
00:44:31,254 --> 00:44:38,534
I

1179
00:44:38,554 --> 00:44:38,813
mean

1180
00:44:39,934 --> 00:44:43,524
dare I say, a little Art Tatum-esque there at the end.

1181
00:44:43,554 --> 00:44:43,714
Right.

1182
00:44:43,794 --> 00:44:44,054
Yeah.

1183
00:44:44,174 --> 00:44:44,314
You know?

1184
00:44:44,374 --> 00:44:44,874
Little run.

1185
00:44:44,914 --> 00:44:45,024
Yeah.

1186
00:44:45,074 --> 00:44:47,154
Run going up. Oh, so great.

1187
00:44:47,234 --> 00:44:49,034
All right, guys, let's get to some categories here.

1188
00:44:49,334 --> 00:44:49,694
Okay.

1189
00:44:49,723 --> 00:44:49,894
Oh, yeah.

1190
00:44:50,124 --> 00:44:51,634
"Desert Island Tracks."

1191
00:44:51,674 --> 00:44:53,844
We have to explain some of these to our esteemed guests here as we go.

1192
00:44:53,914 --> 00:44:57,394
If you were to take one track from this whole album to a desert island,

1193
00:44:57,634 --> 00:44:58,554
which one you taking?

1194
00:44:58,574 --> 00:45:00,114
Oh, man. Really?

1195
00:45:00,194 --> 00:45:04,034
I know. The whole category's question are just terrible.

1196
00:45:04,594 --> 00:45:05,663
I'll go first to give you a little-

1197
00:45:05,694 --> 00:45:06,184
Go ahead

1198
00:45:06,254 --> 00:45:09,504
... a little vamp time. I mean, "Moanin'." I love that,

1199
00:45:10,034 --> 00:45:11,633
especially from what I've heard so far.

1200
00:45:13,414 --> 00:45:14,094
I loved

1201
00:45:15,394 --> 00:45:17,114
Ray's language there, his jazz

1202
00:45:17,974 --> 00:45:21,954
sensibility. I love that tune. I love that it was like a new kind of jazz standard,

1203
00:45:22,284 --> 00:45:23,174
and works great on the organ.

1204
00:45:23,324 --> 00:45:23,694
"I've Got

1205
00:45:24,554 --> 00:45:25,114
News for You."

1206
00:45:25,554 --> 00:45:25,934
Mm.

1207
00:45:26,034 --> 00:45:26,294
I think

1208
00:45:27,174 --> 00:45:28,494
the vocal performance on that

1209
00:45:29,314 --> 00:45:29,674
is

1210
00:45:30,754 --> 00:45:33,894
so great. The arrangement is so great. The energy of that song is so great.

1211
00:45:34,494 --> 00:45:37,443
It's hard not to pick "One Mint Julep" because of the vibes, but-

1212
00:45:37,714 --> 00:45:37,784
Yeah

1213
00:45:37,834 --> 00:45:39,014
... I'm going to go with "I've Got News for You."

1214
00:45:40,354 --> 00:45:43,074
I think I'd go with the opening track, "From the Heart."

1215
00:45:43,104 --> 00:45:43,324
"From the Heart."

1216
00:45:43,354 --> 00:45:43,674
All right.

1217
00:45:44,214 --> 00:45:48,134
It's just such a fail-safe way to start an album.

1218
00:45:48,374 --> 00:45:48,514
Mm.

1219
00:45:48,874 --> 00:45:52,754
That comes in just slamming, banging, the

1220
00:45:52,834 --> 00:45:54,854
horns, the rhythm section, just

1221
00:45:56,274 --> 00:45:58,334
the tempo, the language.

1222
00:45:59,214 --> 00:46:03,204
And it's also one of the tracks that

1223
00:46:03,254 --> 00:46:06,294
made me want to start learning how to write for big bands, so.

1224
00:46:06,834 --> 00:46:10,694
Yeah. I was going to ask you. After starting to dive into this record,

1225
00:46:11,694 --> 00:46:15,004
I was thinking about it, because I've heard your big band recently a few times, and

1226
00:46:15,594 --> 00:46:19,514
I know your records. I'm like, "Is this your favorite period

1227
00:46:19,674 --> 00:46:22,784
stylistically?" I don't want to box you in, but

1228
00:46:23,214 --> 00:46:27,174
it definitely sounds like it's the most influential, this type of

1229
00:46:27,194 --> 00:46:29,054
writing, this type of vibe for big band.

1230
00:46:30,314 --> 00:46:33,354
So, in that piece I had mentioned,

1231
00:46:34,034 --> 00:46:37,554
"Blues in an Alphabet City," that was the first big band piece I

1232
00:46:37,634 --> 00:46:38,794
ever composed.

1233
00:46:39,894 --> 00:46:42,474
And I wrote it for the Jazz at Lincoln Center Orchestra

1234
00:46:43,554 --> 00:46:47,314
in 1995. And at that time, I think a lot of

1235
00:46:47,354 --> 00:46:50,864
my references were, like I had mentioned, there was a little part in "From the

1236
00:46:50,894 --> 00:46:51,643
Heart" that I used,

1237
00:46:52,494 --> 00:46:53,054
and there was also

1238
00:46:54,134 --> 00:46:58,074
an old R&B hit from the same era by Jackie Wilson called

1239
00:46:58,083 --> 00:46:58,874
"Baby Work Out."

1240
00:46:59,694 --> 00:47:01,094
And there's a piece in that track

1241
00:47:02,474 --> 00:47:05,334
that I probably referenced as well.

1242
00:47:05,454 --> 00:47:07,544
So yeah, I think early '60s,

1243
00:47:09,254 --> 00:47:10,294
Oliver Nelson's-

1244
00:47:10,434 --> 00:47:10,554
Mm-hmm

1245
00:47:10,634 --> 00:47:12,094
... "The Blues and the Abstract Truth."

1246
00:47:12,294 --> 00:47:12,454
Right.

1247
00:47:13,994 --> 00:47:17,514
I think all those cats who were writing for big band at that time,

1248
00:47:17,614 --> 00:47:21,074
it was just a really

1249
00:47:21,374 --> 00:47:23,534
great time to be a big band arranger.

1250
00:47:23,554 --> 00:47:23,594
Yeah.

1251
00:47:23,624 --> 00:47:27,114
And once I started getting into it more, and people like James Williams

1252
00:47:27,134 --> 00:47:28,194
said,

1253
00:47:29,294 --> 00:47:32,094
"Get you some Thad Jones scores to study."

1254
00:47:32,254 --> 00:47:32,854
Yeah.

1255
00:47:32,864 --> 00:47:36,774
"But that's in the back of the book." "Take some time before you start getting into

1256
00:47:36,834 --> 00:47:37,014
that."

1257
00:47:37,134 --> 00:47:37,414
Right.

1258
00:47:37,454 --> 00:47:37,704
You know?

1259
00:47:38,334 --> 00:47:39,474
Oh, that's great. Yeah.

1260
00:47:40,254 --> 00:47:44,174
Quibble bits. If you had to quibble any little bit of this, if there was anything

1261
00:47:44,214 --> 00:47:46,554
you could change, just a small thing.

1262
00:47:47,014 --> 00:47:48,174
For me, I'm going to say it

1263
00:47:49,014 --> 00:47:49,654
The organ sound?

1264
00:47:50,194 --> 00:47:50,454
Yeah.

1265
00:47:51,214 --> 00:47:51,224
Yeah.

1266
00:47:51,254 --> 00:47:51,874
I'm with you on that.

1267
00:47:52,274 --> 00:47:52,374
Yeah.

1268
00:47:52,434 --> 00:47:53,914
I don't mind it some of the time.

1269
00:47:53,994 --> 00:47:54,274
Yeah.

1270
00:47:54,424 --> 00:47:54,453
Yeah.

1271
00:47:54,454 --> 00:47:56,494
I wonder what it would sound like if it sounded more like Jimmy Smith.

1272
00:47:56,524 --> 00:47:56,713
Right.

1273
00:47:56,714 --> 00:47:57,054
Jimmy Smith off, you know?

1274
00:47:57,294 --> 00:47:59,674
If it wasn't Ray Charles, I'd be like, "Who in the hell-

1275
00:47:59,714 --> 00:47:59,894
Yeah.

1276
00:48:00,034 --> 00:48:00,554
Right. Yeah

1277
00:48:00,834 --> 00:48:02,093
... approved this organ sound?"

1278
00:48:02,334 --> 00:48:02,494
Right.

1279
00:48:02,634 --> 00:48:03,574
Yeah.

1280
00:48:03,614 --> 00:48:07,494
My only quibble bit is the way that this wonderful LP smells and

1281
00:48:07,514 --> 00:48:08,754
the mold-

1282
00:48:09,334 --> 00:48:09,864
That's on you, buddy

1283
00:48:09,874 --> 00:48:10,714
... the mold it's giving.

1284
00:48:10,854 --> 00:48:11,234
That's your fault.

1285
00:48:11,254 --> 00:48:12,394
So I ordered this. I was so excited.

1286
00:48:12,434 --> 00:48:13,774
You could've gone to what's the name and-

1287
00:48:14,234 --> 00:48:14,634
I know. I-

1288
00:48:14,644 --> 00:48:15,244
Vinyl. Vinyl.

1289
00:48:15,314 --> 00:48:18,874
But it's like I wanted to get something, and this is original, which I'm excited

1290
00:48:18,914 --> 00:48:19,194
about.

1291
00:48:19,204 --> 00:48:19,334
Yeah.

1292
00:48:19,574 --> 00:48:21,434
I was more concerned, I wanted to be able to see the...

1293
00:48:21,694 --> 00:48:25,644
Well, first of all, this is not available as far as we know, and you can

1294
00:48:25,714 --> 00:48:27,644
say, maybe in another country, you can put in the comments.

1295
00:48:28,194 --> 00:48:31,274
As far as we can tell, it's not available currently on Spotify, on Apple Music, or

1296
00:48:31,294 --> 00:48:35,014
on Apple iTunes, which is where we usually go for original sourcing and buy the

1297
00:48:35,034 --> 00:48:38,974
tracks. So I wanted to have it for that, but man, this thing

1298
00:48:39,054 --> 00:48:42,974
smells like a dusty mess, man. It's like I'm a little bit, I'm not really high.

1299
00:48:43,114 --> 00:48:44,914
What's opposite of that? I'm down, I'm up.

1300
00:48:44,944 --> 00:48:44,973
Yeah.

1301
00:48:44,974 --> 00:48:47,054
I don't know. I don't know what these toxic fumes are.

1302
00:48:47,134 --> 00:48:49,384
Yeah. I hope you don't have to go to the doctor in a few days.

1303
00:48:49,384 --> 00:48:53,118
Just to be clear, your quibble bit with this albumIs that you bought an old,

1304
00:48:53,188 --> 00:48:54,918
dank copy? That's your quibble bit?

1305
00:48:55,138 --> 00:48:56,938
But look at the condition. This is damn good condition.

1306
00:48:56,978 --> 00:48:57,598
That's pretty good.

1307
00:48:57,718 --> 00:48:59,218
Yeah. It's kind of worth it.

1308
00:48:59,598 --> 00:49:01,618
Yeah. Anybody else got a quibble bit?

1309
00:49:01,698 --> 00:49:02,638
You know what? You guys agreed on it.

1310
00:49:02,758 --> 00:49:03,498
Just the organ sound.

1311
00:49:03,558 --> 00:49:04,608
Yeah. I would agree on that, too.

1312
00:49:04,658 --> 00:49:06,098
Well, let's stick with the album-

1313
00:49:06,418 --> 00:49:06,518
Yeah

1314
00:49:06,578 --> 00:49:09,148
... accoutrements. So, cover. I mean, the title-

1315
00:49:09,558 --> 00:49:10,598
This is one of the 10 greatest ever

1316
00:49:10,658 --> 00:49:13,518
... we were talking about how unique Ray is as an artist, right?

1317
00:49:13,578 --> 00:49:15,598
How influential, how genius he is.

1318
00:49:15,938 --> 00:49:19,208
Is there anybody else who can get away with so many album titles having genius in

1319
00:49:19,258 --> 00:49:19,438
them?

1320
00:49:19,468 --> 00:49:22,368
Genius. I know. That's what... But no one's got a problem with it as far as I know.

1321
00:49:22,368 --> 00:49:23,318
Right. Genius Ray Charles. Right.

1322
00:49:23,858 --> 00:49:24,838
Yeah, nobody's mad at him.

1323
00:49:24,878 --> 00:49:24,908
No.

1324
00:49:25,058 --> 00:49:26,378
Yeah. You can't be like, "He's not."

1325
00:49:27,718 --> 00:49:31,618
Yeah. I give this a nine, and the only reason I'm not giving it as a

1326
00:49:31,658 --> 00:49:33,598
10, I'm almost like, the 10, because you include the title.

1327
00:49:33,678 --> 00:49:35,998
I think the design of the cover, I love

1328
00:49:36,858 --> 00:49:38,778
Ray, and it's almost like

1329
00:49:39,878 --> 00:49:42,438
he's slightly out of focus, but even more like bokeh in the front.

1330
00:49:42,498 --> 00:49:43,768
I think this is brilliant. I think-

1331
00:49:43,858 --> 00:49:44,298
The saxophones.

1332
00:49:44,338 --> 00:49:44,378
Yeah.

1333
00:49:44,418 --> 00:49:47,558
The saxophone, like the color, even the sticker, "This album contains," just, I

1334
00:49:47,598 --> 00:49:49,488
mean, what a time when you're like-

1335
00:49:49,518 --> 00:49:50,018
That's so awesome

1336
00:49:50,058 --> 00:49:51,238
... put the hit on there-

1337
00:49:51,418 --> 00:49:51,678
That's right

1338
00:49:51,687 --> 00:49:52,228
... so they know what they're buying.

1339
00:49:52,318 --> 00:49:52,798
You've got to let people know.

1340
00:49:53,038 --> 00:49:56,578
Impulse, this is classic. Even what's shocking to me is this is, as you said,

1341
00:49:56,738 --> 00:49:59,188
A2 for Impulse, but they already had their design chops too.

1342
00:49:59,218 --> 00:50:00,058
It looks like an Impulse.

1343
00:50:00,098 --> 00:50:00,618
Big time.

1344
00:50:00,648 --> 00:50:00,697
Yeah.

1345
00:50:00,698 --> 00:50:02,618
Produced by Creed Taylor with the signature.

1346
00:50:02,658 --> 00:50:02,668
That's Creed. Hey.

1347
00:50:02,668 --> 00:50:02,669
Right.

1348
00:50:02,668 --> 00:50:05,758
How many times did we see that? All the way to CTI.

1349
00:50:05,838 --> 00:50:09,638
But I think the only reason I give it a nine is, should the title have been

1350
00:50:09,678 --> 00:50:12,078
Genius Plus Jazz Equals Soul?

1351
00:50:12,458 --> 00:50:12,758
Mm.

1352
00:50:13,018 --> 00:50:14,258
It could've been.

1353
00:50:14,318 --> 00:50:15,308
That sounds like a quibble bit. Yeah.

1354
00:50:15,498 --> 00:50:17,378
That is a little bit of a quibble bit, but it's great.

1355
00:50:17,658 --> 00:50:18,638
I got eight. I have an eight.

1356
00:50:18,818 --> 00:50:18,828
Okay.

1357
00:50:18,858 --> 00:50:22,198
I think it's really, really good. Like you said, the Impulseness of the-

1358
00:50:22,398 --> 00:50:22,598
Yeah

1359
00:50:22,678 --> 00:50:24,058
... packaging is already there.

1360
00:50:24,278 --> 00:50:24,418
Yeah.

1361
00:50:24,898 --> 00:50:28,618
And I love these Impulse albums, too, from the early '60s.

1362
00:50:28,678 --> 00:50:29,718
Like, all the McCoy stuff.

1363
00:50:29,758 --> 00:50:31,728
This really is starting to affect me. I was joking before.

1364
00:50:31,728 --> 00:50:32,408
All right. Well, keep it, come on. Do it.

1365
00:50:32,418 --> 00:50:32,998
Sorry, guys.

1366
00:50:33,438 --> 00:50:34,488
I'm starting to worry now.

1367
00:50:35,318 --> 00:50:35,858
My bad.

1368
00:50:36,038 --> 00:50:36,308
Christian, you want to-

1369
00:50:36,338 --> 00:50:36,348
Don't get sick.

1370
00:50:36,358 --> 00:50:37,718
Welcome to our guest.

1371
00:50:38,638 --> 00:50:41,928
Also, by the way, the liner notes and the detail, I mean, I know we say this every

1372
00:50:41,958 --> 00:50:43,148
time we have... I'm sorry. I won't open it up.

1373
00:50:43,158 --> 00:50:43,558
Close it up.

1374
00:50:43,858 --> 00:50:44,558
I'm going to keep that open.

1375
00:50:44,658 --> 00:50:44,768
Yeah. Oh, man.

1376
00:50:44,778 --> 00:50:46,188
But every time we have the vinyl out-

1377
00:50:46,248 --> 00:50:46,249
Yeah

1378
00:50:46,248 --> 00:50:47,788
... which is almost every episode at this point-

1379
00:50:47,868 --> 00:50:47,869
Yeah

1380
00:50:47,868 --> 00:50:50,548
... it's just like, why are we choosing to go away from this?

1381
00:50:50,738 --> 00:50:50,978
I know.

1382
00:50:51,018 --> 00:50:52,258
You know what I mean? Like, the experience-

1383
00:50:52,298 --> 00:50:52,388
And look at that picture

1384
00:50:52,388 --> 00:50:53,738
... of listening to this with you guys-

1385
00:50:53,748 --> 00:50:53,857
Yeah

1386
00:50:53,858 --> 00:50:54,298
... and having this available-

1387
00:50:54,318 --> 00:50:56,178
And holding, and seeing the picture of Ray

1388
00:50:56,188 --> 00:50:56,958
... and passing it to Peter-

1389
00:50:56,968 --> 00:50:56,988
I know.

1390
00:50:56,988 --> 00:50:59,358
... and watching him almost pass out, that's fantastic.

1391
00:51:00,558 --> 00:51:02,647
But having just every, just knowing who's playing on this album-

1392
00:51:02,658 --> 00:51:02,828
I know

1393
00:51:02,838 --> 00:51:03,467
... is amazing.

1394
00:51:03,518 --> 00:51:03,658
Right.

1395
00:51:03,878 --> 00:51:05,978
Even though apparently some of it's wrong.

1396
00:51:06,598 --> 00:51:06,888
Hey, you know.

1397
00:51:06,888 --> 00:51:08,178
With the arrangers. Yeah. That happens.

1398
00:51:08,398 --> 00:51:08,778
I would

1399
00:51:09,578 --> 00:51:10,158
give it a nine.

1400
00:51:10,578 --> 00:51:10,758
Nine.

1401
00:51:10,898 --> 00:51:10,978
Yeah.

1402
00:51:11,018 --> 00:51:11,778
Okay. All right. I got eight.

1403
00:51:11,818 --> 00:51:15,747
I don't know why I wouldn't give it a 10, but I think probably because

1404
00:51:16,498 --> 00:51:20,358
most Impulse records, particularly the artwork, is just

1405
00:51:20,378 --> 00:51:21,338
as great as the music.

1406
00:51:21,518 --> 00:51:22,518
Right. I agree.

1407
00:51:23,318 --> 00:51:24,438
I think Rudy,

1408
00:51:25,838 --> 00:51:29,738
somehow people, when you think of the sound

1409
00:51:29,778 --> 00:51:30,758
of Blue Note Records-

1410
00:51:30,858 --> 00:51:30,958
Yeah

1411
00:51:31,898 --> 00:51:35,798
... obviously Rudy and Blue Note are intertwined with each

1412
00:51:35,858 --> 00:51:36,418
other forever.

1413
00:51:37,318 --> 00:51:39,798
But I think Rudy's sound on Impulse records,

1414
00:51:40,978 --> 00:51:41,418
I mean.

1415
00:51:43,198 --> 00:51:46,148
Yeah. Well, we've said on the pod before several times-

1416
00:51:46,258 --> 00:51:46,268
Yeah

1417
00:51:46,268 --> 00:51:49,967
... I think, in general, his piano, because I'm not a huge fan of the Rudy

1418
00:51:50,538 --> 00:51:51,378
piano sound-

1419
00:51:51,448 --> 00:51:51,449
Right

1420
00:51:51,448 --> 00:51:52,268
... but it's more on the Blue Note.

1421
00:51:52,338 --> 00:51:52,527
On the Blue Note Rudy, yeah.

1422
00:51:52,527 --> 00:51:53,698
On the Impulse, I think it's-

1423
00:51:53,878 --> 00:51:54,338
Right

1424
00:51:54,378 --> 00:51:54,918
... fantastic.

1425
00:51:54,967 --> 00:51:54,977
Right.

1426
00:51:54,978 --> 00:51:57,608
I mean, obviously there's no piano on this, but I mean, in general,

1427
00:51:58,698 --> 00:51:59,758
and Prestige.

1428
00:51:59,768 --> 00:52:00,017
Right.

1429
00:52:00,018 --> 00:52:03,258
I mean, I think a lot of, I think part of that was the Blue Noteness of it all,

1430
00:52:03,358 --> 00:52:03,558
but.

1431
00:52:04,558 --> 00:52:04,778
Yeah.

1432
00:52:04,848 --> 00:52:07,258
Yeah. There's a vibe on those Impulse records.

1433
00:52:07,378 --> 00:52:07,478
Yeah.

1434
00:52:07,818 --> 00:52:11,058
Do you guys think about album art as you're making the album?

1435
00:52:11,478 --> 00:52:13,618
I mean, I'm sure you're both involved in it when it's

1436
00:52:14,678 --> 00:52:17,718
being done, but do you ever consider that as it's happening, or you just let it

1437
00:52:18,138 --> 00:52:18,338
kind of-

1438
00:52:19,018 --> 00:52:19,898
While it's happening?

1439
00:52:20,118 --> 00:52:20,258
Yeah.

1440
00:52:20,418 --> 00:52:22,038
I don't know about while it's happening.

1441
00:52:22,078 --> 00:52:24,638
I think once it's done, and you take it all in-

1442
00:52:24,738 --> 00:52:25,458
Mm-hmm

1443
00:52:25,467 --> 00:52:26,778
... then you kind of go, "All right."

1444
00:52:26,948 --> 00:52:27,488
"What do we got here?"

1445
00:52:27,658 --> 00:52:27,818
Right.

1446
00:52:28,198 --> 00:52:28,378
Yeah.

1447
00:52:29,018 --> 00:52:29,108
Yeah.

1448
00:52:29,108 --> 00:52:29,109
Yeah.

1449
00:52:29,108 --> 00:52:29,118
Yeah.

1450
00:52:30,238 --> 00:52:32,078
Apex moments. Peter, what do you got?

1451
00:52:33,158 --> 00:52:34,318
Come back to me. I don't have mine yet.

1452
00:52:34,378 --> 00:52:37,058
Christian, what do you got? What's your favorite moment of this whole album?

1453
00:52:37,118 --> 00:52:38,198
Oh, man.

1454
00:52:41,498 --> 00:52:45,018
Probably that scream the whole band makes on-

1455
00:52:45,098 --> 00:52:45,318
That's pretty great

1456
00:52:45,338 --> 00:52:46,538
... "I've Got News for You."

1457
00:52:46,558 --> 00:52:46,878
That's pretty great.

1458
00:52:46,978 --> 00:52:48,278
I mean, that is nuts.

1459
00:52:48,298 --> 00:52:50,228
That is insane. Also, the way it's recorded-

1460
00:52:50,238 --> 00:52:53,558
If I had hair, it would've blown it off, right?

1461
00:52:53,568 --> 00:52:57,408
The way it's recorded feels like it takes up the entire room-

1462
00:52:57,598 --> 00:52:57,687
Yes

1463
00:52:57,758 --> 00:52:58,818
... that you're listening to it in.

1464
00:52:58,898 --> 00:52:59,258
That's right.

1465
00:52:59,268 --> 00:52:59,417
Right.

1466
00:52:59,418 --> 00:53:02,418
It's like all of a sudden, the room is just filled with horns.

1467
00:53:02,578 --> 00:53:02,638
Right.

1468
00:53:02,718 --> 00:53:03,008
Yeah.

1469
00:53:03,068 --> 00:53:03,238
Right.

1470
00:53:03,578 --> 00:53:03,778
Yeah.

1471
00:53:03,808 --> 00:53:07,698
And even here, these speakers here, it's like you almost

1472
00:53:07,758 --> 00:53:09,038
feel like they're there.

1473
00:53:09,298 --> 00:53:09,497
Yeah.

1474
00:53:09,528 --> 00:53:09,577
Yeah.

1475
00:53:09,578 --> 00:53:09,788
You know?

1476
00:53:09,877 --> 00:53:10,158
Yeah.

1477
00:53:10,567 --> 00:53:10,577
Yeah.

1478
00:53:10,578 --> 00:53:12,598
You just see the brass in front of you.

1479
00:53:12,738 --> 00:53:16,378
Yeah. The production engineering on this,

1480
00:53:16,418 --> 00:53:20,138
besides the quibble bits about maybe the organ stuff, is stunning, actually.

1481
00:53:20,148 --> 00:53:20,157
Oh, yeah.

1482
00:53:20,158 --> 00:53:21,418
This is one of the best big band-

1483
00:53:21,678 --> 00:53:22,038
Yes

1484
00:53:22,058 --> 00:53:25,418
... recordings in the studio I've heard. I'm actually amazed.

1485
00:53:25,518 --> 00:53:29,448
I would say my apex moment is Ray's entry on "I've Got News for

1486
00:53:29,498 --> 00:53:29,558
You."

1487
00:53:29,578 --> 00:53:30,038
It's a great moment.

1488
00:53:30,048 --> 00:53:30,117
Yeah.

1489
00:53:30,118 --> 00:53:34,038
It's amazing. I could come back to that and just, and there's so many levels to it

1490
00:53:34,098 --> 00:53:36,978
I think you could explore that are just so fascinating.

1491
00:53:37,038 --> 00:53:38,418
The feel of what he's doing.

1492
00:53:38,538 --> 00:53:38,758
Yeah.

1493
00:53:38,798 --> 00:53:42,478
Obviously, how he's singing everything, one of the greatest voices in music

1494
00:53:42,498 --> 00:53:43,048
history. But it does-

1495
00:53:43,058 --> 00:53:45,058
Yeah. But the freedom, the rhythmic freedom-

1496
00:53:45,118 --> 00:53:45,478
The rhythmic freedom

1497
00:53:45,638 --> 00:53:45,648
... and the attenuation.

1498
00:53:45,658 --> 00:53:47,728
But like you said, you can feel that pulse happening-

1499
00:53:47,748 --> 00:53:47,768
Oh

1500
00:53:47,768 --> 00:53:49,498
... the whole time under all those breaks.

1501
00:53:49,558 --> 00:53:49,608
Yeah.

1502
00:53:49,608 --> 00:53:49,698
Yeah.

1503
00:53:50,138 --> 00:53:53,618
And I think you're right. Maybe greatest breaker

1504
00:53:54,118 --> 00:53:55,038
of all... Not breaker.

1505
00:53:55,278 --> 00:53:55,418
Yeah.

1506
00:53:55,538 --> 00:53:57,228
The greatest vocal breaks.

1507
00:53:57,228 --> 00:53:57,538
Blue Note breaks.

1508
00:53:58,918 --> 00:54:00,778
The greatest vocal breaks of all time.

1509
00:54:00,898 --> 00:54:01,078
Yeah.

1510
00:54:01,118 --> 00:54:01,338
You know?

1511
00:54:02,418 --> 00:54:02,658
Okay.

1512
00:54:03,458 --> 00:54:04,078
What's your apex moment?

1513
00:54:04,158 --> 00:54:07,638
Oh. Man, you know what it is? It's on the "One Mint Julep,"

1514
00:54:08,018 --> 00:54:09,478
every single ah, and the-

1515
00:54:09,658 --> 00:54:09,858
Yeah

1516
00:54:09,868 --> 00:54:10,678
... just a little soul.

1517
00:54:10,858 --> 00:54:11,318
Oh, yeah.

1518
00:54:11,418 --> 00:54:13,678
I know it's stupid and little, but those little moments-

1519
00:54:13,778 --> 00:54:13,848
Yeah

1520
00:54:13,878 --> 00:54:15,598
... I think that's why that was such a huge hit, honestly.

1521
00:54:15,638 --> 00:54:16,978
That was Roy Haynes' favorite moment.

1522
00:54:17,198 --> 00:54:17,208
Oh, really?

1523
00:54:17,218 --> 00:54:17,517
Yeah.

1524
00:54:17,538 --> 00:54:19,188
It just pulls you in. You know what?

1525
00:54:19,188 --> 00:54:20,298
Just a little bit of soul.

1526
00:54:20,398 --> 00:54:20,628
Because you-

1527
00:54:20,878 --> 00:54:21,478
I used to say that all the time

1528
00:54:21,498 --> 00:54:22,637
... like lean in a little bit.

1529
00:54:22,678 --> 00:54:22,808
Yeah.

1530
00:54:22,848 --> 00:54:22,877
Right.

1531
00:54:22,878 --> 00:54:24,338
You know what I mean? And it just breaks it up.

1532
00:54:24,398 --> 00:54:25,938
I just think it's really, really nice.

1533
00:54:25,948 --> 00:54:26,038
It's great.

1534
00:54:26,898 --> 00:54:30,598
Snobbometer. How snobby is this album from a scale of one to 10?

1535
00:54:30,978 --> 00:54:33,278
One being it's not snobby at all. It's very accessible.

1536
00:54:33,368 --> 00:54:36,938
Anybody would like it, to 10 being like, ooh, that's going to take some

1537
00:54:37,758 --> 00:54:38,258
listening to.

1538
00:54:40,038 --> 00:54:41,078
Probably a one.

1539
00:54:41,378 --> 00:54:41,978
I've got two.

1540
00:54:42,398 --> 00:54:42,538
Yeah.

1541
00:54:42,618 --> 00:54:43,198
I've got a two.

1542
00:54:43,358 --> 00:54:43,858
I've got 10

1543
00:54:44,574 --> 00:54:45,074
Are you serious?

1544
00:54:45,114 --> 00:54:46,814
Yeah. Okay, first of all, just so you know.

1545
00:54:46,874 --> 00:54:47,474
Come on, let me hear it.

1546
00:54:47,534 --> 00:54:49,494
We have a lot of disagreements.

1547
00:54:49,594 --> 00:54:49,804
I love it.

1548
00:54:49,804 --> 00:54:53,454
The only time we agree, because the snob-o-meter is broken, first of all.

1549
00:54:53,494 --> 00:54:53,634
It's not.

1550
00:54:53,644 --> 00:54:53,984
It's totally broken.

1551
00:54:53,984 --> 00:54:54,654
It's never worked right.

1552
00:54:54,704 --> 00:54:54,713
No.

1553
00:54:54,714 --> 00:54:56,394
It doesn't make sense. I don't even know why we do it.

1554
00:54:56,534 --> 00:54:56,624
Well.

1555
00:54:56,714 --> 00:55:00,254
The reason I'm saying 10 is, first of all, Christian McBride brought in an album

1556
00:55:00,314 --> 00:55:03,794
today that's not on Spotify or on Apple Music or on

1557
00:55:03,914 --> 00:55:04,844
iTunes or anything.

1558
00:55:05,104 --> 00:55:05,264
That's fair point. That's fair.

1559
00:55:05,264 --> 00:55:07,644
There's a certain snob level to that.

1560
00:55:07,694 --> 00:55:08,234
Although-

1561
00:55:08,294 --> 00:55:08,324
Can't even find it

1562
00:55:08,324 --> 00:55:11,834
... it was number four. Yeah. But it was also number four on the pop charts and a

1563
00:55:11,854 --> 00:55:12,714
number one R&B hit.

1564
00:55:12,754 --> 00:55:12,844
Right.

1565
00:55:12,844 --> 00:55:15,794
So how snobby could it be? So I could be off on that, but I just wanted to throw a

1566
00:55:15,854 --> 00:55:15,994
10 out there.

1567
00:55:16,034 --> 00:55:16,593
I'll allow it.

1568
00:55:17,174 --> 00:55:21,134
I mean, partially that's because, by this time, Ray Charles owned

1569
00:55:21,154 --> 00:55:24,834
his own masters, and I think even to this day, most of his

1570
00:55:24,854 --> 00:55:26,644
post-Atlantic recordings-

1571
00:55:26,774 --> 00:55:26,894
Yeah

1572
00:55:27,374 --> 00:55:28,394
... can't find a lot of them.

1573
00:55:28,454 --> 00:55:28,504
Right.

1574
00:55:28,514 --> 00:55:29,074
That's a real shame.

1575
00:55:29,114 --> 00:55:30,574
Wait till we get blocked on this episode.

1576
00:55:30,774 --> 00:55:30,784
Yeah.

1577
00:55:30,794 --> 00:55:31,654
We've got to talk about that later.

1578
00:55:31,874 --> 00:55:32,614
My goodness.

1579
00:55:32,734 --> 00:55:35,714
We might. Okay, up next.

1580
00:55:35,814 --> 00:55:35,914
Yeah.

1581
00:55:36,114 --> 00:55:39,934
So I'm going to go boring here. If you were to put together what would play

1582
00:55:40,034 --> 00:55:43,094
after this, I'm going to say Modern Sounds in Country and Western Music, and I'm

1583
00:55:43,134 --> 00:55:43,694
just going to go

1584
00:55:44,634 --> 00:55:44,824
right-

1585
00:55:44,854 --> 00:55:45,924
Oh, that's killer

1586
00:55:46,054 --> 00:55:46,184
... yeah.

1587
00:55:46,234 --> 00:55:47,194
Another great album.

1588
00:55:47,414 --> 00:55:47,554
Yeah.

1589
00:55:48,334 --> 00:55:49,293
I think there's a lot of k-

1590
00:55:49,734 --> 00:55:50,654
Bye Bye Love.

1591
00:55:51,034 --> 00:55:52,754
There's some kinship here where you can hear some.

1592
00:55:52,794 --> 00:55:55,154
I mean, it's obviously two whole different vibes, right?

1593
00:55:55,194 --> 00:55:55,244
Yeah.

1594
00:55:55,274 --> 00:55:56,934
But, yeah. What do you got, Pete?

1595
00:55:57,494 --> 00:55:59,354
I'm going to go Someday My Prince Will Come.

1596
00:55:59,574 --> 00:56:00,454
I know. Same year.

1597
00:56:00,554 --> 00:56:01,754
Miles Davis. So they came out the same year.

1598
00:56:01,784 --> 00:56:01,813
Oh, yeah.

1599
00:56:01,814 --> 00:56:05,434
I always like to think about different things that are happening, because a lot of

1600
00:56:05,454 --> 00:56:08,714
times, that's how I'll... And this is definitely a record I'm looking forward to

1601
00:56:08,754 --> 00:56:11,174
taking home, sterilizing fully- ...

1602
00:56:11,334 --> 00:56:15,094
setting out on the back porch, and then bringing into my home and listening to it.

1603
00:56:15,294 --> 00:56:16,234
I love it. Then turn it over.

1604
00:56:16,354 --> 00:56:16,474
Right.

1605
00:56:16,594 --> 00:56:19,634
Listen to this. And then if I want to hear more music, I usually want to go to

1606
00:56:19,674 --> 00:56:22,834
something else. But it's fun to be like, "Damn, this was all 1961?"

1607
00:56:22,934 --> 00:56:23,154
Right.

1608
00:56:23,474 --> 00:56:24,124
I love Someday My Prince Will Come.

1609
00:56:24,124 --> 00:56:25,474
Well, if you look in the

1610
00:56:28,734 --> 00:56:29,754
Impulse Records

1611
00:56:30,734 --> 00:56:32,094
calendar booklet-

1612
00:56:32,274 --> 00:56:32,554
Mm-hmm

1613
00:56:32,564 --> 00:56:36,354
... from that time, they probably did Africa/Brass not

1614
00:56:36,394 --> 00:56:37,054
long after this.

1615
00:56:37,064 --> 00:56:37,334
Oh, that's right.

1616
00:56:37,534 --> 00:56:37,714
Yeah.

1617
00:56:38,014 --> 00:56:38,994
Wait, isn't Haynes on-

1618
00:56:39,154 --> 00:56:39,674
Yeah

1619
00:56:39,694 --> 00:56:40,153
... some of that?

1620
00:56:40,834 --> 00:56:43,494
I thought that was Elvin on the whole album.

1621
00:56:43,564 --> 00:56:43,774
It's Elvin. Okay.

1622
00:56:43,854 --> 00:56:44,774
He might be on some of the

1623
00:56:46,234 --> 00:56:46,934
sessions, but-

1624
00:56:47,034 --> 00:56:48,794
Okay. But he was with Trane-

1625
00:56:48,854 --> 00:56:49,024
Oh, yeah

1626
00:56:49,024 --> 00:56:50,074
... a little bit around, like when Elvin-

1627
00:56:50,144 --> 00:56:50,145
Yeah

1628
00:56:50,144 --> 00:56:51,924
... wasn't available. That's crazy that he was.

1629
00:56:51,954 --> 00:56:53,994
So I say let's follow that up with-

1630
00:56:54,034 --> 00:56:54,584
That's killer

1631
00:56:54,593 --> 00:56:55,634
... Africa/Brass.

1632
00:56:55,674 --> 00:56:55,794
That's a great call.

1633
00:56:55,854 --> 00:56:59,794
No, and it's like the times when, I mean, we still remember this a

1634
00:56:59,834 --> 00:57:02,214
little bit, when the label would be like, "Next week, what's coming out.

1635
00:57:02,294 --> 00:57:02,754
Next month."

1636
00:57:02,914 --> 00:57:02,924
Right.

1637
00:57:02,934 --> 00:57:03,254
Yeah.

1638
00:57:03,434 --> 00:57:04,684
They have the little insert for it.

1639
00:57:04,714 --> 00:57:06,214
That's so cool, man. I miss those.

1640
00:57:06,354 --> 00:57:09,914
Oh, yeah. That's great. Okay, while he's looking that up, we're going to move

1641
00:57:10,394 --> 00:57:13,984
next. Oh, bespoke playlist. So this is like, what would...

1642
00:57:13,994 --> 00:57:14,634
If this was on-

1643
00:57:14,954 --> 00:57:15,594
It was Elvin on everything.

1644
00:57:15,694 --> 00:57:16,064
It was Elvin. Okay.

1645
00:57:16,094 --> 00:57:16,904
Yeah, that's what I thought.

1646
00:57:16,954 --> 00:57:17,974
That's a killer record, too.

1647
00:57:18,054 --> 00:57:18,304
Oh, yeah.

1648
00:57:18,374 --> 00:57:19,334
Oh, man. Africa.

1649
00:57:19,374 --> 00:57:22,144
That's Jimmy Garrison, right?

1650
00:57:22,194 --> 00:57:22,954
That's Art Davis-

1651
00:57:22,994 --> 00:57:23,514
Oh, Art Davis

1652
00:57:23,524 --> 00:57:23,974
... and Reggie Workman.

1653
00:57:23,994 --> 00:57:24,554
That's right.

1654
00:57:24,614 --> 00:57:25,114
Yep.

1655
00:57:26,894 --> 00:57:30,774
Bespoke playlist. This is like, if it was on Spotify, what would it be part

1656
00:57:30,814 --> 00:57:32,964
of? I've written something that I can't read right now, so.

1657
00:57:32,994 --> 00:57:34,163
Oh, it was my favorites. I got one.

1658
00:57:34,334 --> 00:57:34,514
Okay.

1659
00:57:34,634 --> 00:57:38,174
And this is just on the genius front. Genius plus genius equals genius. Come on.

1660
00:57:38,454 --> 00:57:38,754
Ooh.

1661
00:57:38,814 --> 00:57:39,354
Oh, okay.

1662
00:57:40,334 --> 00:57:43,394
I don't know what else is in the playlist but other geniuses, I would assume.

1663
00:57:44,394 --> 00:57:44,594
Yeah.

1664
00:57:44,734 --> 00:57:46,334
Okay. Not my best work.

1665
00:57:46,534 --> 00:57:49,014
No, sorry. I wasn't actually listening to what you were saying for a minute.

1666
00:57:49,044 --> 00:57:49,374
My bad.

1667
00:57:49,574 --> 00:57:50,054
What do you got, Peter?

1668
00:57:50,634 --> 00:57:54,274
I have S-T-R-E-A, and I don't remember why I wrote that or what that means.

1669
00:57:54,474 --> 00:57:55,714
Sorry. I'm just being honest.

1670
00:57:55,834 --> 00:57:56,294
Strea.

1671
00:57:56,674 --> 00:57:57,234
Strea.

1672
00:57:57,414 --> 00:57:57,894
Strea.

1673
00:57:58,294 --> 00:57:58,534
I don't know.

1674
00:57:58,714 --> 00:57:58,804
What's wrong with that?

1675
00:57:58,814 --> 00:57:59,654
You got anything, Christian, on that?

1676
00:58:00,434 --> 00:58:01,774
What will we call it?

1677
00:58:01,784 --> 00:58:02,134
Like a name of a playlist? Yeah.

1678
00:58:07,234 --> 00:58:08,034
What could we call it?

1679
00:58:12,134 --> 00:58:16,114
Let me see. Something with soul or funk in there, because it's

1680
00:58:16,154 --> 00:58:16,374
like

1681
00:58:17,554 --> 00:58:21,414
this is a jazz record, by all means.

1682
00:58:21,574 --> 00:58:21,714
Yeah.

1683
00:58:22,294 --> 00:58:23,734
But it's also a soul record.

1684
00:58:23,954 --> 00:58:24,184
Mm-hmm.

1685
00:58:24,184 --> 00:58:25,074
It's also a funk record.

1686
00:58:25,134 --> 00:58:25,503
That's great.

1687
00:58:25,503 --> 00:58:27,434
Before anybody was calling it that.

1688
00:58:27,514 --> 00:58:27,604
Yeah.

1689
00:58:28,494 --> 00:58:28,654
So-

1690
00:58:28,794 --> 00:58:29,604
The Seeds of Soul?

1691
00:58:29,734 --> 00:58:31,714
Funk before it was called funk.

1692
00:58:31,774 --> 00:58:32,714
Funk before it was called.

1693
00:58:32,734 --> 00:58:32,764
You know?

1694
00:58:32,764 --> 00:58:33,214
Yeah, I like it.

1695
00:58:34,634 --> 00:58:37,414
Last question, is it better than Miles Davis' Kind of Blue?

1696
00:58:37,554 --> 00:58:38,174
Oh, come on.

1697
00:58:38,234 --> 00:58:40,014
I know. No one ever wants to answer.

1698
00:58:40,234 --> 00:58:40,564
And this is-

1699
00:58:41,174 --> 00:58:44,434
Did we... I saw Ashley Kahn, who wrote the book-

1700
00:58:44,674 --> 00:58:45,734
Kind of Blue

1701
00:58:45,744 --> 00:58:45,754
... on Kind of Blue.

1702
00:58:45,784 --> 00:58:45,864
Yeah, great

1703
00:58:46,074 --> 00:58:47,404
And he was like, very-

1704
00:58:47,654 --> 00:58:49,214
We thought it would be funny. We thought he would laugh.

1705
00:58:49,223 --> 00:58:49,233
He was like-

1706
00:58:49,234 --> 00:58:50,934
Yeah, but he was just like, "That's a stupid question."

1707
00:58:50,943 --> 00:58:53,424
Yeah, he was like, "I don't think about music like that." And we were like, "Okay."

1708
00:58:53,424 --> 00:58:55,223
Yeah. I was like, "Well, you wrote the book on it, so."

1709
00:58:55,234 --> 00:58:56,824
Fair enough. Well, do you have a podcast?

1710
00:58:56,824 --> 00:58:57,894
He got all serious on me.

1711
00:58:58,994 --> 00:59:00,714
He was super jovial right up to that.

1712
00:59:00,754 --> 00:59:02,793
It was when I was at Newport, the last time we were at Newport.

1713
00:59:02,834 --> 00:59:03,174
Right.

1714
00:59:03,214 --> 00:59:05,154
I think it's so different. I don't think there's...

1715
00:59:05,214 --> 00:59:05,614
I think it's like-

1716
00:59:05,734 --> 00:59:08,414
Oh, don't shy away now because Mr. McBride is-

1717
00:59:08,854 --> 00:59:08,884
I am copping out. I am copping out.

1718
00:59:08,884 --> 00:59:10,433
I'm going to say no. I'm just saying no.

1719
00:59:10,474 --> 00:59:10,994
Yeah, I mean.

1720
00:59:11,114 --> 00:59:13,434
It's a great record. I don't think it's better than Kind of Blue.

1721
00:59:13,954 --> 00:59:14,294
All right.

1722
00:59:14,324 --> 00:59:16,373
But I've said many things are, so I want you to figure out.

1723
00:59:16,384 --> 00:59:17,344
I'll be quiet over on this side.

1724
00:59:17,434 --> 00:59:19,474
Yeah. I mean, it depends on what you're in the mood for.

1725
00:59:19,574 --> 00:59:19,584
Right.

1726
00:59:19,594 --> 00:59:20,493
Yeah. That's what I'm saying.

1727
00:59:20,794 --> 00:59:20,954
Good.

1728
00:59:21,014 --> 00:59:24,854
I think Kind of Blue's a more balanced meal. This is kind of heavy on the carbs.

1729
00:59:25,254 --> 00:59:25,574
Right.

1730
00:59:28,074 --> 00:59:28,863
The carbs being-

1731
00:59:29,774 --> 00:59:30,014
Organ

1732
00:59:30,514 --> 00:59:31,553
... vibrato-less organ.

1733
00:59:31,584 --> 00:59:32,433
Vibrato-less organ.

1734
00:59:33,434 --> 00:59:33,724
Crunchy organ.

1735
00:59:33,734 --> 00:59:36,034
Heavy on the carbs. I mean, carbs, we need to live.

1736
00:59:37,054 --> 00:59:37,814
Well, it's great.

1737
00:59:37,834 --> 00:59:38,714
But it can be a lot, yeah.

1738
00:59:39,074 --> 00:59:42,974
Well, Christian McBride, it must be said that we did have, like, six

1739
00:59:43,014 --> 00:59:45,314
James Brown albums picked- ... for maybe you would want to.

1740
00:59:45,604 --> 00:59:45,713
See?

1741
00:59:45,714 --> 00:59:45,754
Yeah.

1742
00:59:45,794 --> 00:59:47,234
But I was delighted when you picked this one.

1743
00:59:47,264 --> 00:59:47,284
Oh, so great.

1744
00:59:47,284 --> 00:59:50,064
This is a great pull. We're so glad to listen to this with you today.

1745
00:59:50,084 --> 00:59:50,093
Yes.

1746
00:59:50,094 --> 00:59:50,444
Oh, absolutely.

1747
00:59:50,444 --> 00:59:50,894
And it's been a pleasure.

1748
00:59:50,934 --> 00:59:51,674
Yeah, man. Thank you, man.

1749
00:59:51,684 --> 00:59:51,744
Great to see my friends.

1750
00:59:51,754 --> 00:59:52,934
It's a pleasure and an honor.

1751
00:59:53,404 --> 00:59:53,413
Yeah.

1752
00:59:53,414 --> 00:59:54,754
We'll have you back for James Brown if you want.

1753
00:59:54,774 --> 00:59:54,784
Please.

1754
00:59:54,794 --> 00:59:56,934
Or whatever else, or surprise us with something. It'd be great.

1755
00:59:57,034 --> 01:00:00,993
Yeah. I'll come up with, like, a Hank Williams album next time.

1756
01:00:01,074 --> 01:00:02,204
That'd be really fun.

1757
01:00:02,304 --> 01:00:02,305
You got it.

1758
01:00:02,304 --> 01:00:02,374
That'd be really fun.

1759
01:00:02,554 --> 01:00:05,194
And you can catch Christian McBride. Go to christianmcbride.com.

1760
01:00:05,234 --> 01:00:08,554
I was joking earlier. He has one of those artist sites that actually does not say

1761
01:00:08,594 --> 01:00:10,074
copyright 1997 on it.

1762
01:00:10,154 --> 01:00:10,874
Like yours.

1763
01:00:10,894 --> 01:00:13,654
Like mine. Actually, mine is offline right now. I have to pay.

1764
01:00:13,674 --> 01:00:14,634
Mine is so out of date.

1765
01:00:14,824 --> 01:00:14,833
Oh, man.

1766
01:00:14,834 --> 01:00:18,694
No, I don't know. But you can catch him live, catch his

1767
01:00:18,834 --> 01:00:21,934
excellent podcast, The Lowdown, SiriusXM,

1768
01:00:22,914 --> 01:00:24,414
the Christian McBride Big Band.

1769
01:00:24,464 --> 01:00:24,534
Yeah.

1770
01:00:24,584 --> 01:00:27,514
All of his wonderful projects. He's got 11 Grammys, so he knows what's up.

1771
01:00:27,574 --> 01:00:28,794
So thank you, sir.

1772
01:00:28,834 --> 01:00:29,274
Till next time.

1773
01:00:29,334 --> 01:00:29,814
Thank you, brother.

1774
01:00:29,894 --> 01:00:30,584
Yeah. You'll hear it.

1775
01:00:30,594 --> 01:00:31,314
Until next time.

1776
01:00:31,654 --> 01:00:32,614
Y'all will hear it.

1777
01:00:32,794 --> 01:00:33,374
You'll hear it.

1778
01:00:35,574 --> 01:00:35,834
Thank you.