1 00:00:00,000 --> 00:00:00,570 What's up there, 2 00:00:00,570 --> 00:00:06,150 Dear listener. Adam here. We are very close to the great John Coltrane's birthday. 3 00:00:06,150 --> 00:00:07,800 It's coming up, it's just a few days away. 4 00:00:07,800 --> 00:00:11,040 And in honor of that, we wanted to replay one of our favorite 5 00:00:11,040 --> 00:00:13,050 episodes of the last few years. 6 00:00:13,050 --> 00:00:18,840 This is our episode on his masterpiece, A Love Supreme, and this was one of 7 00:00:18,840 --> 00:00:20,850 my favorite memories ever recording 8 00:00:20,910 --> 00:00:21,450 You'll Hear It. 9 00:00:21,780 --> 00:00:24,990 Peter and I had such a blast listening to this album and talking about it. 10 00:00:25,440 --> 00:00:30,180 And what's fun for me is you can hear Peter not change his mind, 11 00:00:30,180 --> 00:00:34,080 but he wasn't totally enamoured with A Love Supreme going into this. 12 00:00:34,080 --> 00:00:38,640 Of course, he, he liked it, but it wasn't his favorite Coltrane album of this era. 13 00:00:38,640 --> 00:00:41,130 He's a Crescent Head through and through, but you could hear over 14 00:00:41,130 --> 00:00:46,200 the course of listening to the music that he is just captured by it in a 15 00:00:46,200 --> 00:00:48,540 way that's really fun to listen to. 16 00:00:48,780 --> 00:00:52,890 And I hope that you hear that too, because I just had a ball listening 17 00:00:52,890 --> 00:00:54,120 to A Love Supreme with Peter. 18 00:00:54,210 --> 00:00:58,050 We'll be back next week with a brand new album, but enjoy A Love Supreme. 19 00:00:59,445 --> 00:00:59,925 Hey, Peter. 20 00:00:59,985 --> 00:01:00,345 Yes. 21 00:01:00,345 --> 00:01:03,255 Today we're listening to an album that some people think is one of the great 22 00:01:03,255 --> 00:01:04,695 works of art of the 20th Century. 23 00:01:05,265 --> 00:01:09,195 Other people think isn't even the greatest work of art for this artist. 24 00:01:09,525 --> 00:01:10,905 Mm. In this year. 25 00:01:11,175 --> 00:01:11,505 Whoa. 26 00:01:11,835 --> 00:01:12,225 Yeah. 27 00:01:13,035 --> 00:01:14,414 We of course, are listening to. 28 00:01:15,140 --> 00:01:16,070 John Coltrane's. 29 00:01:16,450 --> 00:01:19,110 In my opinion, masterpiece A Love Surprise. 30 00:01:42,795 --> 00:01:43,635 I am Adam Maness. 31 00:01:43,725 --> 00:01:46,095 And I'm Peter Martin, and you're listening to the You'll Hear It podcast. 32 00:01:46,935 --> 00:01:48,435 And this is a very special day for us. 33 00:01:48,435 --> 00:01:50,054 It really is a very special day. 34 00:01:50,054 --> 00:01:50,115 Yeah. 35 00:01:50,475 --> 00:01:53,685 We love to listen to the greatest albums of all time here at 36 00:01:53,685 --> 00:01:54,795 the You'll Hear It podcast. 37 00:01:55,065 --> 00:01:57,195 If you wanna go on a deeper dive of anything we're talking about 38 00:01:57,195 --> 00:02:00,015 here, you can always go to openstudiojazz.com and check that out. 39 00:02:00,225 --> 00:02:00,855 Yes, Peter. 40 00:02:01,215 --> 00:02:02,325 It's A Love Supreme day. 41 00:02:02,865 --> 00:02:06,585 We've been toying with this, flirting with this album for years. 42 00:02:06,615 --> 00:02:06,705 Yes. 43 00:02:06,705 --> 00:02:08,175 We've never really covered it. 44 00:02:08,354 --> 00:02:11,505 No, and I'm stoked 'cause this is one of my all time favorite records. 45 00:02:11,505 --> 00:02:14,775 Peter, full disclosure for me, and I know you kind of know this already, but there 46 00:02:14,775 --> 00:02:16,605 was a period in my twenties. Alright. 47 00:02:16,605 --> 00:02:19,425 Picture this: young Adam in his twenties. 48 00:02:19,454 --> 00:02:19,725 Yes. 49 00:02:19,725 --> 00:02:21,075 Doesn't really get haircuts. 50 00:02:22,005 --> 00:02:22,605 You know what I mean? 51 00:02:22,665 --> 00:02:24,915 He smokes a lot, smokes a lot of Marlboro Reds. 52 00:02:24,915 --> 00:02:28,365 He's just, well, this was before we knew that that was not safe or healthy. 53 00:02:28,365 --> 00:02:28,635 Right? 54 00:02:28,635 --> 00:02:31,905 No, we fully was that after we got it, we fully didn't care though. 55 00:02:32,235 --> 00:02:33,225 I'm just backing. 56 00:02:33,555 --> 00:02:35,144 I'm, I'm, I'm, what is backing? 57 00:02:35,480 --> 00:02:37,755 I'm, I'm shooting darts left and right. 58 00:02:37,785 --> 00:02:38,144 Yeah. 59 00:02:38,325 --> 00:02:42,345 Uh, I would wake up every morning for about almost a year and listen to A Love 60 00:02:42,345 --> 00:02:45,644 Supreme and Smoke Marblboro Reds and look out my window all the way through. 61 00:02:46,425 --> 00:02:47,235 All the way through both sides. 62 00:02:47,235 --> 00:02:47,295 Yeah. 63 00:02:47,295 --> 00:02:48,375 I would have a cup of coffee. 64 00:02:48,375 --> 00:02:48,435 Yeah. 65 00:02:48,645 --> 00:02:52,035 I would listen to side one, smoke a cigarette, maybe two. 66 00:02:52,875 --> 00:02:54,675 Flip it over, get more coffee. 67 00:02:55,065 --> 00:02:55,935 Smoke another cigarette. 68 00:02:55,935 --> 00:02:56,445 Maybe three. 69 00:02:56,955 --> 00:02:57,525 Listen to side two. 70 00:02:57,825 --> 00:03:02,025 Well, I mean, I think in terms of your musical health, what it did to elevate it, 71 00:03:02,025 --> 00:03:04,875 it probably canceled out those cigarettes because this is Well, yeah, I mean, to 72 00:03:04,875 --> 00:03:08,655 listen to this album all the way through, um, which I know a lot of people do. 73 00:03:08,925 --> 00:03:12,225 And, and this is definitely one of those records that's rewarded Yeah. 74 00:03:12,225 --> 00:03:15,045 From side one and then the break, and then you come to side two. 75 00:03:15,255 --> 00:03:16,275 I mean, it's a masterpiece. 76 00:03:16,280 --> 00:03:19,425 It's, and it's a, it's a, from beginning to end, it's a statement. 77 00:03:19,425 --> 00:03:20,685 It was constructed in that way. 78 00:03:20,685 --> 00:03:22,125 It comes across in that way. 79 00:03:22,485 --> 00:03:25,395 And so, I mean, in terms of like elevating your life and your health, 80 00:03:25,395 --> 00:03:26,535 I think it might've canceled out. 81 00:03:27,075 --> 00:03:29,955 Uh, I, I mean, we're not, we're not recommending the youngins out there 82 00:03:29,955 --> 00:03:32,175 in their twenties to go pick up cigarette smoking and listen to it. 83 00:03:32,180 --> 00:03:34,995 No, it's not good for your, but you could, it wasn't good for my heart health. 84 00:03:35,355 --> 00:03:35,625 Yeah. 85 00:03:35,625 --> 00:03:39,345 And we're gonna do our classic scorecard for what makes this album great. 86 00:03:39,375 --> 00:03:39,585 Yes. 87 00:03:39,585 --> 00:03:41,325 Which feels a little weird because, you know, this was 88 00:03:41,325 --> 00:03:43,575 Coltrane's love letter to God. 89 00:03:43,695 --> 00:03:43,935 Yeah. 90 00:03:44,145 --> 00:03:46,035 Uh, and so it feels a little cheap. 91 00:03:46,035 --> 00:03:46,815 Just score it. 92 00:03:46,815 --> 00:03:49,275 But we're going to, we're gonna work through that. 93 00:03:49,425 --> 00:03:49,665 Right. 94 00:03:49,665 --> 00:03:52,365 And we're gonna realize that this piece we're piece of paper here that 95 00:03:52,365 --> 00:03:54,195 we're scoring, it means nothing. 96 00:03:54,225 --> 00:03:54,345 No. 97 00:03:54,345 --> 00:03:56,055 And, and one of the categories is not. 98 00:03:56,425 --> 00:03:57,265 Spirituality. 99 00:03:57,295 --> 00:03:58,825 'cause obviously this would be off the charts on that. 100 00:03:58,830 --> 00:03:59,460 Maybe It should be. 101 00:03:59,510 --> 00:03:59,889 Maybe it should be. 102 00:04:00,445 --> 00:04:03,415 No, we're gonna go and just to review real quick our 10 categories, 103 00:04:03,415 --> 00:04:05,155 because we haven't updated one. 104 00:04:05,160 --> 00:04:07,525 We do, we, we are, we're ditching one for another. 105 00:04:07,525 --> 00:04:09,805 So number one is playing, number two is vibe. 106 00:04:09,810 --> 00:04:09,860 Yeah. 107 00:04:09,865 --> 00:04:10,255 Yeah, yeah. 108 00:04:10,255 --> 00:04:11,425 Number three is compositions. 109 00:04:11,425 --> 00:04:13,525 Four sound, five sequence. 110 00:04:13,645 --> 00:04:13,765 Okay. 111 00:04:14,125 --> 00:04:14,485 Six. 112 00:04:14,485 --> 00:04:15,235 Cover art. 113 00:04:15,475 --> 00:04:16,524 Seven title. 114 00:04:16,555 --> 00:04:16,644 Mm-hmm. 115 00:04:16,975 --> 00:04:18,115 Eight lore. 116 00:04:18,144 --> 00:04:18,475 Yeah. 117 00:04:18,595 --> 00:04:23,995 And nine, what was formally known as the SNOO meter slash Aunt 118 00:04:23,995 --> 00:04:28,525 Linda is now the stank face ometer. 119 00:04:29,395 --> 00:04:32,935 Big shout out to one of our listeners, uh, regular listeners that recommended this. 120 00:04:32,935 --> 00:04:33,745 And I think it makes sense. 121 00:04:33,745 --> 00:04:35,275 Like how much face, so what does that mean? 122 00:04:35,275 --> 00:04:35,935 Stank face-ometer. 123 00:04:36,205 --> 00:04:38,155 Mm. Just how much stank face it gets. 124 00:04:38,155 --> 00:04:38,455 Exactly. 125 00:04:38,455 --> 00:04:39,775 Isn't just, do you like this album? 126 00:04:40,165 --> 00:04:40,615 Oh, kind of. 127 00:04:40,765 --> 00:04:41,065 Okay. 128 00:04:41,065 --> 00:04:41,215 Yeah. 129 00:04:41,215 --> 00:04:41,725 But that's that. 130 00:04:41,725 --> 00:04:43,195 I mean, it doesn't get any better than that. 131 00:04:43,284 --> 00:04:47,095 Well, but it's also like how much of a personal impact I think it has on you. 132 00:04:47,155 --> 00:04:50,185 And I want to talk a little bit about what makes an album great. 133 00:04:50,185 --> 00:04:51,565 What that means as well. 134 00:04:51,565 --> 00:04:52,255 'cause that can mean. 135 00:04:52,935 --> 00:04:56,565 I think most people think outside of the jazz and maybe classical 136 00:04:56,565 --> 00:04:58,965 world, oh, I should say number 10, is it better than KOB? 137 00:04:59,205 --> 00:04:59,865 Which is important. 138 00:04:59,955 --> 00:05:00,795 That's gonna be interesting. 139 00:05:00,800 --> 00:05:01,420 That's gonna be interesting. 140 00:05:01,420 --> 00:05:03,284 The title of this is, is this better than KOB? 141 00:05:03,284 --> 00:05:03,825 This album? 142 00:05:03,830 --> 00:05:03,940 Yeah. 143 00:05:03,940 --> 00:05:06,765 And this is something that has been debated before and I'm interested 144 00:05:06,765 --> 00:05:07,664 to see what we come up with. 145 00:05:07,664 --> 00:05:11,205 And for that category we, we pitch KOB as a nine because we want 146 00:05:11,205 --> 00:05:12,555 things to be better than KOB. 147 00:05:12,585 --> 00:05:14,355 'cause we think things could be, yeah. 148 00:05:14,355 --> 00:05:16,185 And we've rated things better than KOBI have. 149 00:05:16,275 --> 00:05:16,875 But think about it. 150 00:05:16,875 --> 00:05:19,755 Like when we say a great album, most people would say 151 00:05:19,755 --> 00:05:20,835 what makes an album great? 152 00:05:20,865 --> 00:05:24,105 They would be like the greatest album of all time Thriller. 153 00:05:24,675 --> 00:05:26,865 They might throw that out there, whether be Oh, interesting. 154 00:05:26,895 --> 00:05:29,715 Because, well, I mean, no, if you were to grab 10 people off the street, 155 00:05:29,775 --> 00:05:30,675 look, there's a guy right there. 156 00:05:30,675 --> 00:05:31,215 We could have grabbed him. 157 00:05:31,215 --> 00:05:31,544 What do you think? 158 00:05:31,544 --> 00:05:32,085 A thriller? 159 00:05:32,655 --> 00:05:35,805 No, if you say what's the greatest album of all time that what would come up? 160 00:05:36,164 --> 00:05:37,544 Now I'm talking about jazz or whatever. 161 00:05:37,544 --> 00:05:39,825 I think songs in the key of life for a lot of people. 162 00:05:39,885 --> 00:05:40,094 Yeah. 163 00:05:40,125 --> 00:05:44,115 I think, uh, one of those early Bob Dylan records maybe Blow on the Tracks, 164 00:05:44,115 --> 00:05:48,945 might come up for people We're talking about very, very high selling records. 165 00:05:49,560 --> 00:05:51,090 Chart toppers, if you will. 166 00:05:51,090 --> 00:05:51,390 Right? 167 00:05:51,419 --> 00:05:51,750 Yeah. 168 00:05:51,960 --> 00:05:54,690 So yeah, and I'm saying that's what most people I think would be like a 169 00:05:54,690 --> 00:05:56,310 great album is one that's sold a lot. 170 00:05:56,490 --> 00:05:57,630 What's a great serial? 171 00:05:57,630 --> 00:05:58,890 Let's go to poster Kelloggs. 172 00:05:58,890 --> 00:06:00,060 Let's not go to some obscure. 173 00:06:00,060 --> 00:06:00,390 Right? 174 00:06:00,570 --> 00:06:00,840 Yeah. 175 00:06:00,930 --> 00:06:06,090 Whereas I think there's this assumption within jazz that the lonely poets society. 176 00:06:06,450 --> 00:06:06,870 Exactly. 177 00:06:06,870 --> 00:06:08,669 A little bit like a bespoke situation. 178 00:06:09,120 --> 00:06:13,620 But I do think it's important for us to at least delineate between the impact 179 00:06:13,620 --> 00:06:15,780 that these albums make on musicians. 180 00:06:15,780 --> 00:06:16,049 Yeah. 181 00:06:16,260 --> 00:06:19,289 Maybe versus the general public, the GP, as we say. 182 00:06:19,409 --> 00:06:19,680 Yeah. 183 00:06:20,039 --> 00:06:22,770 Well, speaking of impact, do you remember just story time? 184 00:06:23,250 --> 00:06:25,830 Uh, do you remember the first time you heard Love Supreme? 185 00:06:25,860 --> 00:06:27,354 Like do you, because this to me was. 186 00:06:28,275 --> 00:06:30,465 Kind of enigmatic when I first heard it. 187 00:06:30,495 --> 00:06:30,675 Yes. 188 00:06:30,675 --> 00:06:32,810 I didn't really understand what was happening musically. 189 00:06:32,810 --> 00:06:33,615 I was scared of this album. 190 00:06:33,705 --> 00:06:35,415 It's a, it was daunting. 191 00:06:35,445 --> 00:06:35,805 Yeah. 192 00:06:35,895 --> 00:06:38,445 Because it is like, how are they doing that? 193 00:06:38,445 --> 00:06:41,805 Especially I think for us pianists, particularly like McCoy Tyner, 194 00:06:41,805 --> 00:06:43,395 like, what is McCoy doing? 195 00:06:43,515 --> 00:06:43,815 Yeah. 196 00:06:44,025 --> 00:06:45,735 Why can a human being do that? 197 00:06:45,885 --> 00:06:49,575 Like, what is happening here and how can I do that? 198 00:06:49,580 --> 00:06:49,650 Yeah. 199 00:06:49,650 --> 00:06:52,575 That was my first questions and I had no pathway for that. 200 00:06:52,575 --> 00:06:55,935 I was like, I don't, I mean, I'll just try to hear it and try to figure it out, 201 00:06:55,935 --> 00:06:58,065 but man, it felt like a mountain to climb. 202 00:06:58,155 --> 00:06:58,815 Yeah, for sure. 203 00:06:59,295 --> 00:07:02,685 And I think an interesting thing is to think about like the Yeah. 204 00:07:02,685 --> 00:07:04,725 The impact that it makes on a musician. 205 00:07:04,725 --> 00:07:04,905 Yeah. 206 00:07:04,909 --> 00:07:08,295 So a pianist that's, that's thinking, oh my gosh, McCoy Tyner. 207 00:07:08,295 --> 00:07:11,145 What is, how is he interacting Elvin Jones, you know, all these 208 00:07:11,145 --> 00:07:13,815 kind of things Versus a listener where it's just a visceral. 209 00:07:14,235 --> 00:07:18,855 Kind of, um, you know, rain shower on top of you Yeah. 210 00:07:18,885 --> 00:07:19,575 Of the music. 211 00:07:19,605 --> 00:07:23,175 And I wonder if this album has that same kind of impact. 212 00:07:23,175 --> 00:07:27,765 IE what makes it great, um, on people listening like a kind of blue. 213 00:07:27,795 --> 00:07:28,035 Yeah. 214 00:07:28,095 --> 00:07:30,735 Whereas for musicians that might be a little bit different and it's 215 00:07:30,735 --> 00:07:33,525 no, it's not a right or wrong, but like which one is more important? 216 00:07:33,585 --> 00:07:33,735 Yeah. 217 00:07:33,735 --> 00:07:35,055 You know, which makes an album greater. 218 00:07:35,055 --> 00:07:37,605 If somebody who really that's very personal, it's what's what impacts you. 219 00:07:37,605 --> 00:07:37,905 Yeah. 220 00:07:37,910 --> 00:07:38,000 Yeah. 221 00:07:38,085 --> 00:07:42,045 But it's like, you know, what does somebody that is a former or current 222 00:07:42,045 --> 00:07:46,034 professional basketball player who says like, you know, actually the greatest 223 00:07:46,034 --> 00:07:48,074 player in the ever was not Michael Jordan. 224 00:07:48,075 --> 00:07:49,905 He's the most popular and seems Wilkins. 225 00:07:50,205 --> 00:07:50,745 Well, I don't know. 226 00:07:50,775 --> 00:07:51,375 You know what I'm saying? 227 00:07:51,645 --> 00:07:51,855 Yeah. 228 00:07:52,875 --> 00:07:55,005 That's some of the taller and shortest you're going there. 229 00:07:55,335 --> 00:07:58,305 Um, but anyway, this is just a little fodder for us as we move forward. 230 00:07:58,305 --> 00:07:59,880 Let's get into listening some this John Stockton. 231 00:08:00,230 --> 00:08:00,520 John. 232 00:08:02,070 --> 00:08:02,360 Yeah. 233 00:08:02,365 --> 00:08:02,715 You know what? 234 00:08:02,745 --> 00:08:04,395 Another one weird with dirtiest player. 235 00:08:04,395 --> 00:08:04,545 Me. 236 00:08:04,905 --> 00:08:06,765 I don't think this happens like this anymore. 237 00:08:07,035 --> 00:08:11,055 But because I grew up in the CD era of the nineties, the first John 238 00:08:11,055 --> 00:08:12,435 Coltrane CD I had was Giant Steps. 239 00:08:12,435 --> 00:08:13,425 You're such a CD baby. 240 00:08:13,665 --> 00:08:14,445 I'm a CD baby. 241 00:08:14,835 --> 00:08:16,785 The first, the first album I had from Trane was Giant 242 00:08:16,785 --> 00:08:18,405 Steps and I wore that one out. 243 00:08:18,495 --> 00:08:18,645 Yeah. 244 00:08:18,675 --> 00:08:20,840 Meaning that I got soda on it in my truck. 245 00:08:20,840 --> 00:08:22,965 So you heard that before you heard Love Supreme? 246 00:08:22,965 --> 00:08:23,625 I heard that one. 247 00:08:23,625 --> 00:08:27,615 And then I heard there's one with Trane and Alice Coltrane at the live. 248 00:08:27,615 --> 00:08:28,725 At the Village Vanguard. 249 00:08:29,055 --> 00:08:31,245 That is like really out. 250 00:08:31,305 --> 00:08:31,665 Yeah. 251 00:08:31,665 --> 00:08:31,935 Interesting. 252 00:08:32,145 --> 00:08:35,025 Like 1967 or eight or something. 253 00:08:35,055 --> 00:08:35,355 Okay. 254 00:08:35,414 --> 00:08:37,695 I forget what it's called, but it's not Interstellar Space, but 255 00:08:37,695 --> 00:08:39,615 it's close to that right thing. 256 00:08:39,645 --> 00:08:40,065 Right. 257 00:08:40,605 --> 00:08:43,784 And I was like, I really didn't, I was way too young. 258 00:08:44,085 --> 00:08:46,275 Interstellar space for, thank you. 259 00:08:46,275 --> 00:08:49,395 See, I don't even, I'm not even intelligent enough to understand it. 260 00:08:49,575 --> 00:08:53,295 But that one I was like, okay, I don't, I honestly don't understand this. 261 00:08:53,325 --> 00:08:53,415 Mm-hmm. 262 00:08:53,415 --> 00:08:54,855 And I don't know if I like it. 263 00:08:54,855 --> 00:08:57,705 And, and then, and then I came to. 264 00:08:58,125 --> 00:09:01,125 Uh, I mean, before that, before even, this was Coltrane sound. 265 00:09:01,185 --> 00:09:01,275 Mm-hmm. 266 00:09:01,515 --> 00:09:02,985 Which is another one of my all time favorites. 267 00:09:02,985 --> 00:09:05,025 Great record, uh, from John Coltrane. 268 00:09:05,415 --> 00:09:11,324 And then this, you know, came later when I got it on vinyl when I was in my twenties. 269 00:09:11,415 --> 00:09:16,875 Uh, and again, uh, I think because I'd spent so much time with Giant Steps and 270 00:09:16,875 --> 00:09:22,574 Coltrane sounds specifically, uh, that this, and Oh, I should, I should point 271 00:09:22,574 --> 00:09:26,205 out to Johnny Hartman, John Coltrane, and the Duke Ellington, John Coltrane. 272 00:09:26,205 --> 00:09:27,194 I listen to those a lot too. 273 00:09:27,194 --> 00:09:30,615 Before I'd even heard Love Supreme about Blue Train and Blue Train, 274 00:09:30,675 --> 00:09:31,425 I'd heard Blue Train a lot. 275 00:09:31,485 --> 00:09:32,025 But this is the thing. 276 00:09:32,055 --> 00:09:34,395 Here's, I and the kids were like, why didn't you just listen to Love Supreme? 277 00:09:34,545 --> 00:09:37,545 Because I didn't ever see it at the record store that I was at. 278 00:09:37,665 --> 00:09:37,905 Right. 279 00:09:37,935 --> 00:09:40,215 Like, when I was a kid, I just didn't, either I didn't pay attention 280 00:09:40,215 --> 00:09:41,355 to it or I couldn't afford it. 281 00:09:41,355 --> 00:09:43,995 'cause I had picked out the things that I thought I liked. 282 00:09:44,025 --> 00:09:44,085 Yeah. 283 00:09:44,145 --> 00:09:45,435 And also it wasn't like. 284 00:09:45,825 --> 00:09:48,645 Now where it's like you can see what's the most popular and what's the 285 00:09:48,645 --> 00:09:51,675 most and what has the most critical, like if I wanted to look up what was 286 00:09:51,675 --> 00:09:54,735 the most critically acclaimed John Coltrane less, uh, record, I would 287 00:09:54,735 --> 00:09:56,745 likely have to go to a library Yeah. 288 00:09:56,775 --> 00:09:58,155 And look up that information. 289 00:09:58,155 --> 00:10:00,105 Or ask someone who knew. 290 00:10:00,105 --> 00:10:03,405 And I just, for whatever reason that didn't happen for this, what a crazy 291 00:10:03,405 --> 00:10:07,065 thing to think about how things have changed in terms of how we're 292 00:10:07,065 --> 00:10:11,865 exposed to hearing something and then being able to make a judgment if we 293 00:10:11,865 --> 00:10:13,365 like that or wanna hear more of it. 294 00:10:13,815 --> 00:10:18,285 Like the first John Coltrane, I'd actually heard some John Coltrane because my dad 295 00:10:18,675 --> 00:10:21,585 had some, some records and there was something on that Smithsonian box that 296 00:10:21,585 --> 00:10:22,905 I'd definitely heard it growing up some. 297 00:10:22,905 --> 00:10:26,025 But the first record where I was like, let go check it out, was Crescent. 298 00:10:26,085 --> 00:10:26,235 Yep. 299 00:10:26,625 --> 00:10:28,905 Uh, on the recommendation of Winton Marcellus. 300 00:10:28,995 --> 00:10:29,205 Nice. 301 00:10:29,265 --> 00:10:30,675 Um, he was just like, check out this record. 302 00:10:30,675 --> 00:10:31,155 I was like, oh. 303 00:10:31,305 --> 00:10:33,465 But thinking back on it, I would've never picked up that 304 00:10:33,465 --> 00:10:35,295 record because there was nothing. 305 00:10:35,355 --> 00:10:36,825 Um, there's standards on it. 306 00:10:36,885 --> 00:10:37,725 There's no standards on. 307 00:10:37,725 --> 00:10:37,815 Yeah. 308 00:10:37,815 --> 00:10:38,505 Like that's such a big thing. 309 00:10:38,505 --> 00:10:41,130 And the, and these, this all offput either. 310 00:10:41,130 --> 00:10:43,605 Yeah, like Acknowledgement and it's got like a religious overtone, 311 00:10:43,605 --> 00:10:44,535 so it's like I'm not worthy. 312 00:10:44,535 --> 00:10:46,755 I know when you're like 18 years old and you're just trying 313 00:10:46,755 --> 00:10:48,165 to learn the songbook, right? 314 00:10:48,165 --> 00:10:48,225 Yeah. 315 00:10:48,225 --> 00:10:50,895 You're trying to learn jazz standards and things you can play with other people. 316 00:10:50,895 --> 00:10:54,400 You're like, yeah, pursuant, nobody plays pursuant, you know what I mean? 317 00:10:54,400 --> 00:10:57,705 But nowadays, if you're coming up and you're listening to something that 318 00:10:57,855 --> 00:11:01,245 algorithmically Spotify or YouTube or whatever picks up on that, you 319 00:11:01,245 --> 00:11:02,440 might like something like this. 320 00:11:02,440 --> 00:11:02,450 Yeah. 321 00:11:02,865 --> 00:11:04,125 It will put it in there. 322 00:11:04,125 --> 00:11:06,195 And, and people aren't looking at like, who's playing on it? 323 00:11:06,195 --> 00:11:09,225 It's hard to even find that the name of the album and then you, 324 00:11:09,225 --> 00:11:09,915 it's damn it, it got it so good. 325 00:11:09,915 --> 00:11:11,295 They don't even know how good they got it. 326 00:11:11,295 --> 00:11:12,135 What I mean, is it? 327 00:11:12,135 --> 00:11:12,345 Yeah. 328 00:11:12,345 --> 00:11:13,485 We, we've talked about this before. 329 00:11:13,490 --> 00:11:14,925 It's, it's, it's good and it's bad. 330 00:11:14,955 --> 00:11:16,395 Look, I mean, we're doing it right now. 331 00:11:16,395 --> 00:11:18,015 We're telling them, go listen to this album. 332 00:11:18,015 --> 00:11:18,195 I know. 333 00:11:18,915 --> 00:11:24,045 So the other thing I was thinking about on this is it ended up kind of 334 00:11:24,045 --> 00:11:26,505 being a little bit of a demarcation. 335 00:11:27,555 --> 00:11:31,395 Point for me in John Coltrane, you're talking about to, to what I would 336 00:11:31,485 --> 00:11:34,935 have considered at the time, like Interstellar Space and the later stuff. 337 00:11:35,295 --> 00:11:37,305 Um, the Scary John Coltrane stuff. 338 00:11:37,335 --> 00:11:42,945 This was like a, this was like a, a line between the stuff that I knew 339 00:11:43,395 --> 00:11:46,395 and I'd heard Coltrane of course play with Felonious Monk, I think 340 00:11:46,395 --> 00:11:48,105 even before I'd heard like Crescent. 341 00:11:48,255 --> 00:11:49,605 So I'd heard early Coltrane. 342 00:11:49,720 --> 00:11:49,840 Interesting. 343 00:11:49,840 --> 00:11:51,015 Coltrane sounds for sure. 344 00:11:51,195 --> 00:11:51,255 Yeah. 345 00:11:51,315 --> 00:11:54,045 John Hart, Johnny Hartman, like, and then the classic quartet. 346 00:11:54,045 --> 00:11:56,205 Once I got into McCoy, I was like, I loved all that stuff. 347 00:11:56,210 --> 00:11:56,505 Yeah, yeah, yeah. 348 00:11:56,535 --> 00:11:59,775 But, but this was the beginning of like, oh boy, he's really taking it out 349 00:11:59,775 --> 00:12:01,515 and I don't mean just a half step up. 350 00:12:01,875 --> 00:12:06,345 Um, and so this was sort of like almost the end of that era and the beginning of 351 00:12:06,345 --> 00:12:08,625 the next era kind of serving for both. 352 00:12:08,625 --> 00:12:10,485 And then of course 19 50, 65. 353 00:12:10,545 --> 00:12:14,440 This was recorded in 1964 at the end of 64, but came out at the beginning of 65. 354 00:12:14,600 --> 00:12:16,725 December 64, released January 65. 355 00:12:16,725 --> 00:12:16,845 Yeah. 356 00:12:16,905 --> 00:12:17,445 Which is crazy. 357 00:12:17,445 --> 00:12:18,640 We wanna turnaround for a class. 358 00:12:18,645 --> 00:12:21,255 We couldn't do that today, although we're gonna try next episode. 359 00:12:21,315 --> 00:12:21,735 That's right. 360 00:12:22,035 --> 00:12:22,575 That's right. 361 00:12:22,875 --> 00:12:23,415 Um. 362 00:12:23,820 --> 00:12:26,400 But, you know, 65, 66, 67. 363 00:12:26,400 --> 00:12:30,030 Then he passed in 67 way, way too early, prematurely. 364 00:12:30,390 --> 00:12:32,310 Um, was a huge out output put. 365 00:12:32,310 --> 00:12:34,050 But he went, yeah. 366 00:12:34,110 --> 00:12:36,720 Now I don't wanna say off the rails, he just went in another direction. 367 00:12:36,720 --> 00:12:39,660 That's amazing too, but very different from this record than before. 368 00:12:39,690 --> 00:12:39,990 Yeah. 369 00:12:39,990 --> 00:12:41,700 It's a shame he passed away so young. 370 00:12:41,700 --> 00:12:44,100 We could say that about so many of our favorite musicians, because 371 00:12:44,100 --> 00:12:47,130 it would've been great to see what, where he would've gone. 372 00:12:47,250 --> 00:12:47,550 Yeah. 373 00:12:47,670 --> 00:12:51,510 You know, as an older musician, just speaking as someone who's now older 374 00:12:51,510 --> 00:12:52,950 than he was when he passed away. 375 00:12:53,100 --> 00:12:53,310 Right. 376 00:12:53,310 --> 00:12:53,670 Is crazy. 377 00:12:53,670 --> 00:12:54,360 Several years. 378 00:12:54,360 --> 00:12:54,660 Yeah. 379 00:12:54,720 --> 00:12:58,020 Like so much happens during this stage of life that I want to 380 00:12:58,020 --> 00:12:59,550 hear his commentary on, you know? 381 00:12:59,550 --> 00:12:59,610 Yeah. 382 00:12:59,640 --> 00:13:01,290 I mean, think about what we've gotten from people like. 383 00:13:01,680 --> 00:13:04,530 I dunno why it just came in mind, but like Pat Metheny's output later 384 00:13:04,530 --> 00:13:05,940 in life has been incredible, right? 385 00:13:06,000 --> 00:13:07,230 Like people like that, you know what I mean? 386 00:13:07,230 --> 00:13:09,750 Rod Carter, Ron Carter, cocked Kirby Hancock. 387 00:13:09,750 --> 00:13:10,710 Thank you, Wayne. 388 00:13:10,710 --> 00:13:12,750 Shorter, Wayne Shorter's later output. 389 00:13:12,750 --> 00:13:12,930 Amma. 390 00:13:12,930 --> 00:13:14,880 Jamal just kept making great records. 391 00:13:14,880 --> 00:13:14,970 I know. 392 00:13:15,060 --> 00:13:15,150 Yeah. 393 00:13:15,150 --> 00:13:18,300 And it would've been awesome to hear, but okay, let's listen to some music. 394 00:13:18,300 --> 00:13:18,510 Peter. 395 00:13:18,510 --> 00:13:20,250 Let's listen to part one Acknowledgement. 396 00:13:20,250 --> 00:13:23,220 And again, will we be specifically listening for playing by any chance? 397 00:13:23,250 --> 00:13:23,430 Yeah. 398 00:13:23,430 --> 00:13:24,450 So that's our first category. 399 00:13:24,450 --> 00:13:24,480 Okay. 400 00:13:24,630 --> 00:13:27,390 We'll, we'll try, we'll try to, to consolidate playing vibe 401 00:13:27,390 --> 00:13:29,400 and maybe even compositions, but we'll see how we go here. 402 00:13:29,430 --> 00:13:32,160 Okay, so this is of course John Coltrane on the tenor saxophone, 403 00:13:32,520 --> 00:13:34,470 McCoy Tyner on the piano. 404 00:13:35,265 --> 00:13:37,845 Uh, Jimmy Garrison on the bass in Elvin Jones on the drums. 405 00:13:37,845 --> 00:13:40,350 This is a Love Supreme part one acknowledgement 406 00:13:55,060 --> 00:13:55,350 open. 407 00:14:22,440 --> 00:14:24,750 Oh yeah. 408 00:14:24,750 --> 00:14:25,290 Elvin Jones Elvin. 409 00:14:25,590 --> 00:14:26,010 I know, man. 410 00:14:26,250 --> 00:14:27,810 Man, he's driving this bus. 411 00:14:27,870 --> 00:14:28,680 This whole wrecker. 412 00:14:30,900 --> 00:14:31,350 Oh wait, no. 413 00:14:31,350 --> 00:14:32,340 McCoy's driving the bus. 414 00:14:32,340 --> 00:14:32,550 Sorry. 415 00:14:33,030 --> 00:14:33,060 Ah, 416 00:14:36,960 --> 00:14:37,170 man. 417 00:14:37,230 --> 00:14:39,240 Bold, bold, and beautiful. 418 00:14:40,740 --> 00:14:41,790 It's the soundtrack to that. 419 00:14:41,795 --> 00:14:42,005 Great. 420 00:14:42,964 --> 00:14:44,405 Soap opera, The Bold and the Beautiful. 421 00:14:45,545 --> 00:14:48,870 That would be so weird if this were the soundtrack to the bold, 422 00:14:48,890 --> 00:14:50,135 but it is bold and beautiful. 423 00:14:53,050 --> 00:14:53,270 Woo. 424 00:15:14,050 --> 00:15:15,545 Are they burning out what we say? 425 00:15:17,015 --> 00:15:18,365 Improvising over just one chord. 426 00:15:18,365 --> 00:15:18,425 Yeah. 427 00:15:19,234 --> 00:15:19,685 Sound. 428 00:15:21,650 --> 00:15:21,870 Oh, 429 00:15:24,670 --> 00:15:24,910 I mean. 430 00:15:25,915 --> 00:15:29,755 The, for me, the difference between this and another quote unquote modal album 431 00:15:30,235 --> 00:15:35,755 is this is more, I mean, this is, feels African, like this is, this has that 432 00:15:36,594 --> 00:15:40,675 vibe of this is not of all of this place. 433 00:15:40,675 --> 00:15:41,155 You know what I mean? 434 00:15:41,155 --> 00:15:41,454 Like Yeah. 435 00:15:41,454 --> 00:15:43,015 It has that feeling. 436 00:15:43,765 --> 00:15:43,824 Yeah. 437 00:15:43,915 --> 00:15:44,125 That it's. 438 00:15:44,910 --> 00:15:46,469 You just can't deny. 439 00:15:57,750 --> 00:15:57,870 Yeah. 440 00:15:57,870 --> 00:16:01,949 I mean to call it exploratory is obvious, but it's exploratory. 441 00:16:03,120 --> 00:16:04,350 A hundred percent committed. 442 00:16:04,620 --> 00:16:11,670 Like the way Trane is improvising, it's like there's no self-awareness. 443 00:16:11,699 --> 00:16:15,750 There's just like commitment to the music to where it's gonna go to Continuing 444 00:16:15,750 --> 00:16:18,420 on integrity, of course, you know, but. 445 00:16:31,045 --> 00:16:34,285 And very stripped down harmonically. 446 00:16:34,285 --> 00:16:38,005 I mean, it's one chord, but then melodically the places that it takes it 447 00:16:38,605 --> 00:16:41,050 harmonically are like off the charts. 448 00:16:41,050 --> 00:16:41,275 You know? 449 00:16:41,365 --> 00:16:42,610 That's where the exploration's going. 450 00:16:42,610 --> 00:16:44,155 The rhythmic exploration. 451 00:16:49,380 --> 00:16:49,600 Oh, 452 00:17:00,175 --> 00:17:01,885 they're creating as they play. 453 00:17:03,325 --> 00:17:05,545 I think this could have only been done in one session. 454 00:17:05,545 --> 00:17:05,935 A recommendation. 455 00:17:05,940 --> 00:17:08,155 I mean, it's completely, yeah. 456 00:17:08,215 --> 00:17:10,885 It's like the way McCoy brought that back. 457 00:17:10,885 --> 00:17:12,200 It's like I said, entered it back on that down. 458 00:17:12,200 --> 00:17:15,205 It's just on this other plane than something like kind of blue like it, 459 00:17:15,595 --> 00:17:17,185 it's coming from a different place. 460 00:17:17,215 --> 00:17:17,335 Yeah. 461 00:17:17,335 --> 00:17:19,435 It's not this like trying to be hip. 462 00:17:20,190 --> 00:17:22,200 French thing, you know what I mean? 463 00:17:22,260 --> 00:17:24,240 It's a little bit deeper, you know what I'm saying? 464 00:17:25,170 --> 00:17:25,200 Okay. 465 00:17:25,200 --> 00:17:26,515 See where we're going for number 10 for you 466 00:17:53,550 --> 00:17:57,330 and, and from a pianist standpoint, this is some of the best, most 467 00:17:57,330 --> 00:17:59,070 advanced comping that's ever been done. 468 00:17:59,400 --> 00:17:59,610 Yeah. 469 00:17:59,820 --> 00:18:01,955 Truly in the sense of working like a company. 470 00:18:02,520 --> 00:18:05,640 Like he's not chasing anything that Trane is doing, but he's 471 00:18:05,640 --> 00:18:06,840 complimenting beautifully. 472 00:18:06,840 --> 00:18:13,020 The conversation with Elvin, Jimmy Garrison, I mean like they're 473 00:18:13,020 --> 00:18:15,870 really committed to creating a piece of art in real time, you know? 474 00:18:22,530 --> 00:18:26,310 Yeah, it's, it's way beyond moldal playing, I think, because it's one chord. 475 00:18:26,580 --> 00:18:29,610 There's, yeah, I mean they play harmonic mo, you know, modes. 476 00:18:29,700 --> 00:18:33,540 And when you put in the context of the time, 1964 when this was made, 477 00:18:33,660 --> 00:18:36,870 yeah, 65 when it was released, like so tumultuous time in the 478 00:18:36,870 --> 00:18:39,600 US it's, this is a cultural like. 479 00:18:40,179 --> 00:18:41,919 Trane, planting a cultural flag. 480 00:18:41,919 --> 00:18:42,010 Right. 481 00:18:42,010 --> 00:18:44,020 Which is a lot of people were doing around this time. 482 00:18:44,050 --> 00:18:44,260 Yeah. 483 00:18:44,709 --> 00:18:45,010 Like, 484 00:18:47,800 --> 00:18:51,669 and this, which would've not been okay with a lot of people at this time. 485 00:18:51,730 --> 00:18:51,969 Yeah. 486 00:18:53,169 --> 00:18:56,560 Obviously that's the melody, you know, would it be five minutes into the tune, 487 00:18:57,550 --> 00:19:00,850 the tune, Hey, let's play acknowledgement. 488 00:19:00,850 --> 00:19:01,149 Ready? 489 00:19:01,240 --> 00:19:02,050 One, two, 490 00:19:17,314 --> 00:19:21,790 and I mean, Jimmy Garrison's job is potentially the most difficult 491 00:19:21,790 --> 00:19:26,050 to hold things down, but to play things that are interesting for 492 00:19:26,050 --> 00:19:28,449 the overall collective composition. 493 00:19:28,689 --> 00:19:30,040 It's just masterful what he's doing. 494 00:19:30,040 --> 00:19:31,360 He kind of gets lost master there. 495 00:19:31,480 --> 00:19:31,750 Yeah. 496 00:19:34,045 --> 00:19:38,305 I mean, Coltrane went on that journey with that riff, with that 497 00:19:38,305 --> 00:19:39,625 melody, and now he's back here. 498 00:19:41,365 --> 00:19:43,165 Nobody, by the way, it's a, it's a mantra, right? 499 00:19:43,165 --> 00:19:43,795 It's a chant. 500 00:19:44,665 --> 00:19:44,875 Yeah. 501 00:19:46,165 --> 00:19:46,735 Oh, as we'll hear 502 00:19:53,320 --> 00:19:53,610 love, 503 00:19:57,440 --> 00:19:57,730 love 504 00:19:59,920 --> 00:20:03,370 free, love, love 505 00:20:05,480 --> 00:20:05,770 free. 506 00:20:06,610 --> 00:20:06,730 I 507 00:20:22,045 --> 00:20:27,625 man, what a, from that F to the EFL and to when they started on, that's incredible. 508 00:20:27,685 --> 00:20:28,495 This time period. 509 00:20:28,495 --> 00:20:32,335 If you think about this time period, and I know it gets talked about a lot, but. 510 00:20:32,940 --> 00:20:39,000 To have Elvin and Tony, Elvin Jones and Tony Williams Young and making albums. 511 00:20:39,000 --> 00:20:39,060 Yeah. 512 00:20:39,090 --> 00:20:44,460 In this, you know, four or five year stretch, one with Miles, one with Trane. 513 00:20:45,300 --> 00:20:45,390 Mm-hmm. 514 00:20:45,480 --> 00:20:47,460 It's like such a gift to the world, man. 515 00:20:47,490 --> 00:20:47,700 Okay. 516 00:20:47,700 --> 00:20:48,840 What change? 517 00:20:48,840 --> 00:20:49,230 Drumming. 518 00:20:49,230 --> 00:20:49,530 Both. 519 00:20:49,530 --> 00:20:53,070 When Elvin just absolutely just did dancing on that symbol. 520 00:20:54,510 --> 00:20:56,070 He's still doing it, but what he, ah, 521 00:21:03,780 --> 00:21:08,610 even just that symbol ringing out Jimmy Garrison. 522 00:21:09,270 --> 00:21:09,630 Ah, 523 00:21:16,500 --> 00:21:17,670 that's a great bass sound. 524 00:21:19,380 --> 00:21:20,100 Woo. 525 00:21:22,420 --> 00:21:22,680 All right. 526 00:21:22,685 --> 00:21:23,805 Can we pause for a second here? 527 00:21:24,105 --> 00:21:24,315 Yeah. 528 00:21:24,795 --> 00:21:25,125 Okay. 529 00:21:25,215 --> 00:21:28,455 So I, I the love how this is on the LP going straight in. 530 00:21:28,455 --> 00:21:29,895 It's like it's just one side. 531 00:21:29,925 --> 00:21:30,105 Yeah. 532 00:21:30,135 --> 00:21:31,845 And that's the way I first heard it anyway. 533 00:21:31,845 --> 00:21:36,825 So, I mean, it's, it, it goes seamlessly in, but I just want to say like, the 534 00:21:36,825 --> 00:21:42,225 way that it starts, like over this open E like just fists and fourth, 535 00:21:42,375 --> 00:21:44,805 you know, and a like a gongs style. 536 00:21:44,805 --> 00:21:44,865 Yeah. 537 00:21:45,000 --> 00:21:47,115 There's, there's an actual gong and it's a call to prayer. 538 00:21:47,120 --> 00:21:48,795 Is, it, is, it's a, it's a call to prayer. 539 00:21:48,795 --> 00:21:48,855 Yeah. 540 00:21:49,215 --> 00:21:52,935 And choosing e and all the things, you know, you got the open E on the 541 00:21:52,935 --> 00:21:57,225 base and just like what that sound and where it ends on that E flat. 542 00:21:57,435 --> 00:21:58,695 Like this is very simple. 543 00:21:58,700 --> 00:22:01,240 Like, like I was saying, I feel like I, I mean, I don't feel like it could. 544 00:22:02,129 --> 00:22:03,060 Feel it from the record. 545 00:22:03,060 --> 00:22:05,220 Every time you hear it, it's like, it just happened. 546 00:22:05,220 --> 00:22:05,430 Right. 547 00:22:05,430 --> 00:22:07,774 1964, it's like, what, what? 548 00:22:08,100 --> 00:22:08,490 What is that? 549 00:22:08,490 --> 00:22:09,720 60 years ago? 550 00:22:09,960 --> 00:22:10,170 Yeah. 551 00:22:10,235 --> 00:22:12,899 You know, but it's like it, like it was recorded this morning. 552 00:22:13,110 --> 00:22:13,649 This morning. 553 00:22:13,649 --> 00:22:14,730 It feels like that. 554 00:22:14,910 --> 00:22:18,389 And they created the composition, but the structure of it, and I would say this 555 00:22:18,389 --> 00:22:23,070 is something maybe similar to kind of blue in that you go into the studio with 556 00:22:23,070 --> 00:22:28,050 a great group of players, a fantastic rhythm section, horn players that both 557 00:22:28,050 --> 00:22:30,690 contrast each other, but also are amazing. 558 00:22:30,690 --> 00:22:34,050 Obviously this is maybe even a greater, like, you know, it's a quartet. 559 00:22:34,080 --> 00:22:34,260 Yeah. 560 00:22:34,680 --> 00:22:35,970 They've done a bunch of playing together. 561 00:22:35,970 --> 00:22:36,870 Locked in, yeah. 562 00:22:37,050 --> 00:22:38,310 But then you, for a couple years now. 563 00:22:38,670 --> 00:22:39,090 Right. 564 00:22:39,120 --> 00:22:45,060 And then you have a very basic template for what the composition is gonna be. 565 00:22:45,060 --> 00:22:48,660 In this case, acknowledgement, the first one where it's basically just 566 00:22:48,660 --> 00:22:53,580 harmonically three things, E, F, and E flat, all half step apart. 567 00:22:53,820 --> 00:22:54,810 But the order of those. 568 00:22:54,810 --> 00:22:56,970 So it's like, oh, any kid could come up with that. 569 00:22:56,970 --> 00:22:57,240 Right. 570 00:22:57,555 --> 00:23:01,335 And then the trust to give the group, and then just one 571 00:23:04,335 --> 00:23:10,155 or just one melodic, um, idea that's introduced into that. 572 00:23:10,305 --> 00:23:12,015 That's the, that's the composition. 573 00:23:12,015 --> 00:23:15,195 And then a lyric, of course, which is highly unusual for an instrumental 574 00:23:15,195 --> 00:23:17,205 jazz record, but like, that's it. 575 00:23:17,535 --> 00:23:19,425 And then they came up with that already. 576 00:23:19,485 --> 00:23:19,635 Yeah. 577 00:23:19,635 --> 00:23:21,075 It's like mind, mind blown. 578 00:23:21,075 --> 00:23:24,585 I know, but I think that that is maybe a similarity with, with kind of blue and 579 00:23:24,585 --> 00:23:28,185 that you came like, like flamenco sketches is just the five chords, you know? 580 00:23:29,085 --> 00:23:29,655 Um, 581 00:23:32,715 --> 00:23:35,050 but there's something about this record in particular where. 582 00:23:36,510 --> 00:23:39,990 And again, not to over compare it to kind of blue, two different albums actually, 583 00:23:40,170 --> 00:23:41,790 years and years apart too, by the way. 584 00:23:41,790 --> 00:23:42,780 Let's not forget which is better. 585 00:23:43,170 --> 00:23:44,370 Well, we'll talk about that. 586 00:23:44,910 --> 00:23:50,040 But, uh, I think just the, the heavier subject matter Yeah. 587 00:23:50,100 --> 00:23:54,870 Of this, like, this obviously a spiritual statement by Trane. 588 00:23:55,420 --> 00:23:59,200 And like I said, I think it's a real cultural flag from Trane two 589 00:23:59,260 --> 00:24:02,920 of, of this entire era actually is like, we're gonna play this music 590 00:24:02,920 --> 00:24:06,970 that is not really understandable by a huge chunk of, of people. 591 00:24:07,060 --> 00:24:07,300 Yeah. 592 00:24:07,360 --> 00:24:08,530 Like, you know what I mean? 593 00:24:08,950 --> 00:24:13,510 Not, it's not like ringa ding ding style, you know, Sinatra tunes or whatever. 594 00:24:13,570 --> 00:24:13,690 Right. 595 00:24:13,690 --> 00:24:15,430 That some people around this time are playing. 596 00:24:15,430 --> 00:24:16,060 Which is fine. 597 00:24:16,150 --> 00:24:16,690 Which is fine. 598 00:24:17,165 --> 00:24:18,105 We, we need different things. 599 00:24:18,365 --> 00:24:18,615 We need different things. 600 00:24:18,615 --> 00:24:21,100 We need appetizers, we need main course, we need dessert. 601 00:24:21,100 --> 00:24:24,370 But this kind of album takes a lot of courage and it takes a 602 00:24:24,370 --> 00:24:27,760 lot of confidence and it takes a, an incredible artistic vision. 603 00:24:27,760 --> 00:24:29,770 I said it's bold and beautiful and courageous. 604 00:24:29,770 --> 00:24:30,580 You've said it all. 605 00:24:30,580 --> 00:24:31,420 You've said it all. 606 00:24:31,420 --> 00:24:33,460 So also this is the thing. 607 00:24:33,490 --> 00:24:37,330 Well, yeah, and even like we talk about kind of blue and I love like 608 00:24:37,390 --> 00:24:40,270 some of the comments of, you know, kind of our analysis, which is 609 00:24:40,270 --> 00:24:44,440 overstating it, you know, just talking about how impactful that record was. 610 00:24:44,835 --> 00:24:47,985 To just general listeners and they're saying like, look at all 611 00:24:47,985 --> 00:24:52,215 the Miles over the years that were born, you know, babies named Miles. 612 00:24:52,245 --> 00:24:53,145 Yeah, wink, wink. 613 00:24:53,145 --> 00:24:54,645 A romantic record, whatever. 614 00:24:54,855 --> 00:24:56,415 Like, this is not that kind of record. 615 00:24:56,595 --> 00:24:56,895 No. 616 00:24:56,955 --> 00:24:59,625 You know, this is a beautiful re I'm talking about Love Supreme. 617 00:24:59,685 --> 00:24:59,925 Yeah. 618 00:24:59,985 --> 00:25:02,715 This is not like a record that babies are gonna be named 619 00:25:02,715 --> 00:25:05,085 after, you know, necessarily. 620 00:25:05,685 --> 00:25:08,985 I don't think, um, or even babies being made during this 621 00:25:08,985 --> 00:25:10,005 rec listening to this record. 622 00:25:10,005 --> 00:25:10,545 I don't know. 623 00:25:10,905 --> 00:25:12,075 It's not really about that, is it? 624 00:25:12,225 --> 00:25:13,935 That should be one of our categories. 625 00:25:14,025 --> 00:25:14,295 Yeah. 626 00:25:14,685 --> 00:25:17,160 No, but I mean, I'm, we're beating around the bush a little bit, but 627 00:25:17,160 --> 00:25:19,725 that's what I'm saying, like, how do we even say is something great or not? 628 00:25:19,725 --> 00:25:23,655 Because those are two different, those are both, these are both records we need. 629 00:25:23,655 --> 00:25:24,710 No, no, yeah, of course for different times. 630 00:25:24,710 --> 00:25:26,715 Course culture is about different things, but that's what I'm saying. 631 00:25:26,715 --> 00:25:28,395 We're, we're beating around the bush, but this really, I'm 632 00:25:28,430 --> 00:25:29,505 we're talking about race here. 633 00:25:29,505 --> 00:25:31,905 Like this album, love Supreme is not. 634 00:25:32,520 --> 00:25:36,390 You know, white musicians are probably not able to make this album Mm. At this time. 635 00:25:36,390 --> 00:25:40,805 It's, it's not culturally part of their DNA to do interest at, 636 00:25:41,025 --> 00:25:42,210 at this time to do this thing. 637 00:25:42,210 --> 00:25:42,510 Right. 638 00:25:42,690 --> 00:25:42,810 Yeah. 639 00:25:42,870 --> 00:25:47,640 And I think that's what makes this kind of such a powerful prayer mm-hmm. 640 00:25:47,645 --> 00:25:51,600 And, and such an incredible cultural flag from Trane. 641 00:25:51,605 --> 00:25:51,805 Yes. 642 00:25:51,865 --> 00:25:54,270 You know, not to make too big a deal out of it, but I think that 643 00:25:54,270 --> 00:25:56,670 is a, a huge part of this album. 644 00:25:56,670 --> 00:26:02,340 And, and at that specific time, this incredible movement of musicians Right. 645 00:26:02,340 --> 00:26:03,690 Led by Trane. 646 00:26:04,020 --> 00:26:04,590 Absolutely. 647 00:26:05,010 --> 00:26:05,280 Yeah. 648 00:26:05,280 --> 00:26:09,150 And I mean, who's to say, you know, whether or not Trane John 649 00:26:09,150 --> 00:26:12,780 Coltrane was actively thinking about that or making that statement? 650 00:26:12,780 --> 00:26:15,600 That's kind of immaterial he made that statement. 651 00:26:15,630 --> 00:26:15,780 Yeah. 652 00:26:15,810 --> 00:26:16,380 You know what I mean? 653 00:26:16,380 --> 00:26:22,710 He, he came with that authentic leadership to create this thing and to create this 654 00:26:22,710 --> 00:26:27,570 playground, this sandbox for these four musicians in the studio to create this. 655 00:26:27,570 --> 00:26:31,620 And, and obviously gave in a huge amount of. 656 00:26:32,220 --> 00:26:36,210 Um, license and space for all of these musicians to contribute. 657 00:26:36,210 --> 00:26:38,100 I mean, you can hear that from the very beginning. 658 00:26:38,490 --> 00:26:40,500 You know, I mean, not to say that he might have said, why 659 00:26:40,500 --> 00:26:41,400 don't we start with the gong? 660 00:26:41,400 --> 00:26:41,820 Who knows? 661 00:26:41,820 --> 00:26:42,480 It doesn't matter. 662 00:26:42,480 --> 00:26:47,010 Like the humanity of everybody's contribution is so like intermingled 663 00:26:47,010 --> 00:26:48,750 and integral to what was created. 664 00:26:48,750 --> 00:26:51,450 And it's part of the exciting thing of listening to something 665 00:26:51,450 --> 00:26:53,850 like this is to kind of imagine. 666 00:26:53,850 --> 00:26:56,730 And like sometimes I feel like we have too much information when 667 00:26:56,730 --> 00:26:59,850 somebody says, I created this because this, and I want it to be this. 668 00:27:00,060 --> 00:27:01,380 That's of course interesting. 669 00:27:01,380 --> 00:27:04,770 But when you get to the level of a record like a Love Supreme. 670 00:27:05,159 --> 00:27:09,120 Like, that's up for you to get your, in your, not even your interpretation, 671 00:27:09,120 --> 00:27:12,750 like your meaning like from when you like and what you come up with it and me 672 00:27:12,750 --> 00:27:14,220 forget that for everybody to get that. 673 00:27:14,220 --> 00:27:15,840 That's what a great piece of art is. 674 00:27:15,840 --> 00:27:18,360 It's not supposed to be reading the little thing that tells you 675 00:27:18,360 --> 00:27:19,409 what you're supposed to feel. 676 00:27:19,470 --> 00:27:19,620 Hmm. 677 00:27:19,649 --> 00:27:21,030 It's like, what do you feel from this? 678 00:27:21,030 --> 00:27:22,889 And if nothing else, this record. 679 00:27:23,070 --> 00:27:27,210 And I think all great records makes you feel deeply. 680 00:27:27,419 --> 00:27:29,159 I mean, like, you listen to this record. 681 00:27:29,159 --> 00:27:33,270 If you sit down and listen to this, and this is not like, I like jazz. 682 00:27:33,270 --> 00:27:33,990 I don't like jazz. 683 00:27:33,990 --> 00:27:35,040 I like funky jazz. 684 00:27:35,040 --> 00:27:37,080 I like swingy ring a dingy jazz. 685 00:27:37,199 --> 00:27:37,800 Doesn't matter. 686 00:27:37,800 --> 00:27:39,629 Like, like listen to this. 687 00:27:39,629 --> 00:27:42,899 You will feel more human after listening to this. 688 00:27:42,899 --> 00:27:45,355 I, I say, um, you will feel. 689 00:27:46,125 --> 00:27:46,935 You may not love it. 690 00:27:46,935 --> 00:27:48,195 You may not ever wanna listen to it again. 691 00:27:48,195 --> 00:27:49,485 You may love it off the charts. 692 00:27:49,485 --> 00:27:50,985 You may be like, ah, that was okay. 693 00:27:51,225 --> 00:27:54,525 I mean, look, it, it would be hard to like have this in a 694 00:27:54,525 --> 00:27:56,625 coffee house playing parts of it. 695 00:27:56,630 --> 00:27:56,910 Yeah. 696 00:27:56,925 --> 00:28:00,555 You know, parts of it will be perfect, but when they start, oh, love Supreme. 697 00:28:00,705 --> 00:28:02,775 Like, if you're not in the right space for that and you haven't listened 698 00:28:02,775 --> 00:28:05,625 to what came before that, that might get in the way of your oat milk. 699 00:28:05,715 --> 00:28:06,945 Um, frappuccino. 700 00:28:07,185 --> 00:28:07,935 So, okay. 701 00:28:08,295 --> 00:28:11,385 And again, this feels a little cheap, but Peter playing what you got. 702 00:28:12,375 --> 00:28:13,395 Well, I, I got 10. 703 00:28:13,661 --> 00:28:16,815 I also have, but no, but it, but I mean I also have 10. 704 00:28:16,875 --> 00:28:17,175 Yeah. 705 00:28:18,435 --> 00:28:21,555 Really, uh, vibe. 706 00:28:21,555 --> 00:28:22,185 I have 10. 707 00:28:22,635 --> 00:28:23,595 What about spirituality? 708 00:28:23,595 --> 00:28:24,014 What do you have? 709 00:28:24,940 --> 00:28:30,585 I have 11 because I really, I really felt a spiritual vibe on this vibe. 710 00:28:30,585 --> 00:28:33,045 I have 10 Vibe is a bit of spirituality for sure. 711 00:28:33,105 --> 00:28:34,725 And I have, yes, I have 10 for that. 712 00:28:34,725 --> 00:28:39,075 I mean, yeah, the vibe is, I think that even if you didn't like the vibe 713 00:28:39,075 --> 00:28:40,725 of this record, it would still be 10. 714 00:28:40,905 --> 00:28:44,475 'cause it has like, probably it's all vibe the strongest man. 715 00:28:44,565 --> 00:28:45,495 It's incredible. 716 00:28:45,495 --> 00:28:45,705 It's a vibe. 717 00:28:45,855 --> 00:28:47,865 So think about this, if you say, um. 718 00:28:48,555 --> 00:28:49,754 Tell a drummer, gimme that point. 719 00:28:49,754 --> 00:28:50,534 Sienna groove. 720 00:28:50,595 --> 00:28:52,274 It's as much about, gimme that vibe, right? 721 00:28:52,365 --> 00:28:52,485 Yeah. 722 00:28:52,875 --> 00:28:53,865 Or if you're like, gimme that love. 723 00:28:54,075 --> 00:28:54,615 Like what? 724 00:28:54,615 --> 00:28:56,235 Like gimme that love supreme vibe on this. 725 00:28:56,235 --> 00:28:57,014 That says a lot. 726 00:28:57,105 --> 00:28:57,345 Yeah. 727 00:28:57,405 --> 00:28:58,034 You know what I mean? 728 00:28:58,034 --> 00:28:59,985 So I don't see how it could be anything but 10. 729 00:29:00,585 --> 00:29:00,794 Okay. 730 00:29:00,794 --> 00:29:01,305 Which is what I have. 731 00:29:01,305 --> 00:29:01,635 I love it. 732 00:29:01,635 --> 00:29:02,565 How far down have you gone? 733 00:29:02,625 --> 00:29:03,764 I mean, I'm pretty much done. 734 00:29:03,855 --> 00:29:04,815 Oh my ratings. 735 00:29:05,175 --> 00:29:06,085 But I still wanna listen to this. 736 00:29:06,085 --> 00:29:07,450 Can we listen to re Yeah, let's go. 737 00:29:07,450 --> 00:29:07,460 Yeah. 738 00:29:07,460 --> 00:29:08,264 So let's check out resolution. 739 00:29:08,264 --> 00:29:10,635 This is the next track and it's, I'm actually gonna back it up 740 00:29:10,635 --> 00:29:11,865 to the end of acknowledgement. 741 00:29:11,865 --> 00:29:13,544 'cause they do the transition. 742 00:29:13,544 --> 00:29:14,925 The transition is killing, 743 00:29:19,695 --> 00:29:23,235 ends with base acknowledgement, starts with base resolution. 744 00:29:25,245 --> 00:29:27,050 That's the last chord of the first track. 745 00:29:28,080 --> 00:29:28,435 And then. 746 00:29:53,090 --> 00:29:53,810 These came in, 747 00:29:55,940 --> 00:29:56,600 I'm here for it. 748 00:29:57,440 --> 00:29:58,340 So good man. 749 00:30:17,750 --> 00:30:20,570 This is one of the deepest grooves a drummer's ever played 750 00:30:20,570 --> 00:30:21,290 on a record that I've heard. 751 00:30:26,815 --> 00:30:27,035 Ah, 752 00:30:31,250 --> 00:30:33,050 this is like the OG backbeat right here. 753 00:30:38,775 --> 00:30:38,995 Wow. 754 00:30:39,410 --> 00:30:40,395 Can really take it out Well. 755 00:30:45,095 --> 00:30:45,315 Ah. 756 00:31:04,615 --> 00:31:05,420 Did you ever play this? 757 00:31:05,420 --> 00:31:06,560 Five verses one. 758 00:31:06,920 --> 00:31:08,240 We used to play this in Willie Aikens. 759 00:31:08,240 --> 00:31:10,970 Man, this is one of Willy's mainstays. 760 00:31:11,300 --> 00:31:14,300 This is kind of the only tune on this album, I feel like. 761 00:31:14,300 --> 00:31:15,290 Yeah, it gets played a lot. 762 00:31:15,290 --> 00:31:18,500 Played like you, you can kind of, you can call it a jam session. 763 00:31:20,750 --> 00:31:21,950 So good through here. 764 00:31:22,370 --> 00:31:23,510 Notice what Elvin does through here. 765 00:31:23,900 --> 00:31:24,410 Swings. 766 00:31:24,470 --> 00:31:24,620 Yeah. 767 00:31:25,010 --> 00:31:26,150 Swings his ass off. 768 00:31:26,210 --> 00:31:28,880 But he, he pulls it back a little bit, man. 769 00:31:28,880 --> 00:31:30,890 He's like, he's in control. 770 00:31:30,890 --> 00:31:32,330 Like the architecture of this album. 771 00:31:37,340 --> 00:31:37,610 Come on 772 00:31:41,990 --> 00:31:42,260 man. 773 00:31:42,260 --> 00:31:42,740 I'm telling you. 774 00:31:42,740 --> 00:31:43,070 Like to. 775 00:31:44,635 --> 00:31:45,264 This is shit. 776 00:31:45,264 --> 00:31:48,594 Bruce, is McCoy the youngest member of this band? 777 00:31:48,594 --> 00:31:49,375 Rudy to too. 778 00:31:49,524 --> 00:31:49,945 What'd you say? 779 00:31:50,754 --> 00:31:50,935 Yeah. 780 00:31:50,935 --> 00:31:52,915 McCoy was the youngest member of this. 781 00:31:55,705 --> 00:31:57,024 He's just sending dominance. 782 00:31:58,794 --> 00:31:59,784 Is that part of the change? 783 00:31:59,784 --> 00:32:00,385 We don't know. 784 00:32:00,475 --> 00:32:00,925 We love it. 785 00:32:02,425 --> 00:32:03,655 He's only 26 here, McCoy. 786 00:32:05,129 --> 00:32:05,419 Dang. 787 00:32:07,570 --> 00:32:10,990 I mean, how much has this been stolen by me? 788 00:32:17,050 --> 00:32:18,879 Our new stank face O meter is gonna be off the charts. 789 00:32:18,879 --> 00:32:19,060 Oh my God. 790 00:32:21,555 --> 00:32:22,575 We need a groove O meter. 791 00:32:24,260 --> 00:32:24,320 Ah, 792 00:32:32,815 --> 00:32:33,230 bang, bang. 793 00:32:33,950 --> 00:32:38,270 Just a, a clinic in left hand 794 00:32:45,170 --> 00:32:45,379 man. 795 00:32:45,830 --> 00:32:52,250 He is like just flurries and the way he's, that com combined with vin's, 796 00:32:52,280 --> 00:32:57,905 like dancing on that ride symbol and that sound of, that zian ah, 797 00:33:01,580 --> 00:33:03,170 floating with the groove is still there. 798 00:33:12,230 --> 00:33:15,260 And this is all kind of burnout playing just overheat flat. 799 00:33:15,260 --> 00:33:19,129 I mean, it's still playing the form, but harmonically, they go wherever they want. 800 00:33:21,080 --> 00:33:24,170 And for all U pianists out there, notice what, how McCoy really. 801 00:33:24,260 --> 00:33:28,700 He switches up textures, cords, single note lines. 802 00:33:28,700 --> 00:33:28,760 Yeah. 803 00:33:28,790 --> 00:33:31,460 Like he's not just doing the same thing again and again and again. 804 00:33:31,520 --> 00:33:31,760 Right. 805 00:33:32,420 --> 00:33:34,970 Trane comes in, interrupting in all the right ways. 806 00:33:39,170 --> 00:33:44,305 Ah, I mean, Elvin is on the, on the verge just being like packed. 807 00:33:48,085 --> 00:33:48,305 Ah, 808 00:33:51,620 --> 00:33:51,680 woo. 809 00:33:58,940 --> 00:34:01,820 So you could dance and it'd be like you're, this is like church music. 810 00:34:01,820 --> 00:34:04,550 Like you said, I can get up and do church dance in the middle of this 811 00:34:14,719 --> 00:34:14,929 man. 812 00:34:14,929 --> 00:34:19,940 Their approach to harmony is so fluid and, and courageous and 813 00:34:19,940 --> 00:34:22,699 exploratory and just fun, you know. 814 00:34:30,835 --> 00:34:33,654 Where did Brian Blade ever got a chance to hear this period of Elvin Jones? 815 00:34:45,980 --> 00:34:47,560 Oh, here you go. 816 00:34:50,304 --> 00:34:51,475 All that stuff, man. 817 00:34:52,404 --> 00:34:52,915 Everything. 818 00:34:53,275 --> 00:34:56,424 Any pianist listing, if you wanna learn how to comp. 819 00:34:56,574 --> 00:34:56,815 Yeah. 820 00:34:57,085 --> 00:35:02,904 For this kind of like chord playing, how to solo McCoy Tyner on these records. 821 00:35:02,964 --> 00:35:03,145 Yeah. 822 00:35:03,205 --> 00:35:04,345 Love Supreme Crescent. 823 00:35:04,615 --> 00:35:08,935 And then of course, like all of his, uh, records from this time, which 824 00:35:08,935 --> 00:35:10,944 I think were on impulse as well. 825 00:35:11,785 --> 00:35:15,415 Were they McCoy's McCoy was on the impulse during this period too, right? 826 00:35:15,415 --> 00:35:15,535 Yep. 827 00:35:15,895 --> 00:35:16,225 Yeah. 828 00:35:16,615 --> 00:35:21,279 So good for this reaching fourths, but I think right around here he did a. 829 00:35:23,904 --> 00:35:24,565 Real McCoy. 830 00:35:26,575 --> 00:35:28,075 Uh, 65. 831 00:35:28,075 --> 00:35:28,285 Yeah. 832 00:35:28,290 --> 00:35:28,560 Yeah. 833 00:35:29,424 --> 00:35:30,685 Uh, 67 maybe McCoy 834 00:35:41,785 --> 00:35:42,265 reaching up. 835 00:35:42,265 --> 00:35:42,730 Reaching up. 836 00:35:54,779 --> 00:35:56,725 Oh, yeah. 837 00:35:56,725 --> 00:35:58,645 Real McCoy 67 a couple years later. 838 00:35:59,725 --> 00:36:00,895 I don't think culture had to be like head out. 839 00:36:01,350 --> 00:36:05,040 Head out guys rolled right up into it. 840 00:36:05,060 --> 00:36:06,504 No, no, he didn't. 841 00:36:11,004 --> 00:36:13,359 The, again, the, again, oh, there's so many. 842 00:36:24,940 --> 00:36:26,109 Oh, the way this ends, the story. 843 00:36:27,490 --> 00:36:28,359 So blues. 844 00:36:28,359 --> 00:36:28,930 Just blues, 845 00:36:35,140 --> 00:36:35,500 man. 846 00:36:35,770 --> 00:36:43,210 Just the confidence of like ending, oh, Garrison man. 847 00:36:43,629 --> 00:36:46,029 I mean, it's like col It's really collective improvisation. 848 00:36:46,029 --> 00:36:49,990 It like really goes back to the beginnings of jazz blues, like yes. 849 00:36:49,995 --> 00:36:51,220 The, the roots, the origins. 850 00:36:51,220 --> 00:36:51,279 Yeah. 851 00:36:51,310 --> 00:36:55,120 There's like a primal connection to, to the ancestors. 852 00:36:55,330 --> 00:37:00,310 You can feel 100% just a visceral, but I mean like, like it's such. 853 00:37:01,080 --> 00:37:05,460 A seamless and organic way to connect blues and playing out 854 00:37:05,460 --> 00:37:09,960 and modal and like forth stuff and, and, and like very advanced. 855 00:37:09,960 --> 00:37:14,760 And even like some rock and stuff in there run through the prism of the mid 1960s. 856 00:37:14,760 --> 00:37:14,970 Yeah. 857 00:37:14,975 --> 00:37:16,980 That's, and everything that was happening culturally and about to 858 00:37:16,980 --> 00:37:21,270 happen, you could feel these tensions here in this album all through it. 859 00:37:21,275 --> 00:37:24,000 And then, then it sounds like some Jimi Hendrix in there for sure. 860 00:37:24,000 --> 00:37:28,680 You know, and then run through the prism of John Coltrane, obviously like 861 00:37:29,250 --> 00:37:31,650 coming out of a spiritual awakening Yes. 862 00:37:31,710 --> 00:37:32,370 Period. 863 00:37:32,430 --> 00:37:33,030 You know what I mean? 864 00:37:33,030 --> 00:37:37,710 And wanting to, to make something recognizing that. 865 00:37:37,740 --> 00:37:37,770 Yeah. 866 00:37:37,770 --> 00:37:41,430 And this is what happens, like when a genius figures this stuff out. 867 00:37:41,460 --> 00:37:41,760 Yes. 868 00:37:41,790 --> 00:37:43,200 We get La love Supreme, man. 869 00:37:43,200 --> 00:37:43,860 It's a masterpiece. 870 00:37:43,860 --> 00:37:44,190 It's beautiful. 871 00:37:44,190 --> 00:37:48,990 I mean, it is like a genius that like, is like handing the world a piece of art. 872 00:37:49,080 --> 00:37:51,720 And then what's great about it too, as a, as a human being that 873 00:37:51,720 --> 00:37:53,130 gets handed that work of art. 874 00:37:53,415 --> 00:37:56,384 It's like the more seasoned you get Yes. 875 00:37:56,415 --> 00:37:57,615 The more life you live. 876 00:37:57,615 --> 00:37:57,705 Yes. 877 00:37:57,945 --> 00:38:01,365 The more of your down, the sort of spiritual path or whatever it is that 878 00:38:01,365 --> 00:38:07,035 you, uh, whatever journey you're on, maybe it's hedonistic, whatever, no judgment. 879 00:38:07,335 --> 00:38:10,245 But, uh, there's hedonism in the, I mean like the way Elvin, the way they're 880 00:38:10,245 --> 00:38:11,745 playing is like, it's all part of it. 881 00:38:11,775 --> 00:38:13,005 Oh man, it's everything. 882 00:38:13,275 --> 00:38:18,945 And uh, but you, this listening now to it today, Peter, with you and Caleb 883 00:38:18,975 --> 00:38:22,545 here too, is like even deeper for me than it was when I was in my twenties 884 00:38:22,965 --> 00:38:26,685 smoking cigarettes and thinking about the right individual I wanted to become. 885 00:38:26,685 --> 00:38:31,245 And now it's like, this is directing me, pointing me even further past 886 00:38:31,245 --> 00:38:36,645 those sort of like, you know, fairly, uh, small, small expectations that we 887 00:38:36,645 --> 00:38:37,785 put on ourselves when we're younger. 888 00:38:38,115 --> 00:38:38,384 Man. 889 00:38:38,384 --> 00:38:39,165 It's just, yeah. 890 00:38:39,165 --> 00:38:41,125 And to think that like this really, like the. 891 00:38:42,345 --> 00:38:43,545 Thank you for those words. 892 00:38:43,545 --> 00:38:47,325 And you know, the way I'm feeling about it is it's that same deep connection, 893 00:38:47,325 --> 00:38:50,775 but yes, I think great art elevates us at any point we are in our life. 894 00:38:50,865 --> 00:38:51,015 Yeah. 895 00:38:51,225 --> 00:38:52,935 And like connects us in a way. 896 00:38:53,235 --> 00:38:59,025 And, um, I I, I think that my realization upon this listening today, it's, it, it's 897 00:38:59,025 --> 00:39:01,785 like this is such a collective thing. 898 00:39:01,785 --> 00:39:01,995 Yes. 899 00:39:01,995 --> 00:39:03,495 It's a John Coltrane record. 900 00:39:03,885 --> 00:39:09,615 Um, and, and it's his vision, but I'm just reminded of like these subtle connections. 901 00:39:09,615 --> 00:39:12,285 Like had they not had that, I mean, they're all amazing musicians. 902 00:39:12,285 --> 00:39:12,405 Yeah. 903 00:39:12,405 --> 00:39:13,665 Of course you can hear 'em on different record. 904 00:39:13,665 --> 00:39:13,875 Of course. 905 00:39:14,115 --> 00:39:17,325 That's obviously they're, they're, you know, masters of their instruments 906 00:39:17,325 --> 00:39:19,515 technically and virtuosos and all that. 907 00:39:19,905 --> 00:39:22,575 Um, but also they're, and they're all individually very 908 00:39:22,575 --> 00:39:24,315 innovative, but they come together. 909 00:39:24,645 --> 00:39:27,585 On a level of innovation that's kind of off the charts on this with 910 00:39:27,585 --> 00:39:29,295 like that collective improvisation. 911 00:39:29,565 --> 00:39:32,715 And I think, yeah, it's like the serendipity of them coming together 912 00:39:32,715 --> 00:39:33,705 on this day and everything. 913 00:39:33,855 --> 00:39:37,305 Or is it like what everything led up to this and beyond, you know? 914 00:39:37,455 --> 00:39:37,515 Yeah. 915 00:39:37,515 --> 00:39:38,025 Who's to say? 916 00:39:38,025 --> 00:39:39,465 But it's, it's truly a masterpiece. 917 00:39:39,465 --> 00:39:40,995 With that said, the sound is an eight for me. 918 00:39:42,765 --> 00:39:43,755 Wait, did we do composition? 919 00:39:43,785 --> 00:39:45,345 We have done compositions are a 10. 920 00:39:45,585 --> 00:39:48,975 And you might be thinking, well, there's not much to these compositions, but try 921 00:39:48,975 --> 00:39:53,145 to write a melody like that last melody, like try to write something as simple. 922 00:39:53,325 --> 00:39:55,935 We'll be doing that in the next episode and we will, and we will 923 00:39:55,935 --> 00:40:01,245 probably not get anywhere close to how brilliant the melodies on this are. 924 00:40:01,245 --> 00:40:04,695 And the idea too, like this is one of those pieces of art where 925 00:40:04,695 --> 00:40:08,805 it's like, like if, like my son, we were, we were, he went to some. 926 00:40:09,240 --> 00:40:09,660 Where did he go? 927 00:40:09,660 --> 00:40:10,950 We went to some contemporary art. 928 00:40:10,980 --> 00:40:13,260 No, my daughter went to the contemporary art museum, Uhhuh. 929 00:40:13,260 --> 00:40:16,170 And then some of the stuff, she was like, well, I could've done that. 930 00:40:16,175 --> 00:40:16,205 Right? 931 00:40:16,210 --> 00:40:18,240 And it's like, you know, the first thing my wife always says, 932 00:40:18,240 --> 00:40:19,805 which is, I I love it, didn't it? 933 00:40:19,810 --> 00:40:22,740 She's like, yeah, well you didn't think, you didn't think to do that, did you? 934 00:40:22,740 --> 00:40:22,920 Yeah. 935 00:40:23,070 --> 00:40:24,420 And it's the same, same thing here. 936 00:40:24,420 --> 00:40:25,770 You could say like, oh, there's one chord. 937 00:40:25,770 --> 00:40:26,460 I could do that. 938 00:40:26,460 --> 00:40:26,610 Right? 939 00:40:26,610 --> 00:40:28,050 It's like, well, you didn't do it right. 940 00:40:28,110 --> 00:40:30,840 You didn't do it in this way with this kind of sound. 941 00:40:30,900 --> 00:40:31,260 Of course. 942 00:40:31,260 --> 00:40:33,330 And that's, that's where, and you guys are great parents, man. 943 00:40:33,570 --> 00:40:33,870 Thank you. 944 00:40:33,870 --> 00:40:34,200 Congrats. 945 00:40:34,260 --> 00:40:34,770 Uh, it's true. 946 00:40:34,920 --> 00:40:38,910 That's where the art is, that's where the artist lives, is what is happening 947 00:40:38,910 --> 00:40:42,420 before, what's about to happen and where does the artist comment on that? 948 00:40:42,420 --> 00:40:44,100 And this is part of that comment. 949 00:40:44,100 --> 00:40:45,150 So compositions, I have a 10. 950 00:40:45,330 --> 00:40:50,580 Well, and I would say, you know, to your last point too, also this simpler, the 951 00:40:50,580 --> 00:40:54,480 art is, in this case, the compositions as they should be when they're great. 952 00:40:54,600 --> 00:40:55,830 It's the execution of 'em. 953 00:40:55,860 --> 00:40:55,980 Yeah. 954 00:40:56,130 --> 00:40:57,630 And that's why I struggled a little bit. 955 00:40:57,630 --> 00:40:58,350 I I'm still going. 956 00:40:58,350 --> 00:40:59,250 Compositions nine. 957 00:40:59,400 --> 00:41:01,710 Oh, um, you said, oh, okay. 958 00:41:01,740 --> 00:41:01,770 Okay. 959 00:41:02,460 --> 00:41:07,170 We've got a little drama in the only because unless we're gonna include. 960 00:41:07,785 --> 00:41:11,654 The collective improvisation, the collective contributions of all of the 961 00:41:11,654 --> 00:41:13,694 musicians as part of the compositions. 962 00:41:13,755 --> 00:41:13,875 Yeah. 963 00:41:13,875 --> 00:41:15,495 Which there's a, there's an argument for that. 964 00:41:15,495 --> 00:41:16,634 I'm kind of making that argument. 965 00:41:16,845 --> 00:41:19,275 In that case, I would go 10, but if you just say the 966 00:41:19,275 --> 00:41:21,134 compositions, they're amazing. 967 00:41:21,435 --> 00:41:27,915 But what really makes this album great in terms of, and I think super innovative 968 00:41:28,065 --> 00:41:31,275 and, and it's, it's really built upon the foundation of the innovation of jazz 969 00:41:31,275 --> 00:41:32,779 in general since the beginning of it. 970 00:41:32,785 --> 00:41:36,464 I think what makes it such a, a wonderful thing is the collective improvisation 971 00:41:36,464 --> 00:41:38,055 becomes a part of the compositions. 972 00:41:38,384 --> 00:41:41,565 So it's not just the execution of what's there on the paper. 973 00:41:41,565 --> 00:41:42,645 It's like, what is it gonna become? 974 00:41:42,674 --> 00:41:45,795 And this is a fair debate because you could make the argument that no, a 975 00:41:45,795 --> 00:41:49,605 composition needs to be able, like a, I think a composer's composer would 976 00:41:49,605 --> 00:41:52,154 probably say, well, it depends really. 977 00:41:52,154 --> 00:41:55,725 But I think some composers would say no, a composition is something 978 00:41:55,725 --> 00:42:00,795 that gets put down and should be able to be made good by anybody. 979 00:42:00,915 --> 00:42:01,125 Right. 980 00:42:01,154 --> 00:42:01,875 However. 981 00:42:02,220 --> 00:42:04,680 I think you could also make an argument, and I would make the argument 982 00:42:04,680 --> 00:42:09,149 for this album, a great composition is something that's written for 983 00:42:09,450 --> 00:42:13,230 the act of, in this case, making a record with specific musicians. 984 00:42:13,234 --> 00:42:13,395 Right? 985 00:42:13,395 --> 00:42:17,129 And I think John Coltrane cannot out attend it as far as like what 986 00:42:17,129 --> 00:42:21,274 are the sketches that I could give McCoy and Jimmy Elvin, right? 987 00:42:21,274 --> 00:42:21,839 The framework. 988 00:42:21,870 --> 00:42:23,520 The framework to make a great piece of art. 989 00:42:23,520 --> 00:42:26,100 Similarly, again, back to KOB, similar to Miles, right? 990 00:42:26,279 --> 00:42:29,430 With that album and what are, what are the things that I can let loose 991 00:42:29,430 --> 00:42:34,140 on these incredible musicians that they will take and elevate and music 992 00:42:34,140 --> 00:42:36,810 kind of like, it's like the end result is what's being kept in mind. 993 00:42:36,810 --> 00:42:37,830 It's like, what is the art? 994 00:42:37,830 --> 00:42:39,750 Is the art the compositions on the page, right? 995 00:42:39,750 --> 00:42:41,970 Or is the the final piece of art the album? 996 00:42:42,120 --> 00:42:45,210 Could these guys play some kind of intricate Brecker brothers, 997 00:42:45,210 --> 00:42:46,859 some skunk funk kind of thing? 998 00:42:46,859 --> 00:42:47,520 Probably. 999 00:42:48,600 --> 00:42:54,240 Would it be in this case as impactful or, or, or not as, even as impactful, but 1000 00:42:54,240 --> 00:42:57,810 would it, would it achieve the results that a Love Supreme does as far as its 1001 00:42:57,810 --> 00:42:59,790 sort of prayer to God aspect, right. 1002 00:42:59,850 --> 00:43:00,180 No. 1003 00:43:00,420 --> 00:43:00,690 Right. 1004 00:43:00,840 --> 00:43:02,520 You know, and this framework does do that. 1005 00:43:02,520 --> 00:43:02,730 Right. 1006 00:43:02,880 --> 00:43:05,819 And it holds again, those cultural things that I think 1007 00:43:05,819 --> 00:43:07,230 Trane is planting in the ground. 1008 00:43:07,470 --> 00:43:11,850 The one, the one chord, uh, collective improvisation. 1009 00:43:11,850 --> 00:43:12,000 Right. 1010 00:43:12,000 --> 00:43:13,799 Which is something that is blues. 1011 00:43:14,009 --> 00:43:14,850 Blues, yeah. 1012 00:43:14,940 --> 00:43:17,880 You know, like these, these things that are the roots of the music. 1013 00:43:17,940 --> 00:43:18,210 Right. 1014 00:43:18,330 --> 00:43:21,000 Uh, doesn't happen in other contexts. 1015 00:43:21,150 --> 00:43:21,720 Absolutely. 1016 00:43:21,810 --> 00:43:25,020 And so I'm that, actually, I'm gonna stand by my nine then because of that. 1017 00:43:25,230 --> 00:43:26,730 Um, and so, okay. 1018 00:43:26,730 --> 00:43:27,120 That's on you. 1019 00:43:27,120 --> 00:43:27,330 Yeah. 1020 00:43:28,110 --> 00:43:28,470 I'm just kidding. 1021 00:43:29,040 --> 00:43:32,190 So, uh, for sound, I have eight because of the, the Van Gelder 1022 00:43:32,190 --> 00:43:33,690 piano, and that's really it. 1023 00:43:33,720 --> 00:43:37,110 I have nine because it's, it's like, I love the way this record sounds. 1024 00:43:37,110 --> 00:43:37,380 Yes. 1025 00:43:37,380 --> 00:43:40,319 I'm not crazy about that sound, but upon listening to it, it's good. 1026 00:43:40,319 --> 00:43:40,620 I know. 1027 00:43:40,620 --> 00:43:42,120 It is really, it's not distracting. 1028 00:43:42,120 --> 00:43:44,490 It's not, it's just, it just is what it is. 1029 00:43:44,490 --> 00:43:45,029 It's not. 1030 00:43:45,045 --> 00:43:45,225 Totally. 1031 00:43:45,495 --> 00:43:47,865 I usually don't mind it, but like, there's so many worse piano sounds know, 1032 00:43:48,090 --> 00:43:49,155 there're, it's not like, you're right. 1033 00:43:49,185 --> 00:43:52,845 It's not like everything's killing, but I mean, and, and the drum sound is so great. 1034 00:43:52,875 --> 00:43:53,385 Yeah, you're right. 1035 00:43:53,445 --> 00:43:54,075 I'm going nine. 1036 00:43:54,435 --> 00:43:54,505 Of course. 1037 00:43:54,505 --> 00:43:57,075 And the Trane, you know, there's, I've noticed something, Peter. 1038 00:43:57,375 --> 00:43:59,865 Every single one of these things we made, there's at least one 1039 00:43:59,865 --> 00:44:01,275 category where you talk me up. 1040 00:44:01,335 --> 00:44:01,575 Right. 1041 00:44:01,575 --> 00:44:02,595 You same for you. 1042 00:44:02,595 --> 00:44:06,225 I mean, I'm almost going comp, I'm like, because going back to, you know 1043 00:44:06,225 --> 00:44:07,515 what, I'm going 10 on the competitions. 1044 00:44:07,815 --> 00:44:07,995 No. 1045 00:44:07,995 --> 00:44:10,995 Because now I'm thinking about like, there's nothing for this record. 1046 00:44:11,025 --> 00:44:11,145 Yeah. 1047 00:44:11,145 --> 00:44:12,045 And that's what we're judging. 1048 00:44:12,045 --> 00:44:12,855 We're saying what makes this out? 1049 00:44:12,975 --> 00:44:14,685 There's nothing that could have been better. 1050 00:44:14,715 --> 00:44:14,805 No. 1051 00:44:14,895 --> 00:44:15,495 About the comedy. 1052 00:44:15,495 --> 00:44:17,715 It's not like, eh, they're good, but if only, if only 1053 00:44:17,715 --> 00:44:19,425 would've done more, you know? 1054 00:44:19,455 --> 00:44:19,725 Yeah. 1055 00:44:20,025 --> 00:44:25,035 And because this is a jazz record, the collective improvisation that comes 1056 00:44:25,035 --> 00:44:28,125 out of that framework that is the composition, is part of the composition. 1057 00:44:28,155 --> 00:44:28,275 Yeah. 1058 00:44:28,305 --> 00:44:29,835 Like that's the whole point of the thing. 1059 00:44:29,835 --> 00:44:30,825 And that's a part of the music. 1060 00:44:30,825 --> 00:44:31,515 It always has been. 1061 00:44:31,815 --> 00:44:35,985 Let's check out, uh, the first track on side B pursuance. 1062 00:44:36,045 --> 00:44:36,135 Yes. 1063 00:44:36,135 --> 00:44:36,615 Side two. 1064 00:44:43,965 --> 00:44:45,135 Yeah, the drums sound incredible. 1065 00:44:45,165 --> 00:44:45,375 Yeah. 1066 00:44:54,165 --> 00:44:57,105 I mean, the ba yeah, the drums are, is pretty extraordinary what 1067 00:44:57,105 --> 00:44:58,515 he's playing and how they sound. 1068 00:45:04,310 --> 00:45:04,530 Oh 1069 00:45:19,485 --> 00:45:22,515 dude, how incredible would it be to see this band live? 1070 00:45:23,025 --> 00:45:23,625 Would've been 1071 00:45:25,910 --> 00:45:26,130 man. 1072 00:45:31,125 --> 00:45:32,115 Well, there's a live record. 1073 00:45:32,145 --> 00:45:34,995 You know, there's a live recording of them playing this, but I mean, to be 1074 00:45:34,995 --> 00:45:40,395 in a room with these four people in a small club would've been in unbelievable. 1075 00:45:49,815 --> 00:45:50,025 Yeah. 1076 00:45:50,025 --> 00:45:54,285 And I mean, I got a chance to hear, I know you heard, you heard McCoy live, right? 1077 00:45:54,465 --> 00:45:54,615 Yeah. 1078 00:45:54,825 --> 00:45:55,125 Yeah. 1079 00:45:55,515 --> 00:45:58,005 Got a chance many times to hear him and Elvin quite a few times. 1080 00:45:58,005 --> 00:45:58,065 Yeah. 1081 00:45:58,634 --> 00:46:04,005 Um, Jimmy Garrison never trained, never before. 1082 00:46:06,865 --> 00:46:07,085 Oh 1083 00:46:10,140 --> 00:46:11,730 man, the way they slide in there, 1084 00:46:18,420 --> 00:46:20,010 this is the way to start the second side of an album. 1085 00:46:24,105 --> 00:46:25,410 Of course, melodically 1086 00:46:28,625 --> 00:46:33,090 the, the melody, the theme of this, of, of pursuant this 1087 00:46:33,090 --> 00:46:34,500 piano episode was incredible. 1088 00:46:34,770 --> 00:46:38,820 Very connected with part one, the acknowledgement melodically, ah. 1089 00:46:44,125 --> 00:46:46,935 This is when McCoy got into full master of his McCoy. 1090 00:46:46,935 --> 00:46:47,134 Shit. 1091 00:46:47,715 --> 00:46:48,975 He really has a McCoy shit. 1092 00:46:49,040 --> 00:46:51,200 Yeah, he's better than everybody at the McCoy. 1093 00:46:51,200 --> 00:46:52,430 Shit, man. 1094 00:46:52,430 --> 00:46:53,390 His Yeah, of course. 1095 00:46:54,170 --> 00:46:57,620 Like stuff like, like his rhythmic concept. 1096 00:46:58,670 --> 00:47:00,320 Such a big part of like his in Impulse 1097 00:47:05,120 --> 00:47:07,070 Chick Korea, very influenced by McCoy Tyler, 1098 00:47:19,970 --> 00:47:23,990 man, McCoy's like the architecture of his solo. 1099 00:47:24,860 --> 00:47:28,520 The way melody and harmony and rhythm, like the way he thinks about 1100 00:47:28,520 --> 00:47:29,930 all those things is so interesting. 1101 00:47:33,380 --> 00:47:37,280 Like you can almost feel him thinking as he's going by, by, by what he played, 1102 00:47:37,400 --> 00:47:40,280 you know, the development of it, the. 1103 00:47:43,310 --> 00:47:43,670 Woo. 1104 00:47:44,150 --> 00:47:46,790 And again, change up pitch is all over the place. 1105 00:47:46,790 --> 00:47:48,200 It's not just like these, no. 1106 00:47:48,200 --> 00:47:48,530 Right, right. 1107 00:47:49,910 --> 00:47:51,535 The, yeah. 1108 00:47:51,685 --> 00:47:52,415 It's not all that. 1109 00:47:52,675 --> 00:47:54,470 And this is a deeply funky record. 1110 00:47:54,470 --> 00:47:58,340 Like the way they're playing is very, like, I just wish 1111 00:48:00,560 --> 00:48:04,520 left hand is so loud because the right eq, the piano, and, and Mike's shoved 1112 00:48:04,520 --> 00:48:06,140 in the F hole right in the middle. 1113 00:48:08,990 --> 00:48:10,040 It's a very clear sign. 1114 00:48:10,130 --> 00:48:11,840 I it's very focused and clear. 1115 00:48:13,340 --> 00:48:14,270 Elvin, get thin. 1116 00:48:14,509 --> 00:48:14,750 I know. 1117 00:48:14,750 --> 00:48:15,530 But Elvin is fat ass sound. 1118 00:48:20,475 --> 00:48:20,695 Woo. 1119 00:48:22,040 --> 00:48:23,210 Eighth note execution. 1120 00:48:23,509 --> 00:48:24,050 Ever heard of it? 1121 00:48:24,920 --> 00:48:25,400 Tag? 1122 00:48:26,795 --> 00:48:27,015 Oh, 1123 00:48:30,080 --> 00:48:32,210 the expansion, the opening space. 1124 00:48:32,210 --> 00:48:34,040 We're going to, we're going to the moon in a couple years. 1125 00:48:34,040 --> 00:48:34,730 You better get ready. 1126 00:48:34,730 --> 00:48:35,480 They're already there. 1127 00:48:36,920 --> 00:48:37,400 JFK. 1128 00:48:37,400 --> 00:48:38,855 That's gonna happen before the end of the decade. 1129 00:48:41,915 --> 00:48:42,134 Woo. 1130 00:48:53,660 --> 00:48:54,230 Coming in, man. 1131 00:48:54,440 --> 00:48:55,340 Come, come up. 1132 00:48:55,340 --> 00:48:58,370 Coming at the Apex, Trane's one of the only ones that can really pull that off. 1133 00:48:59,870 --> 00:49:00,390 Then stay there. 1134 00:49:43,435 --> 00:49:43,655 Woo. 1135 00:49:52,820 --> 00:49:55,520 The Trane was deeply rhythmic too with his lines. 1136 00:49:55,580 --> 00:49:59,090 A lot of times we think 'cause he would go out of time, but when 1137 00:49:59,090 --> 00:50:00,530 he's in time, man, he is like, 1138 00:50:03,530 --> 00:50:06,770 I mean yeah, Michael Brecker's super influenced obviously by, he had that 1139 00:50:06,770 --> 00:50:08,390 thing and you can feel it from Troy, 1140 00:50:10,520 --> 00:50:11,390 Joshua Redmond. 1141 00:50:11,840 --> 00:50:12,050 Yeah. 1142 00:50:12,050 --> 00:50:13,730 I remember every saxophone player actually 1143 00:50:18,080 --> 00:50:21,380 I think it was, I'm gonna paraphrase, but I think it was uh, great 1144 00:50:21,380 --> 00:50:22,850 tenor sax one is Shamus Blake. 1145 00:50:22,850 --> 00:50:23,375 You know Shamus? 1146 00:50:24,410 --> 00:50:24,470 Yeah. 1147 00:50:24,470 --> 00:50:26,509 I think I heard him say once, like there's a 1148 00:50:28,580 --> 00:50:33,170 kind of a period every young tenor player goes through where they just try 1149 00:50:33,710 --> 00:50:34,550 to, or a lot of young 10 players Yeah. 1150 00:50:34,790 --> 00:50:35,720 Where they emulate Trane. 1151 00:50:35,720 --> 00:50:35,810 Right. 1152 00:50:36,710 --> 00:50:37,250 Exclusively. 1153 00:50:37,759 --> 00:50:40,190 And then there's a period of your growth that you have to let go. 1154 00:50:40,759 --> 00:50:41,750 It's never gonna happen. 1155 00:50:41,840 --> 00:50:41,900 Yeah. 1156 00:50:41,930 --> 00:50:42,500 I'm not worthy. 1157 00:50:42,770 --> 00:50:43,250 I can't do it. 1158 00:50:43,520 --> 00:50:44,295 Well, no, I can see that. 1159 00:50:44,655 --> 00:50:44,995 I can totally see that. 1160 00:50:45,350 --> 00:50:47,690 I mean, we, it's the same thing for to find who you are. 1161 00:50:47,690 --> 00:50:47,990 Yeah. 1162 00:50:48,290 --> 00:50:52,855 It's like you have to, same thing I think for us with like McCoy and Yeah. 1163 00:50:52,955 --> 00:50:53,575 Herbie and. 1164 00:51:06,225 --> 00:51:06,404 Yeah. 1165 00:51:06,404 --> 00:51:11,205 His rhythm, his rhythmic attenuation is like creepy. 1166 00:51:11,205 --> 00:51:11,505 Great. 1167 00:51:12,404 --> 00:51:15,884 And then, that's what I'm saying, he, he's so seamlessly goes out of time, 1168 00:51:22,200 --> 00:51:23,325 man, this is just like weight. 1169 00:51:23,325 --> 00:51:27,165 It's like a hurricane, but like, but it's, it's not killing you. 1170 00:51:27,165 --> 00:51:27,944 It's lifting you up. 1171 00:51:34,035 --> 00:51:35,654 I wanna go to coffee shop that plays this. 1172 00:51:44,890 --> 00:51:46,305 This is just off. 1173 00:51:47,505 --> 00:51:48,795 And then just like fall apart. 1174 00:51:49,154 --> 00:51:49,575 Right on time. 1175 00:51:50,924 --> 00:51:52,095 Break it down, break it down. 1176 00:51:52,245 --> 00:51:55,005 You know what strikes me listening to this today is like 1177 00:51:56,444 --> 00:51:57,975 having made a bunch of record. 1178 00:51:57,975 --> 00:52:05,835 And having had more experience making music and having a career like this album 1179 00:52:06,105 --> 00:52:13,605 is earned through many, many years of work as an artist and as a band to be 1180 00:52:13,605 --> 00:52:17,205 this pure with, you know what I mean? 1181 00:52:17,295 --> 00:52:17,444 Yeah. 1182 00:52:17,625 --> 00:52:17,835 Like 1183 00:52:19,845 --> 00:52:21,404 it's not just youthful fire. 1184 00:52:21,404 --> 00:52:21,464 Yeah. 1185 00:52:22,185 --> 00:52:24,585 This is like earned over a process of like Yeah. 1186 00:52:25,035 --> 00:52:26,924 Giant, giant steps is youthful fire. 1187 00:52:27,075 --> 00:52:27,404 Right. 1188 00:52:27,404 --> 00:52:28,185 That's youthful fire. 1189 00:52:28,185 --> 00:52:28,540 Right, right. 1190 00:52:29,085 --> 00:52:34,515 This is like some wisdom of what to cut out. 1191 00:52:34,605 --> 00:52:34,964 Yeah. 1192 00:52:34,995 --> 00:52:37,125 Which only happens with a lot of experience. 1193 00:52:37,575 --> 00:52:37,845 Yeah. 1194 00:52:37,845 --> 00:52:42,495 It's, this is a, a artist who's cut through a lot of bullshit. 1195 00:52:42,615 --> 00:52:42,765 Yeah. 1196 00:52:42,765 --> 00:52:43,605 To find this, you know. 1197 00:52:43,904 --> 00:52:44,025 Yeah. 1198 00:52:44,025 --> 00:52:45,225 The bullshit, bullshit. 1199 00:52:45,225 --> 00:52:46,455 Ome is zero. 1200 00:52:46,485 --> 00:52:46,634 Yeah. 1201 00:52:46,634 --> 00:52:47,325 On this record, 1202 00:52:49,515 --> 00:52:52,095 and harkening back to that really the theme of the record, let's 1203 00:52:52,095 --> 00:52:53,654 not make that a category ever. 1204 00:52:54,345 --> 00:52:54,555 No. 1205 00:52:54,735 --> 00:52:54,944 Yeah. 1206 00:52:56,610 --> 00:52:58,530 No, it's just when we throw it, but it would, you know. 1207 00:53:00,545 --> 00:53:00,765 Oh. 1208 00:53:01,710 --> 00:53:04,865 And it sets it up where Jimmy Garrison can stretch out and, 1209 00:53:04,920 --> 00:53:06,359 and create something like this. 1210 00:53:06,509 --> 00:53:11,190 Like you want, like, it's like the calm in between the, the beautiful storm. 1211 00:53:11,190 --> 00:53:12,660 And it's, it's a story man. 1212 00:53:12,660 --> 00:53:17,430 The way that Trane uses these base interludes as orchestration to, yeah, 1213 00:53:17,700 --> 00:53:21,509 because, and the way we're talking over this base though is just so great. 1214 00:53:21,779 --> 00:53:23,040 We're gonna get comments about that for sure. 1215 00:53:23,400 --> 00:53:28,620 But just to point out that like those blistering high highs are only so 1216 00:53:28,620 --> 00:53:30,779 high because we get plenty of these. 1217 00:53:31,080 --> 00:53:32,129 Right, right. 1218 00:53:32,310 --> 00:53:32,759 That's what I mean. 1219 00:53:32,759 --> 00:53:33,390 It's a story. 1220 00:53:33,390 --> 00:53:36,450 It's like if everything is great, well everything is great, all this. 1221 00:53:36,720 --> 00:53:40,020 But if everything is here and then Yeah, if it's all just here, 1222 00:53:40,020 --> 00:53:41,850 then it's all just mid, right? 1223 00:53:42,089 --> 00:53:42,150 Yeah. 1224 00:53:42,210 --> 00:53:45,810 But because we get these, all the dynamic range on this record. 1225 00:53:45,810 --> 00:53:50,040 Yeah, the emotional and spiritual dynamic range, which is crazy 1226 00:53:50,040 --> 00:53:51,509 'cause it's like harmonically. 1227 00:53:51,509 --> 00:53:52,770 It's very dude. 1228 00:53:54,629 --> 00:53:56,009 But listen to what he's doing harmonically. 1229 00:54:10,785 --> 00:54:12,105 There's three bass players. 1230 00:54:12,495 --> 00:54:14,445 There's many, many more, but three that jump out. 1231 00:54:14,655 --> 00:54:16,365 Ruben Rogers, Chris Thomas. 1232 00:54:16,370 --> 00:54:16,380 Yeah. 1233 00:54:16,905 --> 00:54:17,835 And Reginald Veal. 1234 00:54:17,835 --> 00:54:22,935 Deeply influenced by like, and having played with all with open solos. 1235 00:54:23,085 --> 00:54:23,205 Yeah. 1236 00:54:23,205 --> 00:54:23,415 You know, 1237 00:54:25,725 --> 00:54:27,260 Jimmy Gar since the McCoy, Tyner Bass, 1238 00:54:40,485 --> 00:54:41,715 and Christian McBride too. 1239 00:54:41,955 --> 00:54:46,455 I mean, the Ray Brown influence is much more recognizable, but a deep connection 1240 00:54:46,455 --> 00:54:47,835 with this type of playing as well. 1241 00:54:47,835 --> 00:54:50,085 Christian is, ooh. 1242 00:54:55,379 --> 00:54:59,189 So, Peter, we're about to transition in and we should roll right into part four. 1243 00:54:59,189 --> 00:54:59,250 Yeah. 1244 00:54:59,310 --> 00:55:00,120 Which is the psalm. 1245 00:55:00,779 --> 00:55:01,410 Interesting note. 1246 00:55:01,529 --> 00:55:02,910 Should we pause before we, for people? 1247 00:55:02,970 --> 00:55:05,370 No, let's, let's let it roll right in and we'll, we'll talk after 1248 00:55:05,370 --> 00:55:06,450 the p Let's let Rich roll on it. 1249 00:55:06,450 --> 00:55:09,720 But if you have the original liner notes, so you could look this up too. 1250 00:55:09,720 --> 00:55:14,700 The Psalm is a, a text that Trane actually wrote. 1251 00:55:15,375 --> 00:55:18,884 And he plays improvises using the text. 1252 00:55:19,005 --> 00:55:19,185 Right. 1253 00:55:19,215 --> 00:55:21,255 So you can, I've done this many times. 1254 00:55:21,255 --> 00:55:25,755 You can like sing with him right As he's, you know, you can like 1255 00:55:25,755 --> 00:55:28,330 read the text and hear what he's playing, what each syllable is not. 1256 00:55:28,350 --> 00:55:28,570 No. 1257 00:55:31,350 --> 00:55:34,455 And he's such a master of Fraser that it's actually very obvious. 1258 00:55:34,455 --> 00:55:37,305 It's, it sounds like a, or speaking. 1259 00:55:37,320 --> 00:55:37,610 Yeah. 1260 00:55:41,384 --> 00:55:44,310 Thankfully we'll not be doing that live today. 1261 00:55:45,810 --> 00:55:46,029 No. 1262 00:56:09,910 --> 00:56:13,185 Something to note too about Psalm is the whole thing is 1263 00:56:13,185 --> 00:56:15,105 this free, open bravado flow. 1264 00:56:15,165 --> 00:56:15,225 Yeah. 1265 00:56:16,125 --> 00:56:17,175 Hallmark of this band. 1266 00:56:17,835 --> 00:56:20,985 The maybe the greatest ever at this. 1267 00:56:21,015 --> 00:56:21,105 Yeah. 1268 00:56:21,315 --> 00:56:23,085 I mean it's Oliver Crescent as well, right. 1269 00:56:23,505 --> 00:56:28,275 And they weren't the first to do it, but they were the ones that like rumbling. 1270 00:56:28,875 --> 00:56:30,045 The rumbling, yeah. 1271 00:56:30,825 --> 00:56:31,995 Flowing rubato. 1272 00:56:31,995 --> 00:56:32,055 Yeah. 1273 00:56:32,685 --> 00:56:34,335 Is unparalleled 1274 00:56:40,330 --> 00:56:41,445 vin's mallet work. 1275 00:56:41,570 --> 00:56:45,009 I mean, so influential, so beautiful. 1276 00:56:45,750 --> 00:56:48,165 So compositionally appropriate. 1277 00:56:56,805 --> 00:57:01,005 I love when Trane, obviously his playing is always lyrical. 1278 00:57:01,305 --> 00:57:06,134 Specifically here, it's specifically lyrical, but his tone, 1279 00:57:09,315 --> 00:57:13,425 like when he's the, the, his control with a vibrato, not a heavy vibrato player, 1280 00:57:13,425 --> 00:57:15,075 but he uses some and goes in and out. 1281 00:57:15,165 --> 00:57:16,634 You get to hear that 1282 00:57:19,395 --> 00:57:23,050 and how that affects the, the lyricism man, such a master bat 1283 00:57:42,645 --> 00:57:45,975 about those major minor sevens back and forth up. 1284 00:57:45,975 --> 00:57:49,904 I think he knew the melodic, ascending well to a descending and the whole 1285 00:57:49,904 --> 00:57:54,884 thing is a setup as we'll hear in a minute for maybe one of the greatest 1286 00:57:55,515 --> 00:57:57,315 payoff chords in all of music. 1287 00:57:57,375 --> 00:57:57,495 Yeah. 1288 00:57:58,040 --> 00:58:01,215 The whole record, the whole record is a set up for one chord. 1289 00:58:01,215 --> 00:58:01,275 Yeah. 1290 00:58:04,695 --> 00:58:04,935 Yeah. 1291 00:58:04,935 --> 00:58:08,115 I could argue, I mean, I would've no argument with anyone having 1292 00:58:08,115 --> 00:58:10,904 different scores on everything on here except sequence. 1293 00:58:11,325 --> 00:58:12,134 Sequence is perfect. 1294 00:58:12,375 --> 00:58:17,715 There's, there's, there's, I. With, uh, weapons if you think it's lower 1295 00:58:17,715 --> 00:58:19,125 than couldn't, couldn't playing. 1296 00:58:19,125 --> 00:58:21,650 Maybe it's not Well, yeah, it's just no sequence is perfect. 1297 00:58:21,650 --> 00:58:22,050 Perfection. 1298 00:59:01,230 --> 00:59:02,450 Oh, that actually is a Tiffany. 1299 00:59:03,330 --> 00:59:04,335 I was, I never knew that. 1300 00:59:04,335 --> 00:59:04,545 Did you know 1301 00:59:07,070 --> 00:59:07,875 it was, yeah. 1302 00:59:07,875 --> 00:59:08,085 Yeah. 1303 00:59:08,205 --> 00:59:09,015 Oh, I thought that was his tops. 1304 00:59:09,015 --> 00:59:09,650 No, no. 1305 00:59:10,770 --> 00:59:11,450 I was like, why he got. 1306 00:59:15,165 --> 00:59:16,755 It sounds dope too. 1307 00:59:16,815 --> 00:59:16,995 Yeah. 1308 00:59:32,660 --> 00:59:32,880 Woo. 1309 00:59:34,215 --> 00:59:34,785 Leading tone. 1310 00:59:55,725 --> 00:59:55,875 Yeah. 1311 00:59:55,875 --> 00:59:59,295 I encourage you to read this text as you listen to this. 1312 00:59:59,505 --> 01:00:00,404 Uh, listener. 1313 01:00:01,575 --> 01:00:01,634 You 1314 01:00:14,580 --> 01:00:14,800 woo. 1315 01:01:26,240 --> 01:01:26,529 Yeah. 1316 01:01:26,715 --> 01:01:28,215 Many themes being called back. 1317 01:01:40,570 --> 01:01:40,610 Gorgeous. 1318 01:01:44,509 --> 01:01:46,450 How did I know that I'm an idiot. 1319 01:01:46,670 --> 01:01:47,490 Is that now? 1320 01:01:56,040 --> 01:01:56,970 Full circle baby? 1321 01:01:57,120 --> 01:01:58,575 Full, full circle. 1322 01:02:06,255 --> 01:02:06,945 Unbelievable. 1323 01:02:08,565 --> 01:02:09,585 Oh, that roll? 1324 01:02:10,005 --> 01:02:10,185 Yeah. 1325 01:02:10,185 --> 01:02:10,935 The last chord. 1326 01:02:10,935 --> 01:02:11,685 The last roll. 1327 01:02:14,529 --> 01:02:16,845 I mean, it's a. Such a good payoff. 1328 01:02:16,875 --> 01:02:17,205 Yeah. 1329 01:02:18,435 --> 01:02:20,025 And just spontaneously created. 1330 01:02:20,025 --> 01:02:22,545 That's the, you know, amazing thing about that. 1331 01:02:22,545 --> 01:02:28,755 Like all the, like, it, it's weird to call something perfect, but 1332 01:02:28,755 --> 01:02:30,555 this is a perfect record in that. 1333 01:02:30,555 --> 01:02:34,275 Like, anything that was okay. 1334 01:02:34,275 --> 01:02:35,745 Maybe not the way the piano was recorded. 1335 01:02:35,925 --> 01:02:37,665 I'm saying the what, what, what? 1336 01:02:37,665 --> 01:02:38,685 The music on it. 1337 01:02:38,955 --> 01:02:39,705 The journey. 1338 01:02:39,945 --> 01:02:40,005 Yeah. 1339 01:02:40,005 --> 01:02:40,904 What we just heard. 1340 01:02:40,904 --> 01:02:40,965 Yeah. 1341 01:02:41,355 --> 01:02:45,855 Like there's, there's so much that was spontaneously created. 1342 01:02:45,855 --> 01:02:48,975 Like you can just feel the commitment everybody had to the moment to create, 1343 01:02:48,975 --> 01:02:50,625 like, it's a very humble record. 1344 01:02:50,654 --> 01:02:50,925 Yeah. 1345 01:02:50,955 --> 01:02:53,085 But it's very masterful at the same time. 1346 01:02:53,085 --> 01:02:54,735 So it's so service oriented. 1347 01:02:54,884 --> 01:02:58,875 It's just like, I'm gonna be the vessel and this is, there's four 1348 01:02:58,875 --> 01:03:01,875 movements, there's one experience, we're gonna lay it all on the line. 1349 01:03:01,875 --> 01:03:03,345 It's not like, oh, I didn't like the way I sounded. 1350 01:03:03,345 --> 01:03:04,305 Can I overdub my part? 1351 01:03:04,305 --> 01:03:04,365 Yeah. 1352 01:03:04,365 --> 01:03:05,055 Could you imagine that? 1353 01:03:05,355 --> 01:03:07,215 Stupid shit that I've done in the studio before. 1354 01:03:07,215 --> 01:03:08,595 Didn't even fix me tea. 1355 01:03:08,625 --> 01:03:08,805 No. 1356 01:03:08,805 --> 01:03:12,615 I mean, that was like the Tempe little, like all the little subtleties. 1357 01:03:12,885 --> 01:03:16,455 They're so natural and purposeful, but humble. 1358 01:03:16,545 --> 01:03:16,725 Yep. 1359 01:03:16,785 --> 01:03:17,235 You know? 1360 01:03:17,235 --> 01:03:21,045 And it just creates something that I don't how, I don't know how you could say like, 1361 01:03:21,075 --> 01:03:24,975 I was really good, but there's a couple places I would've like the way they play. 1362 01:03:24,975 --> 01:03:29,895 In that last movement, there's, it's very difficult to maintain. 1363 01:03:29,925 --> 01:03:32,625 Like it's very simple in a way because it's just playing over 1364 01:03:32,625 --> 01:03:34,005 one sort of harmonic area. 1365 01:03:34,005 --> 01:03:36,435 So you have a lot, like, it's almost like you can't mess it up. 1366 01:03:36,555 --> 01:03:36,735 Yeah. 1367 01:03:36,795 --> 01:03:40,185 But to be able to maintain, well, the intent, the musical intent, 1368 01:03:40,185 --> 01:03:41,175 you really could mess it up. 1369 01:03:41,175 --> 01:03:41,655 Oh, of course. 1370 01:03:41,655 --> 01:03:41,745 Yeah. 1371 01:03:41,745 --> 01:03:42,645 I mean, I have to mess it up. 1372 01:03:42,650 --> 01:03:43,210 Well, no, no. 1373 01:03:43,210 --> 01:03:45,795 I mean, just no one needs to, no one needs to cover this record. 1374 01:03:46,125 --> 01:03:46,665 You know what I mean? 1375 01:03:47,175 --> 01:03:48,765 No, no, that'd be, although it's been done. 1376 01:03:48,765 --> 01:03:49,665 I mean, and that's interesting. 1377 01:03:49,665 --> 01:03:50,625 I guess it's like, oh yeah. 1378 01:03:50,625 --> 01:03:51,975 You know, it didn't, um. 1379 01:03:53,010 --> 01:03:54,150 Vocalists covered it. 1380 01:03:54,240 --> 01:03:57,030 Like written, wrote words to all the solos. 1381 01:03:57,030 --> 01:03:57,810 I think, yeah. 1382 01:03:57,810 --> 01:03:58,800 This was Kurt ing maybe. 1383 01:04:00,210 --> 01:04:00,540 I don't know. 1384 01:04:00,540 --> 01:04:02,070 I don't know, but I just don't think it's, I could be wrong about that. 1385 01:04:02,130 --> 01:04:04,380 It's, it's, it's, it's a difficult, like it's a moment. 1386 01:04:04,530 --> 01:04:04,800 Yeah. 1387 01:04:04,890 --> 01:04:05,850 It is a moment. 1388 01:04:05,850 --> 01:04:09,300 And all the things like we mentioned that bring you back to like, you feeling 1389 01:04:09,300 --> 01:04:11,940 like you're in the studio, especially if you listen to this record, you sit and 1390 01:04:11,940 --> 01:04:16,350 listen, you know, if you take the time to sit and listen for this, whatever, 1391 01:04:16,350 --> 01:04:18,360 30, it's, it's not that long of a record. 1392 01:04:18,510 --> 01:04:20,190 32, 33 minutes or something. 1393 01:04:20,190 --> 01:04:20,250 Yeah. 1394 01:04:20,550 --> 01:04:21,270 The two sides. 1395 01:04:21,390 --> 01:04:21,570 Yeah. 1396 01:04:21,660 --> 01:04:24,750 Um, but it feels like you're on this, it's like an epic journey. 1397 01:04:24,750 --> 01:04:26,070 We just, we've just been on a journey. 1398 01:04:26,070 --> 01:04:26,080 Yeah. 1399 01:04:26,130 --> 01:04:27,150 We just went around the world. 1400 01:04:27,150 --> 01:04:29,670 We can saw all, every human, you know what I mean? 1401 01:04:29,670 --> 01:04:30,900 And the human experience. 1402 01:04:31,230 --> 01:04:34,740 So it's, it's really, um, so let's finish our, our list here, Peter. 1403 01:04:34,740 --> 01:04:35,040 And Yeah. 1404 01:04:35,250 --> 01:04:36,420 Go back to something a little Sorry. 1405 01:04:36,600 --> 01:04:36,900 Yeah. 1406 01:04:36,900 --> 01:04:37,650 It, my heart's beating. 1407 01:04:37,650 --> 01:04:38,070 No, man. 1408 01:04:38,130 --> 01:04:39,810 Well this is, so, first of all, I just wanna, I forgot 1409 01:04:39,900 --> 01:04:40,890 how much I love this record. 1410 01:04:40,920 --> 01:04:43,620 Well, I was gonna say, I hear you talk about Crescent all the time. 1411 01:04:43,650 --> 01:04:43,920 Yeah. 1412 01:04:43,920 --> 01:04:45,000 I don't hear you talk about love. 1413 01:04:45,000 --> 01:04:45,270 That sucks. 1414 01:04:45,270 --> 01:04:46,020 This is great. 1415 01:04:48,600 --> 01:04:49,860 No, this is better. 1416 01:04:49,980 --> 01:04:50,700 I mean, it's not better. 1417 01:04:50,700 --> 01:04:50,910 It's. 1418 01:04:51,510 --> 01:04:54,390 It's, um, it's more important. 1419 01:04:54,390 --> 01:04:57,570 I've just typed on, on it that you, you are appreciating it so well much 1420 01:04:57,570 --> 01:04:58,770 When we talked before, I was like, Ugh. 1421 01:04:58,980 --> 01:05:01,230 I did I even say, this is not my favorite Trane record. 1422 01:05:01,230 --> 01:05:02,035 You said this is not my favorite. 1423 01:05:02,035 --> 01:05:03,555 It, I'm not sure if this is even my favorite Trane. 1424 01:05:03,560 --> 01:05:04,530 I'm not sure if that's even my favorite. 1425 01:05:04,530 --> 01:05:05,040 That's what you said. 1426 01:05:05,100 --> 01:05:07,560 I'm still not sure, but I think this is one of the most important 1427 01:05:07,560 --> 01:05:09,510 records ever made, folks. 1428 01:05:09,510 --> 01:05:10,230 You heard it here first. 1429 01:05:11,130 --> 01:05:11,790 I don't so much what that means. 1430 01:05:11,790 --> 01:05:11,840 I love it so much. 1431 01:05:11,840 --> 01:05:12,210 It matter what I think. 1432 01:05:12,210 --> 01:05:12,780 I love it, man. 1433 01:05:12,780 --> 01:05:13,470 No, I agree. 1434 01:05:13,500 --> 01:05:13,980 I agree with you. 1435 01:05:14,100 --> 01:05:17,430 I just think the fact that like, it's not something that 1436 01:05:17,430 --> 01:05:18,780 can be played in a coffee shop. 1437 01:05:18,960 --> 01:05:21,450 You know what, there is a jazz coffee shop that's could be played in. 1438 01:05:21,540 --> 01:05:23,340 I've been to a couple places Yeah. 1439 01:05:23,370 --> 01:05:24,000 In Japan. 1440 01:05:24,030 --> 01:05:24,420 Okay. 1441 01:05:24,540 --> 01:05:25,800 And I wish I remembered the one name. 1442 01:05:25,800 --> 01:05:26,670 It's probably closed now. 1443 01:05:26,670 --> 01:05:30,090 I went there like 25 years ago when I first went to Japan and it was 1444 01:05:30,090 --> 01:05:31,650 like, this is a jazz coffee shop. 1445 01:05:31,650 --> 01:05:33,630 I was like, this, this is before like Starbucks was selling 1446 01:05:33,630 --> 01:05:34,920 Nora Jones albums and stuff. 1447 01:05:34,920 --> 01:05:36,030 Like not that kind of coffee shop. 1448 01:05:36,090 --> 01:05:36,270 Yeah. 1449 01:05:36,420 --> 01:05:38,190 This was a coffee shop. 1450 01:05:38,460 --> 01:05:42,630 And um, when you get in there, there's just a bunch of albums. 1451 01:05:42,630 --> 01:05:44,490 There's this incredible Hi-Fi system. 1452 01:05:44,490 --> 01:05:45,510 Like a Morantz. 1453 01:05:45,540 --> 01:05:45,780 Yeah. 1454 01:05:45,840 --> 01:05:48,810 You know, uh, amplifier and a separate, and there's just a couple people 1455 01:05:48,810 --> 01:05:50,040 sitting there with a cup of coffee. 1456 01:05:50,460 --> 01:05:53,970 Like solitary and this incredible music playing loud. 1457 01:05:54,390 --> 01:05:55,140 Af good. 1458 01:05:55,200 --> 01:05:55,620 Yes. 1459 01:05:55,650 --> 01:05:56,040 Yeah. 1460 01:05:56,100 --> 01:05:59,310 Um, but like you go there and sit and then you listen to a whole album 1461 01:05:59,310 --> 01:06:01,350 and then you can choose the next one. 1462 01:06:01,350 --> 01:06:01,785 Oh, that's beautiful. 1463 01:06:01,785 --> 01:06:02,759 And then maybe the next person. 1464 01:06:02,880 --> 01:06:05,460 It's just like a place and like you're in Tokyo, but you feel like you could 1465 01:06:05,460 --> 01:06:08,310 be anywhere in the world, like in this little No Windows or anything. 1466 01:06:08,339 --> 01:06:09,120 You know how many places. 1467 01:06:09,120 --> 01:06:09,480 That's a jazz. 1468 01:06:09,509 --> 01:06:11,069 This could be played in that jazz coffee. 1469 01:06:11,069 --> 01:06:11,460 Here's why. 1470 01:06:11,460 --> 01:06:14,700 Tokyo Rules, because there's so many places like that in Tokyo where 1471 01:06:14,700 --> 01:06:16,980 it's just like, you feel like, you know, you're in Tokyo, but you feel 1472 01:06:16,980 --> 01:06:18,089 like you're in a different world. 1473 01:06:18,089 --> 01:06:18,750 There's so many. 1474 01:06:18,750 --> 01:06:21,299 And it was like $10 at the time, 20 years ago. 1475 01:06:21,360 --> 01:06:21,660 Oh, come on. 1476 01:06:21,660 --> 01:06:23,009 Which would be like $20 now. 1477 01:06:23,265 --> 01:06:25,725 To get a cup of coffee, which people, which was great. 1478 01:06:25,754 --> 01:06:27,705 'cause that filters out anyone that's just coming for the coffee. 1479 01:06:27,765 --> 01:06:29,774 We should mention, if you're a jazz, you're coming to listen to a great 1480 01:06:29,774 --> 01:06:31,095 album all the way through for 10 bucks. 1481 01:06:31,095 --> 01:06:31,665 That's a good deal. 1482 01:06:31,665 --> 01:06:34,694 If you're a jazz fan, Tokyo is not a bad spot to go. 1483 01:06:34,725 --> 01:06:34,904 No. 1484 01:06:34,964 --> 01:06:35,774 As a tourist, not at all. 1485 01:06:35,774 --> 01:06:38,475 Because there's a lot of great music happening all over that city 1486 01:06:38,475 --> 01:06:41,265 from visiting artists obviously, but also locals, local artists. 1487 01:06:41,294 --> 01:06:41,805 It's one of the top. 1488 01:06:41,805 --> 01:06:44,444 And then, yeah, record stores, cafes, as you mentioned. 1489 01:06:44,444 --> 01:06:44,895 Venues. 1490 01:06:45,165 --> 01:06:45,765 Shout out Tokyo. 1491 01:06:45,765 --> 01:06:48,345 Okay, let's um, let's finish our sequence. 1492 01:06:48,345 --> 01:06:49,634 We got sequence, we got cover. 1493 01:06:49,634 --> 01:06:53,444 I have a 10 because I love, I dunno if we can put the picture up, but I 1494 01:06:53,444 --> 01:06:56,745 love the expression on Trane's face. 1495 01:06:56,745 --> 01:07:00,464 I love the composition of the photo and then the fact two that they, they 1496 01:07:00,555 --> 01:07:05,205 published the text, that Trane was improvising, was speaking through 1497 01:07:05,205 --> 01:07:07,065 his horn on the, the part four. 1498 01:07:07,065 --> 01:07:08,774 It doesn't actually have anything to do with the cover art, but Gotcha. 1499 01:07:09,975 --> 01:07:11,265 Yeah, but that's part of it for me. 1500 01:07:11,265 --> 01:07:12,105 I love the font. 1501 01:07:12,165 --> 01:07:15,404 I love the slash John Coltrane, the entire thing. 1502 01:07:15,930 --> 01:07:19,080 I even like that little white in the left hand corner that's 1503 01:07:19,080 --> 01:07:20,310 kind of cut off a little bit. 1504 01:07:20,310 --> 01:07:21,480 It's kind of like, right. 1505 01:07:22,230 --> 01:07:23,160 Oh yeah, yeah, yeah. 1506 01:07:23,160 --> 01:07:25,320 That's maybe someone's shoulder or something. 1507 01:07:25,380 --> 01:07:25,710 Yeah. 1508 01:07:25,950 --> 01:07:26,220 Yeah. 1509 01:07:26,220 --> 01:07:28,740 The whole thing is out of focus is like a paparazzi picture. 1510 01:07:28,800 --> 01:07:29,700 Paparazzi, right? 1511 01:07:30,120 --> 01:07:30,870 Yeah, exactly. 1512 01:07:31,080 --> 01:07:32,040 Um, it's just beautiful though. 1513 01:07:32,070 --> 01:07:33,240 It's a beautiful shot. 1514 01:07:33,240 --> 01:07:34,080 It's a beautiful profile. 1515 01:07:34,110 --> 01:07:36,630 The negative space that they use around Trane's head, like, 1516 01:07:36,630 --> 01:07:37,920 it's not just all Trane's head. 1517 01:07:37,980 --> 01:07:42,450 I believe this was photographed by Bob Teal or Bob Thiele. 1518 01:07:42,450 --> 01:07:43,440 Why do I not know? 1519 01:07:43,590 --> 01:07:44,160 Is that his name? 1520 01:07:44,160 --> 01:07:44,850 The producer? 1521 01:07:45,180 --> 01:07:45,420 Mm-hmm. 1522 01:07:45,870 --> 01:07:49,920 Um, I believe he took this picture as well at the studio. 1523 01:07:49,950 --> 01:07:50,250 Cool. 1524 01:07:50,700 --> 01:07:52,860 I can't find it now, but I, I believe that's the case. 1525 01:07:53,130 --> 01:07:57,840 Um, I give it a nine, uh, because I think it's really, really good, but 1526 01:07:57,840 --> 01:07:59,370 it's not the greatest album cover ever. 1527 01:07:59,820 --> 01:08:00,420 I'm going 10. 1528 01:08:00,420 --> 01:08:04,230 Title I'm going 10 because The Love Supreme is a beautiful title for an album. 1529 01:08:04,920 --> 01:08:05,100 Oh, 10. 1530 01:08:05,100 --> 01:08:05,550 It's 10 outta 10. 1531 01:08:05,640 --> 01:08:07,200 You're not gonna argue with me on the cover. 1532 01:08:07,680 --> 01:08:10,470 No, I, I, I, I had nine here for a while, but the more I 1533 01:08:10,470 --> 01:08:11,490 look at it, the more I like it. 1534 01:08:11,640 --> 01:08:11,850 Yeah. 1535 01:08:12,000 --> 01:08:13,049 Uh, lore. 1536 01:08:13,049 --> 01:08:13,799 I have a 10. 1537 01:08:13,980 --> 01:08:14,609 I have a 10 too. 1538 01:08:14,640 --> 01:08:14,850 Yeah. 1539 01:08:14,850 --> 01:08:17,939 Because of the cultural impact of the album, because of all the things 1540 01:08:17,939 --> 01:08:19,319 we've already mentioned, you know? 1541 01:08:19,319 --> 01:08:19,380 Yeah. 1542 01:08:19,800 --> 01:08:23,279 About these four young musicians planning this cultural flag, giving 1543 01:08:23,279 --> 01:08:29,309 us an idea of what music could do, uh, in a way that is unapologetic to Yeah. 1544 01:08:29,370 --> 01:08:31,769 Their place in time is, yeah. 1545 01:08:31,769 --> 01:08:35,519 Is a 10 outta 10, and then the after lore in terms of like, you 1546 01:08:35,519 --> 01:08:38,010 know, Jimi Hendrix, Carlos Santana. 1547 01:08:38,010 --> 01:08:38,069 Yeah. 1548 01:08:38,069 --> 01:08:40,920 Well, all the al people that are like outside of jazz that were 1549 01:08:40,920 --> 01:08:42,990 like, this is the greatest, you know, we pray to this album. 1550 01:08:42,990 --> 01:08:46,410 Well, the fact that what we just heard, this love letter to God from a genius. 1551 01:08:46,770 --> 01:08:47,970 Has gone platinum. 1552 01:08:48,420 --> 01:08:48,840 Right, right. 1553 01:08:48,840 --> 01:08:49,650 That's incredible. 1554 01:08:49,650 --> 01:08:51,330 If you think about it, do platinum perhaps. 1555 01:08:51,330 --> 01:08:55,470 I maybe, but it's sold over a million copies, which is unbelievable and uh, 1556 01:08:55,470 --> 01:08:58,170 is a real testament to the attraction. 1557 01:08:58,230 --> 01:08:59,580 I mean, there's other great desert album. 1558 01:08:59,580 --> 01:09:01,230 You make good music, people like good music. 1559 01:09:01,230 --> 01:09:01,500 Right. 1560 01:09:01,500 --> 01:09:04,350 And of course this is on many Desert Island lists in 1561 01:09:04,350 --> 01:09:05,370 terms of if you were stuck. 1562 01:09:05,550 --> 01:09:08,130 But if you think about, actually see most people when they're just talking 1563 01:09:08,130 --> 01:09:10,620 about, oh, these are the greatest albums, dead Desert Island album. 1564 01:09:10,860 --> 01:09:14,130 But if you actually think about being stuck on a, on a, uh, desert island with 1565 01:09:14,130 --> 01:09:16,290 one record, this might be the one to have. 1566 01:09:16,290 --> 01:09:18,960 'cause it's got the music, it's got the spiritual connection. 1567 01:09:18,990 --> 01:09:19,200 Yeah. 1568 01:09:19,440 --> 01:09:21,210 The prayer element of it. 1569 01:09:21,300 --> 01:09:24,780 It's, it's got the connection with humanity, which you certainly would need 1570 01:09:24,780 --> 01:09:26,035 if you're stuck on an island fireworks. 1571 01:09:26,654 --> 01:09:26,925 Right. 1572 01:09:26,925 --> 01:09:27,974 It's not really beach music. 1573 01:09:27,974 --> 01:09:30,764 It's not like Jimmy Buffett, but that's the only thing it doesn't have, I guess. 1574 01:09:30,795 --> 01:09:31,035 Okay. 1575 01:09:31,035 --> 01:09:35,474 So now our next category we are changing, it has been SNOO meter where we pit 1576 01:09:35,595 --> 01:09:40,035 Aunt Linda, your aunt that doesn't know anything about jazz with Ethan Iversson. 1577 01:09:40,365 --> 01:09:42,585 Uh, your prototypical, why are you still talking about that? 1578 01:09:42,585 --> 01:09:42,849 We're not even jazz. 1579 01:09:42,859 --> 01:09:43,995 We're not even doing it anymore. 1580 01:09:43,995 --> 01:09:44,005 Anymore. 1581 01:09:44,054 --> 01:09:44,234 Yeah. 1582 01:09:44,295 --> 01:09:47,295 We are now changing it based on a shout out Ethan and, and Linda. 1583 01:09:47,354 --> 01:09:47,564 Yeah. 1584 01:09:47,745 --> 01:09:50,205 Based on a user request to the stank face O meter. 1585 01:09:50,205 --> 01:09:54,825 And that's really gives us an idea of how much Stank face this album has elicited. 1586 01:09:54,825 --> 01:09:56,385 I have a 10 out of 10 stank face. 1587 01:09:56,385 --> 01:09:57,554 We were Question before you, Adam. 1588 01:09:57,554 --> 01:09:57,855 Yeah. 1589 01:09:58,065 --> 01:10:01,755 When you, when you were smoking the Marlboro Reds listening to the love stream 1590 01:10:01,755 --> 01:10:03,195 when you, in your early twenties Yeah. 1591 01:10:03,465 --> 01:10:04,845 Dreaming of being a jazz musician. 1592 01:10:04,845 --> 01:10:08,595 Did you ever think you would be on a podcast with another St. Louis 1593 01:10:08,595 --> 01:10:11,025 pianist using the word stank face? 1594 01:10:11,025 --> 01:10:11,175 Ome? 1595 01:10:11,625 --> 01:10:14,325 Dude, if you would've told me that, I would've been sitting next to 1596 01:10:14,415 --> 01:10:16,184 Peter Martin listening to this. 1597 01:10:16,695 --> 01:10:19,245 In front of an audience talking about stank face. 1598 01:10:19,695 --> 01:10:21,795 Uh, first of all, I'd be like, what's a podcast? 1599 01:10:22,934 --> 01:10:24,405 But no, I have no, no clue. 1600 01:10:24,405 --> 01:10:25,005 It's crazy. 1601 01:10:25,005 --> 01:10:27,585 It's crazy how life turns O meter. 1602 01:10:27,675 --> 01:10:30,015 So now is this stank face ometer? 1603 01:10:30,555 --> 01:10:32,445 Like how much we go Woo. 1604 01:10:32,445 --> 01:10:33,855 Or is is it? 1605 01:10:34,125 --> 01:10:35,715 Woo is a woo. 1606 01:10:35,805 --> 01:10:36,945 Same as stank face. 1607 01:10:36,945 --> 01:10:38,565 It's in, I think it's a little different. 1608 01:10:38,565 --> 01:10:40,275 It's a little different, but it's in the same ballpark. 1609 01:10:40,335 --> 01:10:41,175 Yeah, same ballpark. 1610 01:10:41,325 --> 01:10:41,565 Yeah. 1611 01:10:41,625 --> 01:10:42,224 I give it a 10. 1612 01:10:42,525 --> 01:10:45,015 Uh, me too, because I'm in constant stank face on this record. 1613 01:10:45,015 --> 01:10:45,315 Constant. 1614 01:10:45,315 --> 01:10:48,405 Assuming, is it better than KOB Oh KOB? 1615 01:10:48,405 --> 01:10:48,795 Of course. 1616 01:10:48,795 --> 01:10:51,045 Kind of blue is a nine that we have here. 1617 01:10:51,075 --> 01:10:53,085 I have it as a 9.5. 1618 01:10:53,325 --> 01:10:53,905 I think it's slightly better. 1619 01:10:53,905 --> 01:10:55,335 We don't have the Okay. 1620 01:10:55,755 --> 01:10:57,224 You've done a 0.5 before. 1621 01:10:57,285 --> 01:10:57,675 Have I? 1622 01:10:57,735 --> 01:10:57,974 Yeah. 1623 01:10:58,005 --> 01:10:58,335 Okay. 1624 01:10:58,335 --> 01:10:58,934 That was a bet. 1625 01:10:59,415 --> 01:10:59,745 Um, 1626 01:11:01,845 --> 01:11:05,144 could we change this just for this one to, is it more important than KOB? 1627 01:11:05,175 --> 01:11:06,885 Is it more impactful than KOB? 1628 01:11:07,305 --> 01:11:10,934 Is it better, better than, that's such a, that's such a harsh. 1629 01:11:10,934 --> 01:11:11,865 Do we like it better? 1630 01:11:11,865 --> 01:11:14,265 How spirit, it's like, is one religion better than another? 1631 01:11:14,835 --> 01:11:15,615 To that person. 1632 01:11:15,615 --> 01:11:16,155 That's part of it. 1633 01:11:16,155 --> 01:11:16,365 Yeah. 1634 01:11:16,365 --> 01:11:16,875 Probably. 1635 01:11:17,925 --> 01:11:18,915 No, it's not the same. 1636 01:11:19,305 --> 01:11:19,845 Is it? 1637 01:11:19,905 --> 01:11:21,760 Is it, do we like it better than KOB? 1638 01:11:21,760 --> 01:11:24,675 But because it's such a spirit, like is it a more spiritual album than KOB? 1639 01:11:24,675 --> 01:11:25,575 That's not the question. 1640 01:11:25,605 --> 01:11:27,765 I know, but what does better mean? 1641 01:11:28,005 --> 01:11:28,185 No. 1642 01:11:28,185 --> 01:11:28,915 Do we like it more? 1643 01:11:28,915 --> 01:11:30,165 Do we like it more than KOB? 1644 01:11:31,150 --> 01:11:31,440 What? 1645 01:11:31,445 --> 01:11:31,935 What? 1646 01:11:32,025 --> 01:11:32,565 What do you mean? 1647 01:11:32,565 --> 01:11:34,515 Do you like secrets better than KOB? 1648 01:11:34,635 --> 01:11:34,845 No. 1649 01:11:35,805 --> 01:11:37,575 Well, up until recently you did. 1650 01:11:37,605 --> 01:11:37,905 Yeah. 1651 01:11:38,445 --> 01:11:39,045 But people change. 1652 01:11:39,165 --> 01:11:39,675 Okay. 1653 01:11:40,725 --> 01:11:42,120 I'm going nine, I have 9.5. 1654 01:11:42,125 --> 01:11:44,775 Okay, so nine means it's exactly, exactly. 1655 01:11:44,775 --> 01:11:45,075 In line. 1656 01:11:45,075 --> 01:11:47,145 And I had nine at first to, to me, they're both perfect records. 1657 01:11:47,325 --> 01:11:48,075 They are perfect. 1658 01:11:48,075 --> 01:11:48,405 You know what? 1659 01:11:48,405 --> 01:11:49,395 You've convinced I'm going down. 1660 01:11:49,395 --> 01:11:49,815 No, no. 1661 01:11:49,815 --> 01:11:50,385 Going down to nine. 1662 01:11:50,415 --> 01:11:50,625 Okay. 1663 01:11:50,625 --> 01:11:50,835 No. 1664 01:11:50,895 --> 01:11:51,075 All right. 1665 01:11:51,075 --> 01:11:52,245 Let's, uh, let's add 'em up. 1666 01:11:52,470 --> 01:11:52,760 Okay. 1667 01:11:53,530 --> 01:11:54,080 Tough one. 1668 01:12:01,630 --> 01:12:01,920 Okay. 1669 01:12:02,260 --> 01:12:02,480 Wow. 1670 01:12:03,320 --> 01:12:04,120 Favorite track that feels on. 1671 01:12:04,230 --> 01:12:04,520 Okay. 1672 01:12:05,295 --> 01:12:05,595 Okay. 1673 01:12:05,865 --> 01:12:06,195 Alright. 1674 01:12:06,435 --> 01:12:07,005 Favorite track. 1675 01:12:07,005 --> 01:12:07,875 That feels kind of weird. 1676 01:12:08,175 --> 01:12:11,625 On this root too, Rudy to dude. 1677 01:12:11,895 --> 01:12:12,255 What? 1678 01:12:12,260 --> 01:12:12,520 What? 1679 01:12:12,765 --> 01:12:13,665 What's that you talking about? 1680 01:12:13,665 --> 01:12:13,875 Dude? 1681 01:12:14,595 --> 01:12:15,915 What's the Vegas one you were saying? 1682 01:12:16,695 --> 01:12:16,995 Ring-a 1683 01:12:16,995 --> 01:12:18,120 Ding-ding-ding. 1684 01:12:19,455 --> 01:12:20,265 I said root two. 1685 01:12:20,980 --> 01:12:21,760 Why did you bring that up? 1686 01:12:22,470 --> 01:12:25,215 Okay, well no, that just seems kinda like what tracks you like the best. 1687 01:12:25,215 --> 01:12:27,015 I love it when he goes into Yeah, that's what, that's what 1688 01:12:27,015 --> 01:12:29,835 Dean and and Sinatra were doing. 1689 01:12:29,835 --> 01:12:30,315 Root two, two. 1690 01:12:31,515 --> 01:12:32,325 Whatcha talking about? 1691 01:12:32,325 --> 01:12:34,005 That was later on af after the show. 1692 01:12:34,580 --> 01:12:35,565 It was in the seventies. 1693 01:12:35,895 --> 01:12:39,135 Uh, okay, so the total score, I have a 98 favorite track resolution. 1694 01:12:42,195 --> 01:12:43,485 Oh, that's what I just wrote. 1695 01:12:43,485 --> 01:12:45,285 Resolution, total score. 1696 01:12:45,285 --> 01:12:46,005 You had 98. 1697 01:12:46,035 --> 01:12:46,155 Yeah. 1698 01:12:46,155 --> 01:12:46,275 Damn. 1699 01:12:46,485 --> 01:12:47,265 Damnit. 1700 01:12:47,475 --> 01:12:49,515 I love this record as much as you Actually, this is good. 1701 01:12:49,515 --> 01:12:50,325 I have 97. 1702 01:12:52,245 --> 01:12:53,865 Yeah, I think this is appropriate, which from what we talked about 1703 01:12:53,865 --> 01:12:55,155 before, we, we'd kind of be fine. 1704 01:12:55,190 --> 01:12:57,015 This is, this is in my top three. 1705 01:12:57,075 --> 01:12:58,575 I don't think this is in your top three. 1706 01:12:58,575 --> 01:12:59,145 So yeah. 1707 01:13:00,255 --> 01:13:00,795 I mean all the time. 1708 01:13:00,825 --> 01:13:04,005 But after hearing this again, I, I couldn't see not having it in there. 1709 01:13:04,095 --> 01:13:07,095 Folks, we've converted Peter back to Love Supreme. 1710 01:13:07,365 --> 01:13:08,865 If anything, that's what this episode has done. 1711 01:13:08,865 --> 01:13:10,695 Thank you everybody for getting it this far. 1712 01:13:10,755 --> 01:13:13,515 The ultimate, uh, question though, which will probably be part of the 1713 01:13:13,515 --> 01:13:15,195 title of this, is this better than KOB? 1714 01:13:15,285 --> 01:13:16,575 Oh, well you said yes slightly. 1715 01:13:16,815 --> 01:13:18,434 I said, well, no, I said nine. 1716 01:13:18,434 --> 01:13:19,515 I think it's right in right in line. 1717 01:13:19,515 --> 01:13:20,415 Oh, you said 9.5? 1718 01:13:20,505 --> 01:13:21,375 No, I changed it. 1719 01:13:21,644 --> 01:13:22,305 Oh, you did change it? 1720 01:13:22,305 --> 01:13:22,365 Yeah. 1721 01:13:22,365 --> 01:13:22,725 Okay. 1722 01:13:23,115 --> 01:13:25,210 Well, that's the, that's dramatic, so no. 1723 01:13:25,210 --> 01:13:28,965 So yes and no snow till next time you'll hear it. 1724 01:13:32,955 --> 01:13:34,215 How is my mic placement, Caleb? 1725 01:13:34,575 --> 01:13:35,475 Is this too close?