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Miles Davis wasn't always an icon.

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In the early '50s, he was at his lowest point personally and

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professionally. Clubs didn't want the bother, and no label would

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touch him, except one. Then, in

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1954, he got clean, formed what would become his first

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great quintet, and began to rebuild his life and his career.

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He showed up at the Newport Jazz Festival, a last-minute addition to

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an all-star group. A Columbia Records producer saw him

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and tried to sign him on the spot. There was just one problem:

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Miles still owed his label four albums.

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So he gathered his amazing band, went into the studio for two days, and

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walked out a legend.

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I'm Adam Maness.

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And I'm Peter Martin.

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

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Music: explored.

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Explored, brought to you today by Open Studio.

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Go to openstudiojazz.com for all your jazz lesson

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needs. Peter.

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Yes. Good morning.

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Good morning.

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"Guten Morgen."

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So, we got a good one today because we're going to be checking out four

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different albums today, and we've done similar episodes to this.

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We did this during Herbie Hancock's Headhunters run.

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We didn't do four complete records, did we?

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No.

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No.

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No, and we probably won't listen to every track today, obviously.

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I'm going home. Don't depress me.

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Well, you just-

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Don't suppress me.

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Just chill. But we also did this during Bill Evans' trio,

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the Waltz for Debby-

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... Sunday at the Village Vanguard, Explorations episode.

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And these four albums, we could do an episode on each of these individually.

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But they go so well together, and the story behind them is so interesting.

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Yeah.

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As you alluded to in that brilliant intro.

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Well, can I, and I just want to have one little quick caveat.

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We

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took a little bit of editorial license there.

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Oh, yeah.

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Because I said two days in the studio.

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Just to be clear, those two days were six months apart from each other.

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They were, yeah. They were in May and October

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1956, is when both of these albums were recorded.

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Yep.

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But all of that is what happened. In July 1955, Miles played the

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Newport Jazz Festival as a last-minute addition.

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He was really coming off of, and he writes about this in his autobiography, which,

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by the way-

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Oh, it's so good

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... I've got right here. Now, I don't know if you can see, this is my copy of this.

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Literally, Peter, decades of coffee stains.

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I can see that, yeah. Look at them.

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Look at how brown these pages are.

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Look at the patina on this.

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The patina on this. I bought this in the '90s, buddy, when this came out.

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Yeah. Did you leave that in your Ford Escort from the '90s for, like, 20 years and

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let the sun come in on it?

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This spent time in every single Chevy S10 I've ever owned.

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It's one of the greatest music biographies because it's an autobiography.

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It's controversial.

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It's amazing.

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Because I remember when it came out, reading it, and everybody

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was like, "Oh, my gosh."

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Controversial because a lot of people said it takes some liberties with

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the truth.

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Yeah.

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Which Miles said that was not true.

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But

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it's super fascinating, the intersection not only of

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stuff like what we're going to be talking today, '55, '56, where he goes into depth

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on that, his memory of it, and really just his viewpoint.

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We feel like we know Miles because of these records.

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And I'm sorry, I interrupted you. You were saying, going through multiple records

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we've done before. But we've never done four records.

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And I don't know if this exists, that we could even do four records

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from basically two recording sessions.

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Yeah.

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That's pretty incredible.

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It's very incredible.

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Yeah.

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And as we were just talking about, too,

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Miles was coming out of a real low period for him.

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Yes.

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Where he had a horrible addiction.

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Yeah.

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And he beat it. He was getting stronger.

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He was kind of really-

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What did they used to call heroin? It was like a monkey or the something.

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The-

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The dragon?

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Dragon.

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Yeah.

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That's what it was, yeah.

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But he got clean in '54, and he

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started re-devoting himself to his music, and he was

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signed to Prestige, and they were giving him, like,

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$750 an album, and it was really just kind of like a

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bargain basement deal that he had. It was not a prestigious deal.

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He was not the Miles Davis that we think of at this point.

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Right.

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He was really going through it. But he's Miles, and he's talented,

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and he's a visionary. And more than anything, he's so confident and knows what

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he wants and who he is, at least when he's himself.

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And he describes that that person who was on drugs was not him.

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Right.

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And that once he was out of that horrible situation,

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that he got real clarity on what he wanted to do.

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And luckily, he found four compatriots in this band.

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Yeah.

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That they were a real brotherhood for a couple years.

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Yeah.

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And we'll talk more about that, but-

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Miles really describes it as his first great band.

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The way he talks about it in his autobiography is more positive than

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any other experience that he has musically.

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He has a real fondness for this time and this band.

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Yeah.

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And you could hear it in the music. There's so much joy in the music.

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You could tell that they were a real

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unit. But he did play, when he was sort of getting

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back on his feet.

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Yeah.

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He was asked to play at the 1955 Newport Jazz Festival as a

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last-minute addition to an all-star band that included Monk.

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By George Wein.

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By George Wein.

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Who was the first producer. Up until just a few years ago.

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And it's really cool. They've released that concert live, and you can hear the

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whole thing. And this is Miles and Monk playing "Around Midnight."

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You can hear the seagulls in the background.

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Yeah.

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Yeah.

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Fort Adams.

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Newport.

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This is good quality recording. You hear the bleed through on the-

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This is really cool

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... two-inch tape.

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There's some really funny stories here in the autobiography about this.

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About the drive home.

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Back to New York.

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Yeah. They all went back together in a car, and Monk apparently was like, "Hey,"

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"You messed up my tune."

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"You messed up my tune."

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I didn't play the melody right.

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And Miles, in his autobiography, was like, "I could've said that I didn't like what

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you were comping, but I didn't." Which is really funny.

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But George Avakian of Columbia Records heard him at that performance and

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was just blown away.

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Yeah.

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And wanted him on Columbia. But as you said in your intro, Miles

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still had four albums left to record with Prestige, and it's a

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real fascinating time, Peter, because it's not that he had to

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release with Prestige-

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No. Yeah

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... as we'll find out.

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Right.

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He just had to record them.

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Yeah. It was up to them when they would release.

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Well, that's what's so fascinating, is basically he starts recording for

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Columbia immediately.

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They make what's going to become "Round About Midnight" before he even makes this

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stuff.

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Right.

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You know what I mean? And then this Prestige stuff is coming out all the way up

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until 1961.

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Which was by, what was that, Bob Weinstock?

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Was he the-

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Bob Weinstock. Yeah.

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That was a savvy move for him, because it was kind of like, "Let's see what happens

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with this Columbia," obviously, kind of blew.

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Blockbuster albums and stuff for him to drip those out as well. But yeah.

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It was a fascinating turn of events.

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And apparently,

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Columbia tried to just, they just were like, "Oh, we'll just buy out his contract

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from Prestige." But Prestige was like, "No, no, no." They wanted a crazy amount.

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Yeah.

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That even Columbia was like, "No, we're not paying that." So, it kind of worked out

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well for Miles, especially in terms of developing this band, the Sets and

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Reps. They were doing a bunch of club dates.

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Yeah. They were playing famous couple weeks here in St. Louis.

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That's right. Yeah. Miles talks about those dates in St. Louis.

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Peacock Alley.

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His family being around.

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Yeah.

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About him feeling so good about everything, and they had a regular gig at the

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Café Bohemia in-

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New York

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... Greenwich Village.

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Yeah.

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So they go into the studio for two days, and the very next

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year, the first of these four albums.

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So they make four albums in two sessions, essentially.

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That's crazy. No second takes.

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No second takes, apparently. Just all call-in tunes.

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Yeah.

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And it's a band that's playing together all the time.

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It's a band that really love each other.

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Yeah.

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That are hanging out, having a good time on the road, and you

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can hear just the ease at which they do it.

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And it's a group of masters.

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Yeah.

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It's Miles on trumpet, obviously. John Coltrane on the tenor saxophone.

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Ever heard of him?

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Red Garland on the piano, who I want to go on a bit of a deep dive on.

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Paul Chambers, PC on the bass, who was the youngest member of the band at 21,

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and the incredible Philly Joe Jones on the drums.

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Strangely from Philadelphia.

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Fun fact. Philly Joe from Philly. They start

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out with releasing "Cookin" with the Miles Davis Quintet, and it was

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released August 1957, and it starts with a Richard

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Rodgers and Lorenz Hart song, "My Funny Valentine."

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The ease with which they just

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slide into this intro.

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Man,

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the confidence and clarity of Miles' sound, that's what

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that he would carry for the rest of his career, really. He was already there.

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That Harmon mute sound.

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Oh.

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I love the way these albums are recorded, too.

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So good.

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Very simple-sounding recordings.

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I don't know if they are simply, but it sounds-

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Oh, very simple

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... very basic, and it works so well.

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Yeah. I was going to say. Apparently at that Newport gig, the Harmon was what

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everybody was going crazy over.

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Miles talks about it in there, and he was like, "Oh, I didn't know everybody would

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like that."

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Man, it strikes me how much Red Garland

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and

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Paul Chambers, how much of an influence they had on Herbie Hancock.

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I never really noticed it like that.

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Herbie Hancock and Ron Carter playing the same tune seven years

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later once they were in the band, because

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Miles kept a lot of this repertoire on these records, many of these tunes

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for years, especially,

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like "My Funny Valentine," and did it with the next bands and kind of had a

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pretty tight repertoire up until the late '60s, really.

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Absolutely.

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Yeah.

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Well, it's great you mentioned Red Garland, because it was such a huge,

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incredible collaboration that

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Miles had with Red, and Miles actually influenced Red

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by encouraging him to play more like Ahmad Jamal.

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Yeah.

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Because Miles, again, talked about this quite a bit, that he was

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influenced by Ahmad Jamal, that he

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loved the space with which Ahmad played,

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the way that he was so melodically focused, and he especially

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loved Ahmad Jamal's light touch-

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Mm

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... on the piano.

258
00:11:45,550 --> 00:11:45,590
Yeah.

259
00:11:45,630 --> 00:11:49,620
And told Red Garland, "You sound best when you play like

260
00:11:49,680 --> 00:11:51,660
that, when you play with that light touch, that" -

261
00:11:51,680 --> 00:11:53,540
He said that right before he said, "But play what you feel."

262
00:11:53,900 --> 00:11:56,000
"But play with what you feel." So

263
00:11:57,040 --> 00:12:00,940
he did. He encouraged Red to play like Ahmad

264
00:12:00,950 --> 00:12:02,100
Jamal. Here's Ahmad Jamal at

265
00:12:03,560 --> 00:12:04,640
Surrey with the Fringe on Top.

266
00:12:05,844 --> 00:12:09,464
A lot of the repertoire of Ahmad informed, influenced these

267
00:12:09,504 --> 00:12:09,904
records.

268
00:12:09,984 --> 00:12:10,144
Yeah.

269
00:12:10,164 --> 00:12:11,324
Like five or six of the tunes.

270
00:12:11,364 --> 00:12:14,054
That's right. 'Surrey with the Fringe on Top', is on these Prestige records.

271
00:12:14,054 --> 00:12:15,464
And he plays a couple of Ahmad's tunes, doesn't he?

272
00:12:16,044 --> 00:12:18,924
So hear that, way up high in the register, light touch.

273
00:12:25,044 --> 00:12:25,524
Space.

274
00:12:26,564 --> 00:12:26,794
Brilliant.

275
00:12:26,864 --> 00:12:30,464
Yeah, so good. And I mean, so it's great we're talking about Red Garland.

276
00:12:31,704 --> 00:12:35,444
I mean, this is really a quintet. Miles, in some

277
00:12:35,504 --> 00:12:39,324
ways, as a personality, towers over this, but once you get

278
00:12:39,344 --> 00:12:41,664
into these records, there's so much.

279
00:12:41,724 --> 00:12:45,604
I mean, in a way, Paul Chambers, who's by far the youngest on here, is kind of the

280
00:12:45,704 --> 00:12:46,984
one who steals the record in a way.

281
00:12:47,024 --> 00:12:47,364
Because he's

282
00:12:48,244 --> 00:12:51,844
so consistent. He's always there. Philly Joe, of course, is Philly Joe.

283
00:12:52,324 --> 00:12:56,064
But I would say Red Garland. So all four of these records, I realized, start

284
00:12:56,144 --> 00:12:59,744
with, we talk about how important the beginning of records are,

285
00:13:00,304 --> 00:13:04,284
and even though we're going to kind of paint with a broad brush today on these four

286
00:13:04,344 --> 00:13:07,804
records, they are four distinct records that were released over a year

287
00:13:08,204 --> 00:13:10,244
apart. All of them, I believe. They're pretty stretched out.

288
00:13:11,244 --> 00:13:13,504
All four of them start with Red Garland playing by himself.

289
00:13:14,004 --> 00:13:17,874
I think that was an intentional thing that Bob and Miles made in terms of

290
00:13:18,044 --> 00:13:19,724
producing this. Like with beautiful-

291
00:13:19,734 --> 00:13:20,134
Great take, Pete

292
00:13:20,164 --> 00:13:21,224
... classic intros.

293
00:13:21,264 --> 00:13:22,064
Great call.

294
00:13:22,444 --> 00:13:25,954
And they're all four, I mean, I have kind of my favorite we'll talk about, but

295
00:13:25,954 --> 00:13:29,324
they're all four. I mean, this is the most iconic one, probably, the way that "My

296
00:13:29,344 --> 00:13:30,924
Funny Valentine" is. Other than the one when-

297
00:13:31,064 --> 00:13:32,464
No

298
00:13:32,474 --> 00:13:33,614
... Miles says, Block chords, Red.

299
00:13:33,614 --> 00:13:36,104
"If I Were a Bell," that's "You're My Everything."

300
00:13:36,544 --> 00:13:36,644
Yeah.

301
00:13:36,704 --> 00:13:37,564
Which is the second tune.

302
00:13:37,744 --> 00:13:37,944
Yeah.

303
00:13:38,004 --> 00:13:39,884
So I want to get one more track from

304
00:13:40,824 --> 00:13:41,104
Cookin'.

305
00:13:41,164 --> 00:13:42,994
This is "Blues by Five." You going to blow it?

306
00:13:43,264 --> 00:13:45,044
Nah, the rhythm section's going to play it first.

307
00:13:45,164 --> 00:13:47,884
Q go play it first, and we're going to come in. Here we go.

308
00:13:48,844 --> 00:13:49,084
Right on?

309
00:13:49,524 --> 00:13:50,074
Yeah.

310
00:13:53,684 --> 00:13:54,224
Hear.

311
00:13:55,684 --> 00:13:57,344
On the bass, hear that.

312
00:13:59,464 --> 00:14:01,064
That's right on. It's the chords.

313
00:14:01,744 --> 00:14:04,364
I love it, man. There's so much studio talk.

314
00:14:04,604 --> 00:14:04,914
And this.

315
00:14:07,444 --> 00:14:09,464
Oh, and they just fall into it. Oh.

316
00:14:09,524 --> 00:14:11,434
So Red Garland doing his Red spread thing here.

317
00:14:11,464 --> 00:14:11,764
Yeah.

318
00:14:13,134 --> 00:14:16,564
And that chatter was not on the original. This is on the remastered version.

319
00:14:16,603 --> 00:14:18,984
But the stuff on "Relaxin'" over here was all on the original.

320
00:14:25,304 --> 00:14:27,824
Man, Philly Joe's bombs he drops.

321
00:14:27,924 --> 00:14:30,984
Oh, the greatest. The greatest.

322
00:14:33,224 --> 00:14:33,884
Backbeat.

323
00:14:40,024 --> 00:14:55,364
Mm.

324
00:14:58,404 --> 00:15:02,344
The conversation between Miles and Philly Joe, with the space that Miles

325
00:15:02,404 --> 00:15:02,784
gives.

326
00:15:08,904 --> 00:15:09,524
We, uh.

327
00:15:13,404 --> 00:15:14,984
Woo.

328
00:15:15,724 --> 00:15:19,023
This was a very influential trumpet. I mean, trumpet players geek out on this solo.

329
00:15:24,664 --> 00:15:25,444
So good, man.

330
00:15:25,544 --> 00:15:26,104
Crazy.

331
00:15:32,424 --> 00:15:32,944
And that plan.

332
00:15:36,224 --> 00:15:37,134
With the major to minor.

333
00:15:37,134 --> 00:15:39,264
Miles playing his a*s off in this whole run.

334
00:15:41,084 --> 00:15:43,453
Ooh.

335
00:15:43,453 --> 00:16:25,384
Ooh.

336
00:16:26,284 --> 00:16:31,664
Ah.

337
00:16:38,414 --> 00:16:39,444
Man, Miles was like,

338
00:16:40,264 --> 00:16:42,464
really one of, we talk about Charlie Parker, of course,

339
00:16:43,344 --> 00:16:44,624
of that mastery of

340
00:16:45,724 --> 00:16:46,944
bebop and blues,

341
00:16:47,844 --> 00:16:49,364
like seamless integration.

342
00:17:10,085 --> 00:17:11,984
Man, all the Trane stuff is there.

343
00:17:12,864 --> 00:17:13,104
Yeah.

344
00:17:15,844 --> 00:17:19,785
And then, like, Trane's take

345
00:17:19,825 --> 00:17:21,604
on bebop is so different than Miles, right?

346
00:17:25,384 --> 00:17:39,844
Let's

347
00:17:39,854 --> 00:17:40,924
talk a little bit about Trane.

348
00:17:40,964 --> 00:17:40,974
Yeah.

349
00:17:41,004 --> 00:17:44,004
So, this is from Miles' biography.

350
00:17:44,044 --> 00:17:45,824
He talks about their tour, their first tour.

351
00:17:45,834 --> 00:17:49,544
"On our first tour after Coltrane joined the group in late

352
00:17:49,604 --> 00:17:53,424
September 1955, we were having a lot of fun together, hanging out,

353
00:17:53,884 --> 00:17:55,164
eating together, walking around."

354
00:17:56,232 --> 00:17:58,832
From Chicago, we went down to play Peacock Alley in St. Louis.

355
00:17:59,492 --> 00:18:02,372
Now, I was going to have a good time there, and we all did.

356
00:18:02,412 --> 00:18:04,572
It seemed like everybody in East St. Louis came over to St.

357
00:18:04,592 --> 00:18:06,832
Louis to see me play that week in the middle of October.

358
00:18:07,512 --> 00:18:10,912
All my boys that I had gone to school with showed up, and it was a gas.

359
00:18:10,972 --> 00:18:14,772
I was happy for my family to see me doing all right, off drugs and clean, leading a

360
00:18:14,812 --> 00:18:17,932
band and making some money. I could see that my father and mother were proud of me,

361
00:18:17,972 --> 00:18:20,922
especially after I'd told them about all the recording deals that I had going with

362
00:18:20,932 --> 00:18:24,672
Columbia and all. Columbia, for them, was the big time, and it was the big

363
00:18:24,732 --> 00:18:27,692
time for me, too. Anyway, everything just went beautifully in St.

364
00:18:27,872 --> 00:18:29,912
Louis while I was there and throughout the whole tour.

365
00:18:30,412 --> 00:18:34,152
I think a lot of people had expected Sonny Rollins to be in the band. Nobody in St.

366
00:18:34,352 --> 00:18:38,332
Louis had ever heard of Trane, so a lot of them were disappointed until he

367
00:18:38,372 --> 00:18:42,232
played. Then he just f****d everybody up, though some people still didn't like him

368
00:18:42,272 --> 00:18:45,922
yet. By the time Sonny Rollins came back from Lexington to New York,

369
00:18:46,212 --> 00:18:49,992
Trane was a fixture in the band and had taken over the place reserved for Sonny.

370
00:18:50,452 --> 00:18:54,382
And Trane's playing was so bad by then that it even made Sonny go out and

371
00:18:54,452 --> 00:18:57,692
change his style, which was a great style, and go back to woodshedding.

372
00:18:57,832 --> 00:18:57,902
Mm-hmm.

373
00:18:57,952 --> 00:19:00,452
He even went out on the Brooklyn Bridge a few times—

374
00:19:00,611 --> 00:19:00,622
Right

375
00:19:00,622 --> 00:19:02,402
... at least that's what someone told me— ...

376
00:19:02,432 --> 00:19:04,292
to find a private place where he could practice.

377
00:19:04,532 --> 00:19:04,632
Yeah.

378
00:19:04,672 --> 00:19:08,332
So that little behind-the-scenes of that sort of shuffling in Miles'

379
00:19:08,532 --> 00:19:11,771
band. He was playing with Sonny Rollins for a long time. Sonny leaves.

380
00:19:11,872 --> 00:19:15,752
Trane comes in, really establishes himself during this time as this

381
00:19:15,872 --> 00:19:19,272
force in the music. And by the time Sonny gets back, there's no spot for him.

382
00:19:19,312 --> 00:19:19,872
Trane's-

383
00:19:20,192 --> 00:19:20,282
Yeah

384
00:19:20,312 --> 00:19:20,952
... taken that over.

385
00:19:21,312 --> 00:19:23,152
Yeah, and I think he had to get Trane.

386
00:19:23,192 --> 00:19:25,192
Trane was playing with Jimmy Smith, I think, right before this.

387
00:19:25,252 --> 00:19:25,712
They had to-

388
00:19:25,732 --> 00:19:25,812
Yeah.

389
00:19:26,092 --> 00:19:27,132
Like Philly Joe

390
00:19:29,192 --> 00:19:32,812
really lobbied for him, and Miles was a little bit like, "Nah, I don't know about

391
00:19:32,852 --> 00:19:36,772
that." He's like, "I heard that guy." So, this really is the blossoming

392
00:19:36,812 --> 00:19:39,432
of Coltrane, like this period. You can hear it.

393
00:19:39,652 --> 00:19:42,132
This is like the coming-out party.

394
00:19:42,162 --> 00:19:45,142
And Miles is like, control, his phrasing, his

395
00:19:45,992 --> 00:19:48,682
understanding, his use of space. And I mean, I don't want to read too much into it.

396
00:19:49,092 --> 00:19:52,812
Read the book if you're into this, but Miles definitely walks

397
00:19:52,892 --> 00:19:56,812
through this in terms of his life. I

398
00:19:56,832 --> 00:19:57,872
don't want to belabor the

399
00:19:58,752 --> 00:20:02,492
stereotype drug addict in jazz. Hollywood's done that plenty of

400
00:20:02,532 --> 00:20:06,491
times. But Miles talks about it there, about

401
00:20:06,552 --> 00:20:10,422
how he went about kicking this habit, the confidence that

402
00:20:10,472 --> 00:20:12,341
that gave him, and

403
00:20:13,612 --> 00:20:14,892
with so many direct

404
00:20:15,772 --> 00:20:19,112
musician friends. I mean, him and Charlie Parker were very close.

405
00:20:19,172 --> 00:20:22,612
I didn't realize until I reread that how much, beyond just an

406
00:20:22,692 --> 00:20:26,272
influence and mentor, but Charlie Parker was musically to

407
00:20:26,312 --> 00:20:30,272
Miles. But I think Charlie Parker died right before this, like maybe '54,

408
00:20:30,312 --> 00:20:33,432
'55, and that was a big hit to a lot of people.

409
00:20:33,492 --> 00:20:35,932
I mean, they were like, "Charlie Parker is God." I mean, that was the thing the

410
00:20:35,972 --> 00:20:37,752
musicians that looked up to him had said.

411
00:20:38,132 --> 00:20:41,132
And so, I think for Miles, knowing that he was able to beat this

412
00:20:42,612 --> 00:20:45,192
drug situation that was very hard, and then he was like, "You know what?

413
00:20:45,252 --> 00:20:48,732
Now I'm doing it. I got my band." And a lot of people saw him as aloof and all

414
00:20:48,752 --> 00:20:49,772
this. He talks about that in there.

415
00:20:49,852 --> 00:20:53,172
He's just like, "I didn't want to go down the wrong path again," and like, "I'm

416
00:20:53,192 --> 00:20:56,292
here to play music. They're not here to hear me talk." He was all about business.

417
00:20:56,492 --> 00:20:56,592
Yeah.

418
00:20:56,852 --> 00:20:59,572
The business of having a great band, and then

419
00:21:00,472 --> 00:21:03,072
it all started taking off, as it should, right?

420
00:21:03,572 --> 00:21:03,692
Yeah.

421
00:21:04,832 --> 00:21:06,532
Well, Peter, that brings us to the next album.

422
00:21:06,592 --> 00:21:06,602
Yeah.

423
00:21:06,602 --> 00:21:10,332
The second album to be released in March of 1958, and it

424
00:21:10,452 --> 00:21:11,372
is "Relaxin'".

425
00:21:11,552 --> 00:21:11,672
Yeah.

426
00:21:11,932 --> 00:21:12,112
Sorry.

427
00:21:12,142 --> 00:21:13,532
I was getting these confused back and forth.

428
00:21:13,652 --> 00:21:17,412
No, this is an amazing album. And before we talk about "Relaxin'", it has "If I

429
00:21:17,452 --> 00:21:21,012
Were a Bell," the iconic "If I Were a Bell," and the block chords.

430
00:21:21,082 --> 00:21:21,182
"False start."

431
00:21:21,182 --> 00:21:22,281
Another start with Red Garland.

432
00:21:22,372 --> 00:21:25,312
Yeah, and "If I Could Write a Book" and "Oleo" and "It Could Happen to You" and

433
00:21:25,352 --> 00:21:26,052
"Woody'n You."

434
00:21:26,252 --> 00:21:26,872
Isn't it Oleo?

435
00:21:27,712 --> 00:21:28,052
Oleo.

436
00:21:28,312 --> 00:21:28,792
Oleo.

437
00:21:30,012 --> 00:21:33,272
I want to talk about Open Studio. OpenStudioJazz.com, Peter.

438
00:21:33,332 --> 00:21:33,762
Yeah, let's do it.

439
00:21:33,781 --> 00:21:35,472
So, we were talking about red spreads before.

440
00:21:35,492 --> 00:21:38,272
And it's something that we teach over there. At least I love to talk about it.

441
00:21:38,352 --> 00:21:42,332
It's a spread voicing where you play a simple four-note block chord

442
00:21:42,372 --> 00:21:45,272
in your left hand, and you play these octaves in your right with a perfect fifth in

443
00:21:45,292 --> 00:21:48,172
the middle. And Red keeps the perfect fifth, even if that perfect fifth doesn't

444
00:21:48,212 --> 00:21:51,992
line up with the key. It sounds weird over a podcast, but I promise you, on a

445
00:21:52,052 --> 00:21:53,932
video lesson, it makes a lot of sense.

446
00:21:54,012 --> 00:21:57,972
So, if you're curious to know how these great musicians are

447
00:21:58,012 --> 00:22:01,492
making the music, we try to demystify some of that for you-

448
00:22:01,572 --> 00:22:01,582
Yeah

449
00:22:01,582 --> 00:22:04,872
... at Open Studio. And you and I both have a ton of lessons on

450
00:22:05,412 --> 00:22:07,132
almost all these tunes, I'm thinking.

451
00:22:07,152 --> 00:22:07,162
Looking-

452
00:22:07,212 --> 00:22:10,092
I've done a bunch just on Red Garland's introductions, because I'm in love with his

453
00:22:10,152 --> 00:22:10,692
introductions.

454
00:22:10,732 --> 00:22:11,212
100%.

455
00:22:11,252 --> 00:22:12,092
Yeah, all his different kinds.

456
00:22:12,131 --> 00:22:15,532
No, I have something on "You're My Everything" as well, because all of it is so

457
00:22:15,552 --> 00:22:16,201
good. And I know-

458
00:22:16,222 --> 00:22:17,372
I just did a lesson on "You Are My Everything."

459
00:22:17,492 --> 00:22:18,092
Yeah, but I

460
00:22:18,992 --> 00:22:19,902
know you have lessons on-

461
00:22:19,902 --> 00:22:20,852
... "When I Fall in Love."

462
00:22:20,922 --> 00:22:21,222
"Woody'n You"

463
00:22:21,342 --> 00:22:23,392
"If I Were a Bell," "It Could Happen to You."

464
00:22:23,472 --> 00:22:24,562
Because these are classics, my friend.

465
00:22:24,562 --> 00:22:25,732
They are. They are classics.

466
00:22:26,152 --> 00:22:26,162
Yeah.

467
00:22:26,192 --> 00:22:30,162
So, if you go to OpenStudioJazz.com/YHI right now, you

468
00:22:30,192 --> 00:22:31,692
can start your free trial. That's

469
00:22:31,732 --> 00:22:35,032
OpenStudioJazz.com/YHI for

470
00:22:36,952 --> 00:22:37,972
your jazz lesson needs.

471
00:22:38,112 --> 00:22:39,132
Now, back to the show.

472
00:22:40,152 --> 00:22:40,792
"If I Were a Bell."

473
00:22:41,062 --> 00:22:41,682
Oh, relaxing.

474
00:22:41,682 --> 00:22:43,292
Iconic. The greatest.

475
00:22:43,872 --> 00:22:44,352
Red Garland.

476
00:22:44,612 --> 00:22:47,072
I'll play it and tell you what it is later. Hold on, hold on.

477
00:22:47,132 --> 00:22:48,831
We got to do that again one more time, Miles.

478
00:22:48,872 --> 00:22:50,832
I remember when I first heard this, I was like, "Damn."

479
00:22:53,052 --> 00:22:54,812
I'll play it and tell you what it is later.

480
00:22:54,972 --> 00:22:55,672
That hi-hat.

481
00:22:59,052 --> 00:23:01,432
RVG knew how to record some drums. Let's put that out there.

482
00:23:03,252 --> 00:23:03,412
Ah.

483
00:23:06,132 --> 00:23:06,632
That swing.

484
00:23:07,992 --> 00:23:08,852
Do we like it? Yes.

485
00:23:09,372 --> 00:23:10,692
I mean, it's effortless swing.

486
00:23:10,772 --> 00:23:10,882
Yeah, it is.

487
00:23:10,892 --> 00:23:12,072
Effortless mastery of swing.

488
00:23:13,532 --> 00:23:14,392
Like, swing doesn't have to be .

489
00:23:16,792 --> 00:23:17,892
What are you doing?

490
00:23:18,152 --> 00:23:19,711
That's what I'm saying. It doesn't have to be that.

491
00:23:19,732 --> 00:23:19,972
This is-

492
00:23:20,372 --> 00:23:20,912
I'm saying it's

493
00:23:22,032 --> 00:23:24,672
elevated. This is swing elevated.

494
00:23:24,712 --> 00:23:27,352
You know, you go in the club, and it's kind of jankity, and they're like, "Would

495
00:23:27,432 --> 00:23:30,822
you like to go to the other room?" And everybody's rich and good-looking and it's

496
00:23:31,032 --> 00:23:31,492
all-

497
00:23:31,532 --> 00:23:32,552
The champagne room of swing?

498
00:23:32,772 --> 00:23:35,322
No, not like the hoochie champagne room.

499
00:23:35,352 --> 00:23:36,812
Like the classy champagne room.

500
00:23:37,092 --> 00:23:38,312
All right. Listen.

501
00:23:39,312 --> 00:23:39,812
Let's jam.

502
00:23:40,772 --> 00:23:43,272
And PC's bass is so up front in this mix.

503
00:23:43,332 --> 00:23:44,592
We're going to talk about that a little later, but...

504
00:23:46,552 --> 00:23:48,512
That's cool, because the piano sounds 100 yards away.

505
00:23:57,528 --> 00:23:59,148
Miles has some perfect solos on here.

506
00:24:02,648 --> 00:24:03,308
Go with what you know.

507
00:24:03,608 --> 00:24:04,908
And the four, and the two.

508
00:24:08,768 --> 00:24:10,388
How does he make that work?

509
00:24:11,768 --> 00:24:15,348
I tried that, and the trumpet player threw his valve oil at me.

510
00:24:15,408 --> 00:24:16,608
Well, you're not Red Garland.

511
00:24:32,788 --> 00:24:34,968
Damn it. Miles is playing very

512
00:24:35,868 --> 00:24:39,628
St. Louis-style trumpet here. It's swinging

513
00:24:39,768 --> 00:24:42,188
clean though, coming out of Clark Terry.

514
00:24:46,228 --> 00:24:48,248
Technically proficient.

515
00:25:06,168 --> 00:25:08,148
With the bass so high up in the mix, it's like

516
00:25:10,748 --> 00:25:13,288
two melodies going on, Miles' and PC's.

517
00:25:18,268 --> 00:25:19,708
It is. It is like a counterpoint.

518
00:25:19,828 --> 00:25:19,878
Yeah.

519
00:25:19,888 --> 00:25:21,948
And Red's chords are almost like a snare drum hit.

520
00:25:22,028 --> 00:25:22,848
Yeah, exactly.

521
00:25:30,808 --> 00:25:32,228
Oh, coming off of here.

522
00:25:32,488 --> 00:25:34,298
You can hear the coaching from a distance.

523
00:25:34,328 --> 00:25:35,028
From here it comes here.

524
00:25:35,758 --> 00:25:39,388
He's like, "Miles, I got to have something to say."

525
00:25:39,988 --> 00:25:40,328
So great.

526
00:25:40,368 --> 00:25:40,678
Amazing.

527
00:25:40,688 --> 00:25:41,148
One take.

528
00:25:41,248 --> 00:25:41,648
One take.

529
00:25:45,608 --> 00:25:48,148
Yeah. All these tunes have that first-take energy, did you notice that?

530
00:25:50,328 --> 00:25:50,338
Yeah.

531
00:25:50,428 --> 00:25:51,167
Oh, boo-yah.

532
00:25:55,088 --> 00:25:55,848
So many great phrases.

533
00:25:57,188 --> 00:26:00,108
Trane's using a lot of space on here too. A lot of space.

534
00:26:08,188 --> 00:26:09,708
Hey.

535
00:26:10,168 --> 00:26:19,448
Oh.

536
00:26:41,248 --> 00:26:43,228
Man, PC is like a machine on this.

537
00:26:44,388 --> 00:26:45,728
He's like AI baseline.

538
00:26:45,748 --> 00:26:46,358
His whole career.

539
00:26:46,388 --> 00:26:46,928
Just perfection.

540
00:26:47,068 --> 00:26:47,248
AI.

541
00:26:47,868 --> 00:26:48,668
F*****g precious.

542
00:26:49,608 --> 00:26:52,448
Oh.

543
00:26:53,148 --> 00:27:05,968
Oh,

544
00:27:06,808 --> 00:27:07,548
they turn it around.

545
00:27:08,928 --> 00:27:12,188
Hot take, are these albums just the biggest flex in music history?

546
00:27:12,228 --> 00:27:12,328
Yeah.

547
00:27:13,288 --> 00:27:15,748
First takes, four albums, two days.

548
00:27:18,688 --> 00:27:18,828
Oh.

549
00:27:18,908 --> 00:27:19,838
That Ahmad Jamal thing?

550
00:27:19,888 --> 00:27:21,108
Yeah, very Ahmad.

551
00:27:21,728 --> 00:27:23,668
All right. Red Garland is so swinging.

552
00:27:23,888 --> 00:27:24,208
Oh, yeah.

553
00:27:28,408 --> 00:27:29,628
Clarity of language.

554
00:27:30,388 --> 00:27:33,818
Thinness of sound from RVG, but still.

555
00:27:33,858 --> 00:27:34,587
Just fluency.

556
00:27:34,688 --> 00:27:35,228
So good.

557
00:27:36,028 --> 00:27:36,848
Fluency.

558
00:27:39,228 --> 00:27:40,828
Chopping the wood. Uh-huh.

559
00:27:42,068 --> 00:27:44,267
That's a signature of Philly Joe Jones.

560
00:27:47,388 --> 00:27:48,288
Move.

561
00:27:49,688 --> 00:27:50,848
Man, it's kind of

562
00:27:53,128 --> 00:27:55,588
stunning when you think about these records.

563
00:27:57,108 --> 00:28:00,708
You could be like, "Oh, these are simple standards," but they made them standards

564
00:28:01,368 --> 00:28:02,278
for the jazz world now.

565
00:28:02,348 --> 00:28:02,888
Absolutely.

566
00:28:03,828 --> 00:28:07,508
And there's no letdown on any of these solos. There's no lull.

567
00:28:07,548 --> 00:28:08,367
They're all amazing.

568
00:28:08,428 --> 00:28:08,648
Yeah.

569
00:28:08,688 --> 00:28:09,228
They're all good.

570
00:28:09,988 --> 00:28:12,408
Well, there's a couple of really big, but it's mainly just like

571
00:28:13,487 --> 00:28:15,288
you could show up to the gig anytime and you're going to be happy.

572
00:28:17,528 --> 00:28:19,788
It's not like, "Oh, you should've been here for the first set.

573
00:28:19,838 --> 00:28:20,928
That was really killing."

574
00:28:21,008 --> 00:28:22,488
No, everything is a banger.

575
00:28:25,348 --> 00:28:26,808
I always direct new

576
00:28:27,808 --> 00:28:30,468
jazz pianists, like pianists who are getting to the point where like, "I want to

577
00:28:30,508 --> 00:28:32,708
transcribe a solo," transcribe some Red Garland.

578
00:28:33,468 --> 00:28:33,648
Yeah.

579
00:28:33,748 --> 00:28:35,588
So easy to hear and understand.

580
00:28:35,848 --> 00:28:36,028
Yep.

581
00:28:36,048 --> 00:28:37,328
And also, each solo

582
00:28:38,428 --> 00:28:39,648
is a little theory lesson.

583
00:28:40,028 --> 00:28:40,118
Yeah.

584
00:28:40,148 --> 00:28:41,387
Teaches you how to play the changes.

585
00:28:41,468 --> 00:28:41,708
Yeah.

586
00:28:41,928 --> 00:28:42,368
All the bits.

587
00:28:43,068 --> 00:28:46,818
He does the basics so well, in even block chords, which is not necessarily

588
00:28:46,848 --> 00:28:50,628
that basic, but he does it in a very simple, basic way.

589
00:28:51,608 --> 00:28:55,048
Like you were saying, with the Red spreads, and the way he goes in, and the usage

590
00:28:55,148 --> 00:28:55,388
of it.

591
00:28:55,668 --> 00:28:55,978
Yeah.

592
00:28:56,028 --> 00:28:56,968
He's like a tastemaker.

593
00:28:57,088 --> 00:28:57,788
He's a tastemaker.

594
00:28:57,868 --> 00:29:01,448
And it's not just Ahmad Jamal. It's like a

595
00:29:01,468 --> 00:29:02,688
combination of Ahmad Jamal-

596
00:29:03,488 --> 00:29:05,168
Nat King Cole. We got a little Nat King Cole.

597
00:29:05,248 --> 00:29:06,148
Nat King Cole, Erroll Garner.

598
00:29:06,368 --> 00:29:08,588
Bud Powell, for some of that bebop language.

599
00:29:09,408 --> 00:29:09,438
Yeah.

600
00:29:09,438 --> 00:29:09,988
Erroll Garner.

601
00:29:10,068 --> 00:29:10,348
Yeah.

602
00:29:15,548 --> 00:29:17,268
Oh, the way he pulled back on that.

603
00:29:21,888 --> 00:29:22,248
Uh-huh.

604
00:29:22,848 --> 00:29:23,328
Turnaround.

605
00:29:28,928 --> 00:29:31,608
I wish I could hear a little better over the bass, but other than that.

606
00:29:32,268 --> 00:29:36,128
But honestly, and I know this is the RVG, but I wouldn't change a thing.

607
00:29:36,348 --> 00:29:36,428
Yeah.

608
00:29:36,488 --> 00:29:37,278
I wouldn't change a-

609
00:29:37,278 --> 00:29:37,488
No, I agree

610
00:29:37,568 --> 00:29:38,468
... a tone.

611
00:29:38,588 --> 00:29:39,608
I couldn't imagine it being...

612
00:29:41,418 --> 00:29:45,368
Man, some of this stuff is

613
00:29:45,428 --> 00:29:47,688
some of the most copied stuff in modern jazz.

614
00:29:47,788 --> 00:29:48,428
Just by me.

615
00:29:48,588 --> 00:29:48,768
Yeah.

616
00:29:49,188 --> 00:29:49,508
All of us.

617
00:29:50,708 --> 00:29:50,948
Oh.

618
00:29:51,888 --> 00:29:53,728
Red Garland, nobody does that octave like Red.

619
00:29:53,788 --> 00:29:53,798
No.

620
00:29:53,868 --> 00:29:54,038
Or PC.

621
00:29:54,148 --> 00:29:57,988
Okay. Another great studio chatter is the beginning, and this is

622
00:29:58,088 --> 00:29:58,628
legendary.

623
00:29:58,688 --> 00:29:59,328
This is classic.

624
00:29:59,408 --> 00:30:01,708
The beginning to "You're My Everything" with the false start.

625
00:30:04,712 --> 00:30:06,832
You're on my everything, Red. Hold on.

626
00:30:07,492 --> 00:30:10,412
When you see red light on, everybody's supposed to be quiet.

627
00:30:10,512 --> 00:30:12,832
Everybody's supposed to be quiet. You're costing tape then.

628
00:30:15,092 --> 00:30:15,732
We go, Miles.

629
00:30:15,972 --> 00:30:16,472
All right.

630
00:30:20,892 --> 00:30:21,752
A killing intro.

631
00:30:23,752 --> 00:30:25,052
Play some block chords, Red.

632
00:30:25,512 --> 00:30:26,172
Block chords.

633
00:30:26,672 --> 00:30:27,212
All right, Rudy.

634
00:30:28,052 --> 00:30:29,092
Block chords are in.

635
00:30:36,772 --> 00:30:49,392
Ah.

636
00:30:51,892 --> 00:30:53,132
And like, PC just playing.

637
00:30:54,852 --> 00:30:55,652
Do we have any bourbon here?

638
00:30:56,232 --> 00:30:57,692
I know. No, sir.

639
00:30:59,252 --> 00:30:59,772
Bourbon.

640
00:31:03,352 --> 00:31:04,272
Oh, those double stops.

641
00:31:08,172 --> 00:31:10,532
And Philly Joe's choices of what not to play here.

642
00:31:19,092 --> 00:31:20,232
This is very romantic.

643
00:31:23,192 --> 00:31:27,052
Damn.

644
00:31:28,912 --> 00:31:31,132
What a tune, too. "You're My Everything."

645
00:31:32,432 --> 00:31:34,532
Harry Warren. Or sorry, Harry Warren, excuse me.

646
00:31:48,012 --> 00:31:49,432
PC's just basically playing chords.

647
00:31:49,712 --> 00:31:49,972
Yeah.

648
00:31:51,132 --> 00:31:54,132
I know. PC's overplaying, but it works.

649
00:31:54,532 --> 00:31:56,752
That's when you know you're a great bass player.

650
00:31:57,012 --> 00:31:57,112
Right.

651
00:31:58,012 --> 00:32:00,792
And at the beginning, at first, he's just kind of like, boom, then he's finding it.

652
00:32:01,472 --> 00:32:01,912
But it's just...

653
00:32:04,052 --> 00:32:06,172
Any other tracks from "Relaxin'" that you've got to--

654
00:32:07,012 --> 00:32:08,272
Honestly, the whole "Relaxin'"-

655
00:32:08,412 --> 00:32:11,011
Well, if you want, we can wait because my apex moment-

656
00:32:11,032 --> 00:32:11,382
Okay. That's great

657
00:32:11,382 --> 00:32:12,112
... is going to come back.

658
00:32:12,872 --> 00:32:14,042
We'll get to the next one, which is-

659
00:32:14,052 --> 00:32:16,312
But wait. Actually, can we first, there's some good...

660
00:32:18,072 --> 00:32:21,432
Can we listen just to the top? Okay, so I'm obsessed with the studio chatter on

661
00:32:21,472 --> 00:32:21,832
this record.

662
00:32:21,852 --> 00:32:22,192
It's amazing.

663
00:32:22,252 --> 00:32:23,232
I think it's some of the best stuff.

664
00:32:23,292 --> 00:32:23,322
So we-

665
00:32:23,372 --> 00:32:26,502
By the way, this was the only one that had the studio chatter in the original,

666
00:32:26,632 --> 00:32:26,752
right?

667
00:32:27,992 --> 00:32:31,492
Yes. I think there was a little bit at the end on some things on the other ones.

668
00:32:31,512 --> 00:32:31,632
Okay.

669
00:32:31,652 --> 00:32:33,762
But the only ones with these extended ones at the beginning.

670
00:32:33,812 --> 00:32:34,272
Because that-

671
00:32:34,521 --> 00:32:36,632
"The Blues by Five," that wasn't original.

672
00:32:36,852 --> 00:32:37,052
Yeah.

673
00:32:37,112 --> 00:32:37,292
Yeah.

674
00:32:37,452 --> 00:32:37,672
No, but

675
00:32:38,592 --> 00:32:40,372
on the "If I Were a Bell."

676
00:32:40,472 --> 00:32:41,312
Oh, yeah, that was always there.

677
00:32:41,372 --> 00:32:42,992
I'll play it and tell you what it is later.

678
00:32:43,112 --> 00:32:43,482
Because like-

679
00:32:43,532 --> 00:32:44,812
Man, I'm going to tell you, that, sorry.

680
00:32:44,832 --> 00:32:47,732
There's a Honda commercial where he says that, so it must've been a thing.

681
00:32:47,772 --> 00:32:48,422
Like in the '80s.

682
00:32:48,532 --> 00:32:48,992
Miles said it.

683
00:32:49,072 --> 00:32:49,232
Yeah.

684
00:32:49,552 --> 00:32:53,172
Yeah, that's cool. But that, can you play it one more time, just that first part?

685
00:32:54,432 --> 00:32:56,152
I'll play it and tell you what it is later.

686
00:32:57,632 --> 00:32:58,432
Okay, so

687
00:32:59,552 --> 00:33:00,292
this, and then the

688
00:33:02,212 --> 00:33:06,032
way he counts that off, that was so inspiring to me when I first heard

689
00:33:06,052 --> 00:33:09,312
this record. I don't know why. There's something, and

690
00:33:09,352 --> 00:33:13,252
this was a very early record for me when I got into jazz, but I'd definitely heard

691
00:33:13,292 --> 00:33:17,112
other stuff. But I'd never heard a jazz musician talking

692
00:33:17,872 --> 00:33:18,552
on a record.

693
00:33:18,692 --> 00:33:18,812
Yeah.

694
00:33:19,772 --> 00:33:20,452
It was like a ghost.

695
00:33:20,672 --> 00:33:20,742
Yeah.

696
00:33:20,772 --> 00:33:21,912
Even though Miles was still alive then.

697
00:33:21,952 --> 00:33:22,812
Yeah.

698
00:33:23,432 --> 00:33:26,472
And I actually saw him live not that long after, and then I got to meet him.

699
00:33:26,692 --> 00:33:30,552
But, the thing about it was, something about even the way

700
00:33:30,612 --> 00:33:31,332
that hi-hat,

701
00:33:32,192 --> 00:33:34,532
because you hear all the music that comes later.

702
00:33:35,081 --> 00:33:38,602
And so, the only other reference point I had for that as I started to get into this

703
00:33:38,632 --> 00:33:42,592
music was live records. And I think that this very much falls

704
00:33:42,612 --> 00:33:46,172
in the pantheon, live at the Black Hawk, live at the Plugged Nickel, where you see.

705
00:33:46,472 --> 00:33:50,392
But they're not talking. And Miles was not talking at all on those records in terms

706
00:33:50,432 --> 00:33:54,012
of announcing. There was a little bit maybe, or like live at Carnegie Hall and

707
00:33:54,072 --> 00:33:57,972
these different things. But something about the humanity of that and the way the

708
00:33:58,032 --> 00:34:00,122
elegance of how that can go right into the recording.

709
00:34:00,172 --> 00:34:04,112
It's not shtick or anything. It's just, you see

710
00:34:04,132 --> 00:34:07,972
the flow of the recording. You could imagine, because

711
00:34:08,033 --> 00:34:10,922
it's got that first-take energy, and then you find out later as you research it,

712
00:34:11,212 --> 00:34:13,013
"Oh, these were all first takes." They were the only takes.

713
00:34:13,513 --> 00:34:15,692
But the confidence, and

714
00:34:16,632 --> 00:34:18,993
that's just something that's always inspired me when I'm in the studio.

715
00:34:19,013 --> 00:34:21,263
It's like I want to be able to just be like, "Oh, okay, we're playing.

716
00:34:21,553 --> 00:34:24,151
Bam, you're on." And it's not like, "Okay, come on, guys, we've got to do this."

717
00:34:24,232 --> 00:34:26,132
It's just like, "All right. Let's go.

718
00:34:26,312 --> 00:34:26,752
Let's do it."

719
00:34:26,763 --> 00:34:29,572
"Time for it." The professionalism of it. That's what struck me.

720
00:34:29,612 --> 00:34:31,152
I was like, "Damn, how do they do that?"

721
00:34:31,692 --> 00:34:34,832
Some of my most favorite moments are with musicians who,

722
00:34:35,592 --> 00:34:37,502
when the red light is on, they are on.

723
00:34:37,812 --> 00:34:38,092
Yeah.

724
00:34:38,132 --> 00:34:41,392
And it's like, I'll never forget the first professional recording session I was on.

725
00:34:42,292 --> 00:34:46,152
I made a mistake in a chart, and I was just doing the arrangement.

726
00:34:46,312 --> 00:34:50,192
So, I just made an arrangement that had a mistake in it, and I got vibed hard by

727
00:34:50,232 --> 00:34:53,982
these really great pros. And I won't name names, but they're great people that

728
00:34:54,072 --> 00:34:54,502
you've heard of.

729
00:34:54,752 --> 00:34:55,412
Quincy Jones.

730
00:34:55,533 --> 00:34:55,842
And-

731
00:34:56,132 --> 00:34:56,982
Rod Temperton

732
00:34:56,993 --> 00:34:59,392
... and they were right because they were like, "Time is money," and they were

733
00:34:59,412 --> 00:35:02,482
there to do this session, and then serve the music, and you've got to be on your

734
00:35:02,572 --> 00:35:02,812
stuff.

735
00:35:02,912 --> 00:35:04,472
12-year-old Adam was like, "Sorry, guys."

736
00:35:04,532 --> 00:35:04,582
It

737
00:35:06,312 --> 00:35:08,692
pushed me to never have that feeling again, for sure.

738
00:35:08,792 --> 00:35:12,472
You know what I mean? But it's a great feel. I honestly love the first take, man.

739
00:35:12,632 --> 00:35:15,472
I love the feeling of freshness and newness.

740
00:35:15,512 --> 00:35:19,392
And if you can do it, and, it's not like it's perfect.

741
00:35:19,422 --> 00:35:20,112
We did it yesterday, didn't we?

742
00:35:20,312 --> 00:35:20,552
We did.

743
00:35:20,612 --> 00:35:20,851
Yeah.

744
00:35:20,872 --> 00:35:24,412
It's not like it's perfect playing, like where everything's perfect.

745
00:35:24,552 --> 00:35:24,612
No.

746
00:35:24,672 --> 00:35:25,052
You know what I mean?

747
00:35:25,102 --> 00:35:25,162
Yeah.

748
00:35:25,452 --> 00:35:28,732
You've got to be able to just take some mistakes with that first take because-

749
00:35:28,752 --> 00:35:28,942
But-

750
00:35:29,052 --> 00:35:31,092
Or just imperfections, not mistakes.

751
00:35:31,132 --> 00:35:32,102
You know what's interesting? Yeah.

752
00:35:32,112 --> 00:35:35,922
It's not perfect, but these, I think every one, some of these tracks I

753
00:35:36,072 --> 00:35:37,712
know better than the others, but I've heard them all a lot.

754
00:35:38,392 --> 00:35:42,072
I think these tracks, these two sessions, these four records from two sessions,

755
00:35:42,652 --> 00:35:44,832
I think they're kind of more perfect.

756
00:35:45,202 --> 00:35:48,452
They're not perfect, but I think they have less mistakes

757
00:35:48,592 --> 00:35:51,842
than definitely they have any business having, being all first takes.

758
00:35:51,972 --> 00:35:55,482
That's the amazing thing. But I think it's less than even "Kind of Blue." "Kind of

759
00:35:55,532 --> 00:35:56,242
Blue's" got some-

760
00:35:56,412 --> 00:35:57,272
Yeah, absolutely

761
00:35:57,282 --> 00:35:58,472
... some wonderful mistakes.

762
00:35:58,552 --> 00:35:59,532
A lot of those are first takes.

763
00:36:00,452 --> 00:36:03,752
Yeah, that's true. Well, right. But they did multiple takes, I think, on

764
00:36:03,892 --> 00:36:04,132
everything.

765
00:36:04,152 --> 00:36:04,492
They did two or three.

766
00:36:04,572 --> 00:36:08,352
Yeah. But, these, I think, no, because they said they only had

767
00:36:08,432 --> 00:36:11,662
time to do one, and that was the plan, like, "We're going to go in and knock this

768
00:36:11,732 --> 00:36:14,652
out." Now, they're a working band. They're doing club dates for months at a time.

769
00:36:14,682 --> 00:36:16,032
Yeah, they're probably playing all these songs-

770
00:36:16,092 --> 00:36:17,622
... live all the time, right? It's not like he's just-

771
00:36:17,642 --> 00:36:20,372
But in general, some of these solos, and we're going to get to that on my apex

772
00:36:20,432 --> 00:36:24,372
moment, are like-Perfect solos, one after another, where you're like,

773
00:36:24,381 --> 00:36:25,342
"I wouldn't change a thing on that."

774
00:36:25,452 --> 00:36:25,812
Now.

775
00:36:25,872 --> 00:36:28,132
And the comping, everything is like-

776
00:36:28,172 --> 00:36:28,502
Everything is great

777
00:36:28,502 --> 00:36:30,892
... it seems like it was pieced together like a mosaic.

778
00:36:30,952 --> 00:36:34,152
Oh, put this there, and it was. But it was done in real time. In the studio.

779
00:36:34,272 --> 00:36:34,352
Yeah.

780
00:36:34,572 --> 00:36:35,012
In the studio.

781
00:36:35,132 --> 00:36:35,391
Cool.

782
00:36:36,692 --> 00:36:37,591
Okay.

783
00:36:37,731 --> 00:36:37,822
Next up.

784
00:36:37,832 --> 00:36:40,682
So we're going to come back to, we'll come back to some on this.

785
00:36:40,792 --> 00:36:40,952
Okay.

786
00:36:41,052 --> 00:36:41,212
Yeah.

787
00:36:42,172 --> 00:36:43,352
Next up is Workin! This was the-

788
00:36:43,392 --> 00:36:45,652
Oh, wait. But there's some more good chatter in here. Sorry.

789
00:36:45,772 --> 00:36:46,492
Oh, yeah. What's the chatter?

790
00:36:46,552 --> 00:36:49,412
Okay, so go to, well, the beginning of Oleo.

791
00:36:49,832 --> 00:36:50,952
So the beginning of Oleo is great.

792
00:36:57,172 --> 00:36:58,322
I love Philly Joe's pattern.

793
00:37:00,212 --> 00:37:01,252
It's like you're getting-

794
00:37:01,432 --> 00:37:02,032
1,001.

795
00:37:02,812 --> 00:37:04,492
Hit the red light. Let's go.

796
00:37:04,572 --> 00:37:05,132
Turn red light.

797
00:37:05,192 --> 00:37:06,192
Number one.

798
00:37:07,132 --> 00:37:07,442
Number one.

799
00:37:07,472 --> 00:37:08,132
Just like we did before?

800
00:37:08,292 --> 00:37:11,612
Yeah, watch the tempo, Paul, will you?

801
00:37:11,692 --> 00:37:12,932
Yeah, let's keep it up there.

802
00:37:13,092 --> 00:37:14,832
Keep it up there.

803
00:37:15,892 --> 00:37:16,012
Oh.

804
00:37:21,592 --> 00:37:23,452
That's a great trumpet sound. Recording,

805
00:37:25,192 --> 00:37:25,971
I mean.

806
00:37:26,052 --> 00:37:26,692
This is classic.

807
00:37:26,732 --> 00:37:28,952
They're phrasing it exactly together.

808
00:37:30,732 --> 00:37:33,272
Swing activated. Bud Powell stuff.

809
00:37:33,512 --> 00:37:34,952
Very. Very Bud.

810
00:37:42,612 --> 00:37:43,552
Okay, we can come back to this.

811
00:37:43,672 --> 00:37:45,052
That apex. Yeah.

812
00:37:45,932 --> 00:37:46,472
It's crazy.

813
00:37:46,532 --> 00:37:46,632
Yeah.

814
00:37:46,692 --> 00:37:47,352
It's crazy.

815
00:37:47,432 --> 00:37:47,552
Yeah.

816
00:37:47,672 --> 00:37:49,312
It's good to hear them

817
00:37:50,472 --> 00:37:52,032
address things like keep the tempo up.

818
00:37:52,272 --> 00:37:52,532
Yeah.

819
00:37:52,752 --> 00:37:54,252
These are five masters.

820
00:37:54,332 --> 00:37:57,672
Oh, that's actually the biggest, if you want to find mistakes, there's a lot of

821
00:37:57,712 --> 00:37:59,032
tempo fluctuation on these records.

822
00:37:59,112 --> 00:37:59,392
Yeah.

823
00:37:59,412 --> 00:38:01,532
And I don't think it ever gets in the way of the music somehow.

824
00:38:01,752 --> 00:38:01,952
Yeah.

825
00:38:02,112 --> 00:38:05,312
There's one, I think it's Ahmad's Blues or Blues Backbeat, one of those blues slows

826
00:38:05,352 --> 00:38:08,272
way down, but it's so gradual that you never notice it.

827
00:38:08,332 --> 00:38:08,852
Yeah.

828
00:38:10,192 --> 00:38:10,432
Cool.

829
00:38:10,832 --> 00:38:10,922
Cool, cool, cool.

830
00:38:10,942 --> 00:38:12,712
Apparently, they were not recording to the click track.

831
00:38:12,732 --> 00:38:14,492
They did not use a click on these albums.

832
00:38:15,552 --> 00:38:18,352
The next one of these albums to get released was Workin!

833
00:38:18,362 --> 00:38:18,372
Oh, that's another great start.

834
00:38:18,412 --> 00:38:21,172
With the Miles Davis Quintet, released December

835
00:38:21,272 --> 00:38:24,212
1959. Another Miles Davis album.

836
00:38:24,232 --> 00:38:27,092
And that was a long time to hold off three years, at that time.

837
00:38:27,112 --> 00:38:29,092
Every stuff was getting released two months later.

838
00:38:29,152 --> 00:38:29,412
Yeah.

839
00:38:30,312 --> 00:38:31,392
"It never entered my mind."

840
00:38:38,732 --> 00:38:39,292
Just...

841
00:38:41,612 --> 00:38:42,852
Absolute heartbreaker.

842
00:38:42,952 --> 00:38:43,132
Yeah.

843
00:38:45,512 --> 00:38:47,392
Okay, can we pause it there for just a second? We got to.

844
00:38:47,432 --> 00:38:47,692
No, we

845
00:38:48,532 --> 00:38:50,692
get to hear it twice, see? Wait, no, pause. You don't have to...

846
00:38:50,962 --> 00:38:54,932
Okay, let's talk about the intro. Apologies, we're a little out of tune with

847
00:38:54,972 --> 00:38:55,232
each other.

848
00:38:57,292 --> 00:39:01,172
I never really... These things

849
00:39:01,212 --> 00:39:03,162
that are actually way simpler than you think they are.

850
00:39:03,172 --> 00:39:04,412
Don't be snobby about a major triad.

851
00:39:04,572 --> 00:39:05,132
Yeah.

852
00:39:09,092 --> 00:39:10,932
Man, just the simplicity, the beauty of it. Okay.

853
00:39:11,121 --> 00:39:11,512
It's awesome.

854
00:39:11,532 --> 00:39:13,152
This makes it so we get to hear it twice now.

855
00:39:13,352 --> 00:39:13,552
Okay.

856
00:39:13,692 --> 00:39:13,832
See?

857
00:39:15,172 --> 00:39:16,592
Don't get fended. You good?

858
00:39:16,992 --> 00:39:17,152
Yeah.

859
00:39:17,932 --> 00:39:19,112
All right. I put the oh in fended.

860
00:39:21,272 --> 00:39:21,751
Is there a little...

861
00:39:22,612 --> 00:39:23,792
Oh, no, it's the left hand he's dialing.

862
00:39:30,592 --> 00:39:30,872
It's very

863
00:39:32,152 --> 00:39:32,752
cinematic.

864
00:39:37,572 --> 00:39:37,812
Oh,

865
00:39:38,772 --> 00:39:41,332
PC making the perfect choice.

866
00:39:44,692 --> 00:40:05,532
"It

867
00:40:05,632 --> 00:40:07,412
never entered my mind."

868
00:40:09,032 --> 00:40:10,312
They go back, they commit to that.

869
00:40:13,312 --> 00:40:14,692
Oh.

870
00:40:15,442 --> 00:40:17,172
Ka, ka,

871
00:40:17,182 --> 00:40:19,772
ka.

872
00:40:24,032 --> 00:40:25,392
Four, one.

873
00:40:26,932 --> 00:40:31,992
"It

874
00:40:35,232 --> 00:40:38,952
never

875
00:40:39,012 --> 00:40:40,932
entered my mind."

876
00:40:46,232 --> 00:40:50,072
Miles took a lot of

877
00:40:50,092 --> 00:40:52,792
liberty with the chords on this. He rearranged it a lot.

878
00:40:54,192 --> 00:40:54,472
Oh.

879
00:41:26,472 --> 00:41:28,732
Were musicians just better back then? Is that what it was?

880
00:41:29,172 --> 00:41:29,372
Yes.

881
00:41:31,512 --> 00:41:33,992
These weren't old guys. They're 30 years old.

882
00:41:34,062 --> 00:41:34,992
30 years old. Yeah, no, they were great.

883
00:41:36,312 --> 00:41:37,392
They're playing like old dudes.

884
00:41:37,892 --> 00:41:38,522
I mean, I could-

885
00:41:38,612 --> 00:41:42,412
And they're playing with the expectation that everyone's going to do

886
00:41:42,452 --> 00:41:46,252
something beautiful throughout the whole damn track, and then they do that.

887
00:41:46,332 --> 00:41:46,602
And then they do.

888
00:41:46,772 --> 00:41:50,272
There's no like, "Oh, are we going to do something cool?" It's just like, "No,

889
00:41:50,752 --> 00:41:53,092
we got it." They're really playing like old people.

890
00:41:53,452 --> 00:41:54,812
They're grownups doing grownup things.

891
00:41:54,852 --> 00:41:55,752
They're doing grownup things.

892
00:41:56,232 --> 00:41:59,832
Next up on this album is- ... this became a standard. Four.

893
00:42:03,212 --> 00:42:04,872
Does Philly play confidently? I can't remember.

894
00:42:05,412 --> 00:42:05,752
Yes.

895
00:42:07,312 --> 00:42:07,772
I mean.

896
00:42:08,092 --> 00:42:08,752
Yeah. Yes.

897
00:42:12,052 --> 00:42:14,072
Da, da, da, da. Da, da, da. Da, da, da. Da, da.

898
00:42:15,212 --> 00:42:17,512
This is a Miles Davis original. Is this by Miles?

899
00:42:17,872 --> 00:42:18,282
Or is this one he-

900
00:42:18,332 --> 00:42:20,132
Well, Sonny Vincent claims he wrote it.

901
00:42:20,352 --> 00:42:22,212
Yeah. But it's got Miles on it.

902
00:42:22,812 --> 00:42:24,732
Oh, it reminds me of some Bill Evans compositions.

903
00:42:24,832 --> 00:42:27,692
I mean, Miles Davis compositions. And Sonny Rollins.

904
00:42:46,022 --> 00:42:46,742
Ha. Ba-da.

905
00:42:48,502 --> 00:42:48,842
Swing.

906
00:42:49,942 --> 00:42:50,461
Time to swing.

907
00:42:53,682 --> 00:42:54,461
Boom. Roasted.

908
00:42:54,742 --> 00:42:55,832
These albums are-

909
00:42:57,222 --> 00:43:00,442
These are like jam session records. It's just like the greatest jam session ever.

910
00:43:00,802 --> 00:43:04,562
But they are what I think people who think we don't know about

911
00:43:04,622 --> 00:43:06,222
jazz, this is what jazz sounds like.

912
00:43:06,422 --> 00:43:06,682
Right.

913
00:43:07,062 --> 00:43:07,522
Sounds like this.

914
00:43:08,282 --> 00:43:10,802
Well, I don't know about that. If that was the case, everyone would love jazz.

915
00:43:12,122 --> 00:43:13,702
They should. They should start here.

916
00:43:13,742 --> 00:43:16,422
These are great albums to give people as a starting point.

917
00:43:16,522 --> 00:43:17,082
Absolutely.

918
00:43:17,142 --> 00:43:17,612
Almost better than-

919
00:43:17,622 --> 00:43:18,242
Gateway drugs

920
00:43:18,342 --> 00:43:20,502
... "Kind of Blue" is such a singular album.

921
00:43:20,622 --> 00:43:20,782
Yeah.

922
00:43:20,922 --> 00:43:24,782
It's so its own thing. But these are a great entrée

923
00:43:24,862 --> 00:43:27,942
into what you're going to get with the best of jazz.

924
00:43:28,122 --> 00:43:29,942
Yeah. But don't you feel a little like that,

925
00:43:30,822 --> 00:43:34,762
especially some of the ballads on here, they're very closely

926
00:43:35,162 --> 00:43:39,022
more connected, except for the production, the sound, even of

927
00:43:39,082 --> 00:43:43,022
Miles. That's the main separation between that and "Kind of Blue." Miles is very

928
00:43:43,102 --> 00:43:46,792
much, it's not like, people make it like, "Oh, Kind of Blue, Miles started

929
00:43:46,882 --> 00:43:48,802
playing modal." He was already doing that on here.

930
00:43:49,822 --> 00:43:53,442
But that record has such a distinctive sound and concept, but to me, Miles is

931
00:43:53,482 --> 00:43:57,142
already there in terms of the beautiful phrasing, the Harmon mute, the ability to

932
00:43:57,182 --> 00:43:59,462
connect with the audience, like on a gateway level.

933
00:43:59,492 --> 00:43:59,882
Yeah. No, that's true.

934
00:43:59,902 --> 00:44:00,802
With the beauty of it.

935
00:44:00,832 --> 00:44:01,642
It's true.

936
00:44:02,382 --> 00:44:03,902
And it's a different kind of swing.

937
00:44:04,042 --> 00:44:04,492
It's a different kind of swing.

938
00:44:04,502 --> 00:44:07,442
It's a different kind of swing. That's that Jimmy Cobb,

939
00:44:08,642 --> 00:44:11,652
Philly Joe Jones. That's that beautiful diversity of approaches that Miles-

940
00:44:11,682 --> 00:44:12,382
Great take of,

941
00:44:13,622 --> 00:44:14,262
Dave Brubeck's-

942
00:44:14,372 --> 00:44:15,682
... "In Your Own Sweet Way."

943
00:44:15,742 --> 00:44:17,261
Yeah.

944
00:44:18,922 --> 00:44:19,282
Man.

945
00:44:20,922 --> 00:44:24,382
Philly comes in late on a bunch of stuff, and I'm here for it every time.

946
00:44:24,482 --> 00:44:24,702
I know.

947
00:44:24,742 --> 00:44:27,362
The way he does it is so cool, man.

948
00:44:30,922 --> 00:44:31,342
Oh.

949
00:44:33,242 --> 00:44:34,282
I think they're listening to each other.

950
00:44:37,742 --> 00:44:38,502
Trane's solo on this.

951
00:44:38,542 --> 00:44:39,261
Oh, so great.

952
00:44:41,222 --> 00:44:42,202
And Miles is,

953
00:44:43,582 --> 00:44:47,022
he's already at his technical peak, I think. He maintained it for a while.

954
00:44:48,862 --> 00:44:49,882
Especially with the Harmon. Mm.

955
00:45:19,362 --> 00:45:23,042
Suss. Let's suss it out, baby.

956
00:45:28,842 --> 00:45:31,502
Trane with that almost no vibrato.

957
00:45:33,222 --> 00:45:34,602
Right? Just playing the note.

958
00:45:37,702 --> 00:45:38,122
Presto!

959
00:45:42,302 --> 00:45:42,602
Oh.

960
00:45:51,322 --> 00:45:52,942
Just using the melody to start the solo.

961
00:45:53,162 --> 00:45:57,072
Yeah. Man, for them to record so many tunes in a day,

962
00:45:57,142 --> 00:46:00,462
it's kind of stunning too, that's what I'm saying, the

963
00:46:00,502 --> 00:46:02,182
consistency of these.

964
00:46:02,502 --> 00:46:02,552
Yeah.

965
00:46:02,782 --> 00:46:05,262
You would think you record all that, a certain thing, you'd be like, you wouldn't

966
00:46:05,282 --> 00:46:07,922
really be locked in. They're hitting a high level.

967
00:46:07,982 --> 00:46:09,782
But that's also the great thing about doing one take.

968
00:46:10,162 --> 00:46:13,582
If you can nail it, now you're saving your energy to be able to do twice, three

969
00:46:13,662 --> 00:46:16,082
times as much material. Which is basically what they did.

970
00:46:16,862 --> 00:46:20,222
But there's some other stuff. Before this, Miles was, they used to do three

971
00:46:20,262 --> 00:46:23,542
recording sessions in a day. Literally three records in a day sometimes.

972
00:46:25,042 --> 00:46:28,882
But they was shorter. That was the 10 inch instead of the, this was the 12 inch.

973
00:46:30,842 --> 00:46:33,982
All right. Do we want to listen to anything else on Workin'? Workin's great.

974
00:46:34,142 --> 00:46:35,042
There's so much.

975
00:46:35,082 --> 00:46:35,322
The Miles blues.

976
00:46:35,382 --> 00:46:38,722
All of these. The only drag about doing all four albums in an

977
00:46:39,122 --> 00:46:41,262
episode is we can't actually listen to all like-

978
00:46:41,442 --> 00:46:41,582
Yeah

979
00:46:41,642 --> 00:46:42,882
... 30 something tracks or whatever.

980
00:46:42,892 --> 00:46:43,992
You want to move on to Steamin'? That's the fourth.

981
00:46:44,022 --> 00:46:47,781
Let's go on to Steamin'. The last one. This was released in August '61.

982
00:46:47,881 --> 00:46:49,472
Dude, this is like another generation now.

983
00:46:49,482 --> 00:46:50,821
Like five years after they recorded.

984
00:46:50,831 --> 00:46:51,881
The Beatles are out by now.

985
00:46:52,002 --> 00:46:54,532
I know. It's crazy. And this does start-

986
00:46:54,552 --> 00:46:55,942
Jazz is dead by this time.

987
00:46:57,282 --> 00:47:01,202
This does start, by the way, Miles talks about this too, about this string

988
00:47:01,222 --> 00:47:04,862
of albums. He says that this band and these albums made him famous.

989
00:47:05,222 --> 00:47:05,302
Yeah.

990
00:47:05,382 --> 00:47:08,492
They made him well-known to a wider

991
00:47:08,562 --> 00:47:10,702
audience. They made his music-

992
00:47:11,082 --> 00:47:13,102
Did you say wider or whiter? Because it was both.

993
00:47:13,162 --> 00:47:13,742
It was both.

994
00:47:13,882 --> 00:47:14,162
It was.

995
00:47:14,182 --> 00:47:14,452
But-

996
00:47:14,482 --> 00:47:15,122
He talks about that.

997
00:47:15,242 --> 00:47:15,942
Yeah, he talks about that.

998
00:47:15,982 --> 00:47:16,012
Yeah.

999
00:47:16,072 --> 00:47:18,622
And it just made him a superstar.

1000
00:47:18,702 --> 00:47:21,402
This is when he got with the first really big booking agents.

1001
00:47:21,482 --> 00:47:21,682
Yeah.

1002
00:47:22,062 --> 00:47:24,412
I mean, he had played and toured a lot, but this was like him.

1003
00:47:25,342 --> 00:47:25,942
This was him.

1004
00:47:26,062 --> 00:47:26,072
Superstar.

1005
00:47:26,082 --> 00:47:27,262
He's now Miles.

1006
00:47:27,422 --> 00:47:27,702
Yeah.

1007
00:47:27,782 --> 00:47:31,622
After they record, he walks out of that second session, and he is now Miles.

1008
00:47:31,642 --> 00:47:35,322
With this band and this music, and then he's releasing stuff on Columbia.

1009
00:47:35,392 --> 00:47:36,901
This whole time too, Peter. By the way, also-

1010
00:47:36,962 --> 00:47:37,912
Big records. Big records

1011
00:47:37,962 --> 00:47:40,482
... like '57, Birth of the Cool, the whole album-

1012
00:47:40,522 --> 00:47:40,532
I know

1013
00:47:40,542 --> 00:47:41,882
... finally gets released, all those-

1014
00:47:42,142 --> 00:47:42,402
Right, 10 years later.

1015
00:47:42,462 --> 00:47:44,642
There's ten inches, speaking of those. 10 years later.

1016
00:47:44,742 --> 00:47:47,722
So he's having this moment in the late '50s, obviously.

1017
00:47:48,282 --> 00:47:51,192
I don't think they would, one thing they weren't great at in the record industry

1018
00:47:51,302 --> 00:47:53,901
back then was exclusive contracts. They hadn't mastered that concept.

1019
00:47:54,422 --> 00:47:58,092
Listen, if you go to Miles Davis' discography, it's like during this time, it's

1020
00:47:58,122 --> 00:48:00,452
like Prestige was releasing one, Columbia's releasing one.

1021
00:48:00,452 --> 00:48:00,902
Yeah. Dial.

1022
00:48:00,932 --> 00:48:02,042
Dial. Yeah, exactly.

1023
00:48:02,462 --> 00:48:02,862
Random.

1024
00:48:03,042 --> 00:48:05,362
It's all these rando labels that are releasing-

1025
00:48:05,542 --> 00:48:05,552
Yeah

1026
00:48:05,552 --> 00:48:08,052
... Miles Davis albums. Had to saturate the market a little.

1027
00:48:08,082 --> 00:48:12,002
And then he played on at least one Blue, well, that was, no, that

1028
00:48:12,042 --> 00:48:12,162
was-

1029
00:48:12,302 --> 00:48:13,322
Cannonball's something else?

1030
00:48:13,542 --> 00:48:14,582
Oh, that was Cannonball's record. That's right.

1031
00:48:14,662 --> 00:48:15,222
That was Blue Note.

1032
00:48:15,302 --> 00:48:15,502
Blue Note.

1033
00:48:15,542 --> 00:48:15,961
That was Blue Note.

1034
00:48:16,022 --> 00:48:16,242
Yeah.

1035
00:48:17,422 --> 00:48:20,662
So we talked about "Ahmad Jamal" and "'Surrey with the Fringe on Top'."

1036
00:48:20,742 --> 00:48:23,882
We listened to that a little bit. That is what starts out the

1037
00:48:23,942 --> 00:48:27,762
final recording here of Steamin' with the Miles

1038
00:48:27,802 --> 00:48:29,762
Davis Quintet. Again, released August 1961.

1039
00:48:32,022 --> 00:48:33,062
Another Red Garland intro.

1040
00:48:33,102 --> 00:48:34,302
Yeah. He starts every record.

1041
00:48:35,382 --> 00:48:36,702
Starts pretty much every tune, also.

1042
00:48:39,746 --> 00:48:41,146
This is from the musical "Oklahoma!"

1043
00:48:42,306 --> 00:48:42,526
Which,

1044
00:48:43,606 --> 00:48:44,306
Lorenz Hart-

1045
00:48:44,946 --> 00:48:46,106
Not, I am not a fan.

1046
00:48:46,166 --> 00:48:49,466
Was not a fan of. If you ever saw the film "Blue Moon."

1047
00:48:49,566 --> 00:48:51,356
Neither was, Ethan Hawke was not a fan, either.

1048
00:48:51,356 --> 00:48:55,246
Incredible. Just the whole movie, him just s******g on Oklahoma is great.

1049
00:48:56,166 --> 00:48:57,946
It's a corny song, with the words.

1050
00:48:58,226 --> 00:49:00,036
Yeah, with the words, but this is not corny.

1051
00:49:00,326 --> 00:49:01,266
Ahmad did it up.

1052
00:49:03,086 --> 00:49:04,226
Chicks and ducks and geese.

1053
00:49:04,926 --> 00:49:05,266
Listen.

1054
00:49:06,886 --> 00:49:09,066
Red. Just doing those tenths down there.

1055
00:49:11,406 --> 00:49:11,686
Woo.

1056
00:49:13,026 --> 00:49:14,696
There's a lot of subtle arrangement.

1057
00:49:14,746 --> 00:49:18,096
Like, you think, oh, they're just playing it like a jam session, but there's a lot

1058
00:49:18,126 --> 00:49:18,826
of arrangement.

1059
00:49:19,006 --> 00:49:19,956
Even on the ballads, like-

1060
00:49:19,986 --> 00:49:20,276
Oh, yeah

1061
00:49:20,466 --> 00:49:24,166
... "You Are My Everything," it's very sophisticated arrangement.

1062
00:49:24,286 --> 00:49:24,906
Very simple.

1063
00:49:25,006 --> 00:49:28,576
Yeah. Oh, what's that blues they end on this hymn, I forget, on the end of one of

1064
00:49:28,606 --> 00:49:30,306
those blues, they end on this, like, hymn vibe.

1065
00:49:30,356 --> 00:49:31,056
"Beard Blues?"

1066
00:49:31,356 --> 00:49:32,296
"The Trane Blues?" I think.

1067
00:49:32,296 --> 00:49:33,446
It might be "The Trane Blues," yeah.

1068
00:49:34,346 --> 00:49:34,566
Uh.

1069
00:49:36,086 --> 00:49:36,566
Like this?

1070
00:49:39,986 --> 00:49:42,985
That little counterpoint line.

1071
00:49:50,646 --> 00:49:52,946
We'll see. Do you think they have, like, three-six-fives on this record?

1072
00:49:55,226 --> 00:49:55,966
And solo breaks?

1073
00:49:57,906 --> 00:49:58,286
Oh, this.

1074
00:50:01,106 --> 00:50:04,086
Man, that's damn near a perfectly recorded trumpet right there.

1075
00:50:06,566 --> 00:50:07,906
Like, you really feel Miles.

1076
00:50:09,446 --> 00:50:10,406
It's so direct.

1077
00:50:11,726 --> 00:50:11,986
Oh.

1078
00:50:32,126 --> 00:50:32,326
Woo.

1079
00:50:34,866 --> 00:50:38,346
Man, Philly must have been a great listener beyond music.

1080
00:50:38,526 --> 00:50:40,666
Maybe not, that'd be funny if he didn't. He listens so well.

1081
00:50:40,946 --> 00:50:42,966
He's like the guy that's like, "Yeah!"

1082
00:50:43,186 --> 00:50:43,196
Yeah.

1083
00:50:43,196 --> 00:50:47,145
Yeah. Yeah,

1084
00:50:47,205 --> 00:50:49,406
buddy, I know exactly what you're talking about.

1085
00:50:50,626 --> 00:50:50,636
Yeah.

1086
00:50:50,686 --> 00:50:50,986
Man.

1087
00:50:55,226 --> 00:50:56,026
I want to skip ahead a little bit.

1088
00:50:56,066 --> 00:50:57,236
I want to hear some more Red. We haven't

1089
00:50:58,106 --> 00:51:00,166
heard nearly enough Red Garland.

1090
00:51:04,946 --> 00:51:05,226
Woo.

1091
00:51:08,726 --> 00:51:10,086
As I'm saying, like, how are they doing-

1092
00:51:10,186 --> 00:51:12,326
It's all good, it's all bangers, dude.

1093
00:51:12,336 --> 00:51:13,506
Man, there's no, like, bleh.

1094
00:51:13,826 --> 00:51:14,046
No.

1095
00:51:15,606 --> 00:51:16,066
Oh.

1096
00:51:17,466 --> 00:51:20,066
That's a tough little tasty part of the piano to pull off, too.

1097
00:51:20,106 --> 00:51:20,406
Yeah.

1098
00:51:20,446 --> 00:51:21,366
Da, da, ka, ka.

1099
00:51:24,086 --> 00:51:24,366
Man,

1100
00:51:25,526 --> 00:51:28,946
PC and Philly are dial-- they are locked in, that ride and the bass.

1101
00:51:29,486 --> 00:51:30,066
Ka, ka.

1102
00:51:30,486 --> 00:51:31,166
Oh, and the hi-hat, too.

1103
00:51:31,176 --> 00:51:32,586
This is almost like a Jimmy Cobb kind of...

1104
00:51:35,386 --> 00:51:36,086
Hi-hat's perfect.

1105
00:51:36,146 --> 00:51:36,366
Yeah.

1106
00:51:37,326 --> 00:51:38,746
Like, dynamically.

1107
00:51:38,826 --> 00:51:39,086
Right.

1108
00:51:40,486 --> 00:51:43,026
Newsflash: Philly Joe can play the hi-hat.

1109
00:51:43,266 --> 00:51:45,446
Philly Joe Jones, the greatest.

1110
00:51:46,506 --> 00:51:49,826
Look, I've been saying that a lot on this episode, but these guys are just so

1111
00:51:50,366 --> 00:51:51,226
next level, man.

1112
00:51:51,386 --> 00:51:53,286
I think that's the other thing, is like, the level,

1113
00:51:53,486 --> 00:51:57,246
Trane is not, like, just, he's

1114
00:51:57,286 --> 00:52:01,106
cutting loose, but he's not on another level from everybody.

1115
00:52:01,116 --> 00:52:01,336
Well, okay.

1116
00:52:01,336 --> 00:52:03,006
Everybody is right in the A tier.

1117
00:52:03,166 --> 00:52:03,606
So that's-

1118
00:52:03,616 --> 00:52:03,805
Or S tier.

1119
00:52:03,886 --> 00:52:04,146
That's right.

1120
00:52:04,226 --> 00:52:04,786
What's the highest one?

1121
00:52:05,106 --> 00:52:05,346
S tier.

1122
00:52:05,506 --> 00:52:07,486
Like, it's very even. Even Miles.

1123
00:52:07,546 --> 00:52:07,805
That's true.

1124
00:52:07,946 --> 00:52:08,126
You know?

1125
00:52:08,526 --> 00:52:12,446
Well, this is what was going to be one of my hot takes, but I'll do it

1126
00:52:12,486 --> 00:52:12,566
now-

1127
00:52:12,646 --> 00:52:12,706
Okay

1128
00:52:12,715 --> 00:52:15,346
... because you just mentioned Trane is not, like, outrageous.

1129
00:52:15,466 --> 00:52:15,586
Yeah.

1130
00:52:15,746 --> 00:52:17,266
Trane is not quite Trane yet.

1131
00:52:17,506 --> 00:52:17,536
Right.

1132
00:52:17,536 --> 00:52:19,806
That's the thing, he's just getting his Trane-ness together.

1133
00:52:19,866 --> 00:52:20,495
Right. He sounds like-

1134
00:52:20,506 --> 00:52:22,215
But this isn't 1961 Trane.

1135
00:52:22,266 --> 00:52:22,466
Right.

1136
00:52:22,606 --> 00:52:23,666
1963 Trane.

1137
00:52:23,676 --> 00:52:25,206
Where everyone's trying to keep up with him.

1138
00:52:25,406 --> 00:52:25,646
Yeah.

1139
00:52:25,766 --> 00:52:25,826
Yeah.

1140
00:52:25,866 --> 00:52:27,026
This is, like, him still

1141
00:52:27,826 --> 00:52:30,306
gathering his sound together, his thing.

1142
00:52:30,316 --> 00:52:32,286
Looking over his shoulder for Sonny Rollins is what it is.

1143
00:52:32,446 --> 00:52:36,156
Yeah. And honestly, he's about to, we mentioned Miles coming out of his lowest

1144
00:52:36,166 --> 00:52:36,366
point-

1145
00:52:36,396 --> 00:52:39,916
... to make this. Trane's heading to his lowest point during this time.

1146
00:52:40,006 --> 00:52:40,136
Right. That's right.

1147
00:52:40,146 --> 00:52:42,275
And eventually gets fired from this band.

1148
00:52:42,326 --> 00:52:44,226
Like, basically, Miles and him get in an altercation-

1149
00:52:44,346 --> 00:52:44,516
Right

1150
00:52:44,606 --> 00:52:48,386
... in a dressing room a couple years later because Trane was having addiction

1151
00:52:48,546 --> 00:52:49,706
issues of his own.

1152
00:52:49,846 --> 00:52:51,906
Right. Which Miles could've been a little more understanding, having gone through

1153
00:52:51,966 --> 00:52:52,586
that, but, yeah.

1154
00:52:52,596 --> 00:52:53,186
And Miles is a businessman.

1155
00:52:53,206 --> 00:52:54,346
He's trying to run a band.

1156
00:52:54,546 --> 00:52:54,686
Right.

1157
00:52:54,845 --> 00:52:57,086
And so Sonny Rollins actually comes back into the band after that.

1158
00:52:57,446 --> 00:53:00,846
But Trane would get clean and do this exact same thing.

1159
00:53:00,926 --> 00:53:03,526
Trane would get clean and refocus his efforts and become-

1160
00:53:04,006 --> 00:53:04,126
Yeah

1161
00:53:04,346 --> 00:53:05,406
... that sort of, like,

1162
00:53:06,366 --> 00:53:09,726
mammoth player that he became. And it's so funny because those two musicians, even

1163
00:53:09,746 --> 00:53:13,046
though they're the same age, had this similar arc at different periods.

1164
00:53:13,346 --> 00:53:13,486
Right.

1165
00:53:17,966 --> 00:53:18,756
Tum, tum.

1166
00:53:21,666 --> 00:53:22,915
I mean, we could listen to every tune.

1167
00:53:22,956 --> 00:53:23,586
"Salt Peanuts."

1168
00:53:23,846 --> 00:53:25,816
Yeah. Ba, ba, ba, ba.

1169
00:53:27,686 --> 00:53:29,026
Philly.

1170
00:53:33,006 --> 00:53:35,466
First time I heard that, I thought someone threw a drum kit down the stairs.

1171
00:53:35,486 --> 00:53:35,516
Yeah.

1172
00:53:35,546 --> 00:53:35,866
I was like, "What?"

1173
00:53:38,086 --> 00:53:39,026
It's so good.

1174
00:53:41,226 --> 00:53:46,165
Ooh.

1175
00:53:49,666 --> 00:53:50,266
Hey.

1176
00:53:51,406 --> 00:54:01,926
Mm.

1177
00:54:04,306 --> 00:54:06,726
Oh.

1178
00:54:07,786 --> 00:54:08,286
Oh.

1179
00:54:10,086 --> 00:54:12,166
Oh, effortless swing. Relaxed.

1180
00:54:12,246 --> 00:54:15,166
So fast to be that relaxed. Literally. There's none of this.

1181
00:54:19,646 --> 00:54:22,436
We don't think about Red as this chops monster, but-

1182
00:54:22,966 --> 00:54:22,976
Right.

1183
00:54:22,976 --> 00:54:23,366
Red's like...

1184
00:54:25,226 --> 00:54:26,166
That's choppy as hell.

1185
00:54:28,806 --> 00:54:29,766
That's choppy as hell.

1186
00:54:29,926 --> 00:54:30,186
Oh, yeah.

1187
00:54:30,226 --> 00:54:30,566
That's fast.

1188
00:54:31,726 --> 00:54:32,726
He didn't fall behind on one.

1189
00:54:35,926 --> 00:54:35,936
Wow.

1190
00:54:35,966 --> 00:54:36,566
Woo.

1191
00:54:38,762 --> 00:54:42,062
I like Miles kind of scrapped up that, but he came back and played it again.

1192
00:54:42,102 --> 00:54:44,082
He's like, "I'm going to get that s**t." Did you hear that?

1193
00:54:45,542 --> 00:54:45,742
Oh.

1194
00:54:46,262 --> 00:54:47,802
Because this is not Miles' like-

1195
00:54:48,062 --> 00:54:50,002
Yeah, that's killing, though, man.

1196
00:54:50,282 --> 00:54:53,602
I love, too, that these are a mix. This is the blueprint, too,

1197
00:54:53,742 --> 00:54:54,702
for how

1198
00:54:55,582 --> 00:54:58,202
post-bop, hard bop jazz would be for a while.

1199
00:54:58,342 --> 00:55:00,782
There's a mix of Great American Songbook standards-

1200
00:55:00,822 --> 00:55:00,962
Yeah

1201
00:55:00,972 --> 00:55:04,502
... and of standards by their contemporaries, like Sonny

1202
00:55:04,522 --> 00:55:08,502
Rollins, 'Oleo,' 'Woody'n You.' They got, on this album, there's a

1203
00:55:08,542 --> 00:55:09,632
Monk tune, 'Well, You Needn't.'

1204
00:55:12,742 --> 00:55:14,262
Which has controversial changes as well.

1205
00:55:14,762 --> 00:55:15,642
There's Era Changes.

1206
00:55:16,742 --> 00:55:17,402
He changed it. Sonny Rollins.

1207
00:55:26,342 --> 00:55:27,882
Oh, the When I Fall in Love is great.

1208
00:55:30,082 --> 00:55:33,742
Yeah, this is all bangers. This is all the ballads, the mid-tempo, the couple of

1209
00:55:33,782 --> 00:55:34,682
really up-tempos.

1210
00:55:34,722 --> 00:55:36,182
The last track on the album, When I Fall in Love.

1211
00:55:36,242 --> 00:55:36,892
This is so great.

1212
00:55:40,302 --> 00:55:41,082
So this was

1213
00:55:44,582 --> 00:55:50,782
the

1214
00:55:51,882 --> 00:55:55,672
template that George Clooney wanted at the beginning of Good Night, and Good

1215
00:55:55,702 --> 00:55:55,932
Luck.

1216
00:55:56,202 --> 00:55:56,902
Oh, that's what he said.

1217
00:55:57,152 --> 00:55:59,922
Yeah. With Dianne Reeves singing. And this is the tempo we did it in Every Day.

1218
00:56:00,622 --> 00:56:01,062
The same tune.

1219
00:56:05,322 --> 00:56:06,942
I'm sorry, Dianne Reeves singing. We did it instrumental.

1220
00:56:07,142 --> 00:56:07,642
That's right.

1221
00:56:12,282 --> 00:56:13,182
Should we get George on the phone?

1222
00:56:13,382 --> 00:56:13,522
Yeah.

1223
00:56:14,182 --> 00:56:14,502
Can we get

1224
00:56:15,302 --> 00:56:16,342
Sam Moore? George Clinton on the phone?

1225
00:56:16,422 --> 00:56:17,542
Friend of the pod? Well, friend of ours.

1226
00:56:17,602 --> 00:56:20,632
I don't know about friend of the pod, but we didn't mention the pod with him,

1227
00:56:20,642 --> 00:56:21,042
somewhat.

1228
00:56:22,442 --> 00:56:23,462
We assume he already knows.

1229
00:56:23,602 --> 00:56:24,162
Yeah, of course.

1230
00:56:24,542 --> 00:56:24,982
We like to

1231
00:56:25,922 --> 00:56:26,702
rub it in his face.

1232
00:56:27,562 --> 00:56:31,342
All right, Peter, this is a blast. You have on here, we had our If I Were a

1233
00:56:31,362 --> 00:56:32,222
Bell from Relaxin'.

1234
00:56:32,382 --> 00:56:33,862
I'll play it and tell you what it is later.

1235
00:56:34,182 --> 00:56:34,362
Right.

1236
00:56:34,742 --> 00:56:35,242
The hi-hat.

1237
00:56:35,342 --> 00:56:39,302
You have a couple here that I really like from 1961, another

1238
00:56:39,312 --> 00:56:40,122
version with Miles.

1239
00:56:40,322 --> 00:56:40,562
Oh, yeah.

1240
00:56:43,482 --> 00:56:44,152
Who's this band? Do you know?

1241
00:56:45,162 --> 00:56:45,522
This is-

1242
00:56:45,622 --> 00:56:48,381
A few years later.

1243
00:56:49,142 --> 00:56:50,002
This is Wynton Kelly.

1244
00:56:50,202 --> 00:56:50,322
All right.

1245
00:56:50,342 --> 00:56:51,202
This is the Black Hawk.

1246
00:56:51,322 --> 00:56:51,682
Oh, the Black Hawk.

1247
00:56:51,702 --> 00:56:52,662
Black Hawk, San Francisco,

1248
00:56:53,462 --> 00:56:53,962
Saturday night.

1249
00:56:55,082 --> 00:56:55,782
So it's a little bit,

1250
00:56:56,642 --> 00:56:57,702
not much faster.

1251
00:56:59,762 --> 00:57:01,182
Same hits, same arrangement.

1252
00:57:01,671 --> 00:57:02,132
Yeah. But then-

1253
00:57:02,202 --> 00:57:04,212
With Jimmy Cobb, and then 10 years later

1254
00:57:04,482 --> 00:57:05,552
... four years after that-

1255
00:57:05,722 --> 00:57:05,922
Yeah

1256
00:57:05,932 --> 00:57:08,722
... 10 years after they recorded the original, the Plugged Nickel.

1257
00:57:08,772 --> 00:57:09,502
They're still playing the tune.

1258
00:57:09,902 --> 00:57:10,602
Avant-gardish.

1259
00:57:10,702 --> 00:57:10,902
Yeah.

1260
00:57:15,002 --> 00:57:16,602
Chatter, still. Well, live chatter.

1261
00:57:16,762 --> 00:57:19,242
Live chatter. Ron Carter, Tony Williams, Herbie Hancock.

1262
00:57:19,442 --> 00:57:19,542
Oh.

1263
00:57:19,602 --> 00:57:21,562
This is freaking fast.

1264
00:57:21,622 --> 00:57:21,822
Yeah.

1265
00:57:26,702 --> 00:57:28,222
And Miles' whoo approach.

1266
00:57:40,282 --> 00:57:41,762
When's the Plug Nickel album?

1267
00:57:42,242 --> 00:57:43,282
Deconstruct it. Oh.

1268
00:57:43,642 --> 00:57:45,722
Which one? Was it the Plugged Nickel show?

1269
00:57:45,731 --> 00:57:46,602
The whole box set?

1270
00:57:47,002 --> 00:57:47,011
Box set?

1271
00:57:47,062 --> 00:57:47,882
I'm down for it.

1272
00:57:47,942 --> 00:57:48,882
The '90s box set?

1273
00:57:48,982 --> 00:57:49,382
Yeah.

1274
00:57:50,622 --> 00:57:52,192
Yeah, so there's a bunch of these things.

1275
00:57:52,192 --> 00:57:53,842
They're just painting in the abstract at that point.

1276
00:57:53,862 --> 00:57:56,342
Yeah. But that was Miles, man. Miles took this, and

1277
00:57:58,062 --> 00:58:01,982
he was thrifty with the material. He knew how to take

1278
00:58:01,992 --> 00:58:04,582
this stuff through different bands. Let's talk about some categories, my friend.

1279
00:58:04,642 --> 00:58:07,802
Yeah, desert island track. We could do a track, or why don't we do a track and an

1280
00:58:07,882 --> 00:58:08,162
album?

1281
00:58:08,362 --> 00:58:08,722
I like it.

1282
00:58:08,782 --> 00:58:09,002
Okay.

1283
00:58:09,082 --> 00:58:09,541
Because there's four.

1284
00:58:09,682 --> 00:58:10,362
There's four albums.

1285
00:58:10,522 --> 00:58:13,022
So mine, I've always been drawn to Relaxin'.

1286
00:58:13,142 --> 00:58:15,541
Now, I think part of that, that was the first one I had of all these.

1287
00:58:15,582 --> 00:58:15,642
Mm-hmm.

1288
00:58:16,342 --> 00:58:18,632
But I think it's the strongest from beginning to end.

1289
00:58:18,632 --> 00:58:22,492
But I'm also a little bit, because all the studio chatter on it, I

1290
00:58:22,522 --> 00:58:23,261
love that so much.

1291
00:58:23,282 --> 00:58:25,882
Yeah. It's either Relaxin' or Steamin' for me, but I'm going to go with Relaxin'

1292
00:58:26,002 --> 00:58:27,082
too. I think Relaxin' is an

1293
00:58:28,562 --> 00:58:29,662
S-tier Miles Davis album.

1294
00:58:29,782 --> 00:58:30,542
It's incredible.

1295
00:58:30,742 --> 00:58:31,042
Yeah.

1296
00:58:31,962 --> 00:58:32,442
And then,

1297
00:58:33,602 --> 00:58:36,742
for the track, I would say Olio off of there, and it's going to be one of my apex

1298
00:58:36,782 --> 00:58:37,082
moments.

1299
00:58:37,382 --> 00:58:38,222
Let's hear your apex moment.

1300
00:58:38,282 --> 00:58:40,022
Well, my apex moment is

1301
00:58:41,642 --> 00:58:45,182
the whole track. But no, the transition.

1302
00:58:45,202 --> 00:58:47,342
If we go towards the end of Miles' solo.

1303
00:58:48,242 --> 00:58:51,642
I think Miles' solo is so good, but I think 'Trane, it's really the way he starts

1304
00:58:51,662 --> 00:58:53,002
the solo, but the transition.

1305
00:58:54,302 --> 00:58:55,901
Miles pretty much plays a perfect solo.

1306
00:58:59,382 --> 00:59:00,922
And PC is walking perfect lines.

1307
00:59:03,822 --> 00:59:05,442
But the way 'Trane starts his solo.

1308
00:59:05,822 --> 00:59:06,502
We're not there yet, but

1309
00:59:13,442 --> 00:59:14,542
this last eight bars.

1310
00:59:18,642 --> 00:59:19,802
And then it overlaps.

1311
00:59:21,502 --> 00:59:23,182
Do, do, do. And then we'll 'Trane it.

1312
00:59:33,902 --> 00:59:34,622
Oh, my gosh.

1313
00:59:35,922 --> 00:59:38,322
This is the first 'Trane solo I ever learned. I was like...

1314
00:59:40,462 --> 00:59:43,442
It's a good one. You can really hear everything without the drums and everything

1315
00:59:44,482 --> 00:59:45,142
too.

1316
00:59:47,182 --> 00:59:48,222
Oh, and then Philly right here.

1317
00:59:50,382 --> 00:59:50,582
Hey.

1318
00:59:51,362 --> 00:59:52,922
It's like a-

1319
00:59:54,102 --> 00:59:55,062
Like a bugle call thing.

1320
00:59:55,122 --> 00:59:56,482
It's like a bang.

1321
00:59:57,022 --> 00:59:57,112
That's so great.

1322
00:59:57,112 --> 00:59:57,442
Streepy.

1323
00:59:57,502 --> 00:59:59,412
Honestly, you could put any of the transitions-

1324
00:59:59,472 --> 01:00:01,042
... between Miles and 'Trane. I know.

1325
01:00:01,702 --> 01:00:04,582
Between Miles and 'Trane, any of those transitions could be an apex.

1326
01:00:04,622 --> 01:00:04,822
Yeah.

1327
01:00:05,562 --> 01:00:06,422
We've talked about it before.

1328
01:00:06,462 --> 01:00:06,532
This is a great-

1329
01:00:06,542 --> 01:00:08,462
The greatest hands off in jazz history.

1330
01:00:08,502 --> 01:00:12,082
Yes. Yeah. And this band, in general, okay, now we're hitting on it.

1331
01:00:12,102 --> 01:00:13,762
The masters of the transition.

1332
01:00:13,982 --> 01:00:14,012
Wow.

1333
01:00:14,062 --> 01:00:16,162
The introductions, going between solo.

1334
01:00:16,522 --> 01:00:16,642
Like

1335
01:00:17,602 --> 01:00:18,132
Philly Joe Jones.

1336
01:00:18,132 --> 01:00:18,781
Little details.

1337
01:00:18,802 --> 01:00:19,362
Ding, ding, ding.

1338
01:00:19,882 --> 01:00:21,222
These are head charts, right?

1339
01:00:21,282 --> 01:00:23,922
But those little details make them really, really special.

1340
01:00:23,982 --> 01:00:27,722
And a lot of that stuff, it's so... You try to do some of this, like we all

1341
01:00:27,762 --> 01:00:31,542
have, and it's like, "Ugh, it didn't quite sound like..." Because the inspiration,

1342
01:00:31,582 --> 01:00:34,702
the impetus for them to play it at the time was so,

1343
01:00:35,082 --> 01:00:38,522
they had such an awareness of the overall arrangement.

1344
01:00:38,882 --> 01:00:40,642
And nobody's being greedy on here.

1345
01:00:40,672 --> 01:00:44,542
And even Philly Joe is probably the most obtrusive, but he's being

1346
01:00:44,582 --> 01:00:47,002
obtrusive like, "Hey, hey," at the right times.

1347
01:00:47,042 --> 01:00:47,302
Yeah.

1348
01:00:47,322 --> 01:00:51,182
And Miles, he's coming in. So there's this honoring of the

1349
01:00:51,282 --> 01:00:55,032
overall architecture that really makes all these little

1350
01:00:55,062 --> 01:00:56,662
details and transitions work great.

1351
01:00:57,382 --> 01:00:57,392
Yeah, but-

1352
01:00:57,392 --> 01:00:58,142
What's your apex moment?

1353
01:00:58,282 --> 01:01:00,602
Well, hold on. I still have a desert island.

1354
01:01:00,662 --> 01:01:00,672
Oh, desert island.

1355
01:01:00,682 --> 01:01:02,882
So definitely, my album is Relaxin'.

1356
01:01:03,062 --> 01:01:06,002
But my track, ironically, is this.

1357
01:01:07,614 --> 01:01:07,914
Oh, yeah.

1358
01:01:08,334 --> 01:01:10,914
It never entered my mind, the first track on "Workin'"-

1359
01:01:12,314 --> 01:01:14,294
One of the great starts to an album ever.

1360
01:01:14,354 --> 01:01:16,754
It's unbelievable. It breaks my heart every single time.

1361
01:01:16,814 --> 01:01:19,594
Yeah. Even this part. And then when Miles comes in, forget it.

1362
01:01:19,654 --> 01:01:23,274
No, the whole thing, man. But this piano line specifically, because it's

1363
01:01:24,914 --> 01:01:26,014
and like, PC...

1364
01:01:28,814 --> 01:01:29,214
Honestly,

1365
01:01:30,034 --> 01:01:33,694
we're about to do some Radiohead on the show.

1366
01:01:33,774 --> 01:01:33,914
Yeah.

1367
01:01:35,014 --> 01:01:37,854
Radiohead pulls from this kind of stuff. You know what I mean?

1368
01:01:37,894 --> 01:01:37,904
Yeah.

1369
01:01:38,254 --> 01:01:39,594
This kind of ethos-

1370
01:01:39,934 --> 01:01:40,094
Yeah

1371
01:01:41,034 --> 01:01:44,814
... is right in my wheelhouse, and it's honestly also

1372
01:01:44,974 --> 01:01:46,594
very Ahmad Jamal-ish.

1373
01:01:46,994 --> 01:01:47,054
Yeah.

1374
01:01:47,114 --> 01:01:48,974
To have that line like that on that triad.

1375
01:01:49,034 --> 01:01:49,174
Yep.

1376
01:01:49,434 --> 01:01:51,354
All right. See, we got your apex moment.

1377
01:01:51,574 --> 01:01:51,674
Yep.

1378
01:01:52,594 --> 01:01:56,224
My apex moment is from "If I Were a Bell," and it is that

1379
01:01:56,394 --> 01:01:58,873
Trane also entrance.

1380
01:01:59,474 --> 01:02:00,794
You know what? That was my

1381
01:02:02,174 --> 01:02:04,604
original one. Trane solo break on "If I Were a Bell." Apex.

1382
01:02:04,654 --> 01:02:05,794
I think it's the greatest.

1383
01:02:05,894 --> 01:02:06,454
It's so good.

1384
01:02:06,614 --> 01:02:07,374
It's so funny. We

1385
01:02:08,774 --> 01:02:09,414
both picked-

1386
01:02:09,564 --> 01:02:09,894
Sweet.

1387
01:02:10,174 --> 01:02:10,534
Hold on.

1388
01:02:12,194 --> 01:02:13,774
We both picked Trane entrances.

1389
01:02:13,934 --> 01:02:17,814
It's one of the greatest solo breaks ever, but Miles sets it off already

1390
01:02:17,894 --> 01:02:18,574
up a minor third.

1391
01:02:18,734 --> 01:02:22,334
The fact that he's far away from the mic and walking towards the mic, playing what

1392
01:02:22,374 --> 01:02:22,734
he's playing.

1393
01:02:22,774 --> 01:02:24,954
You're feeling the presence in the studio.

1394
01:02:24,974 --> 01:02:26,994
I'll never forget the first time I heard it.

1395
01:02:27,134 --> 01:02:27,644
Great production.

1396
01:02:27,644 --> 01:02:28,314
I almost fell over.

1397
01:02:28,514 --> 01:02:29,414
Great production.

1398
01:02:36,014 --> 01:02:37,814
I still freakin'!

1399
01:02:38,094 --> 01:02:41,974
And then Red's doing the perfect thing. Philly does the perfect initial fill.

1400
01:02:42,454 --> 01:02:44,714
It's still, you're right, it still gives you chills.

1401
01:02:44,734 --> 01:02:46,214
It's one of the greatest solo breaks.

1402
01:02:46,254 --> 01:02:50,214
It's like Louis Armstrong, "West End Blues." It's up there.

1403
01:02:50,234 --> 01:02:53,994
Because that's the thing, you take one little solo line, solo

1404
01:02:54,114 --> 01:02:57,814
break, because the architecture, the placement of it, but it's just one

1405
01:02:57,854 --> 01:03:01,274
line. It's the awareness of what's happening around it.

1406
01:03:01,314 --> 01:03:01,374
Yeah.

1407
01:03:01,534 --> 01:03:04,044
It's like if you built this door, a beautiful door-

1408
01:03:04,134 --> 01:03:04,284
Here we go

1409
01:03:04,284 --> 01:03:05,374
... just sitting on the sidewalk.

1410
01:03:05,394 --> 01:03:06,634
Go on, paint your picture.

1411
01:03:07,094 --> 01:03:08,414
You know what I'm saying? It's just sitting on the side.

1412
01:03:08,654 --> 01:03:11,574
But now all of a sudden, you place it in a building where it's like, whoa.

1413
01:03:11,674 --> 01:03:11,974
Oh, yeah.

1414
01:03:12,024 --> 01:03:12,254
You know what I mean?

1415
01:03:12,334 --> 01:03:12,514
Yeah.

1416
01:03:13,434 --> 01:03:14,154
I can picture it now.

1417
01:03:14,214 --> 01:03:14,854
You don't go in buildings?

1418
01:03:14,934 --> 01:03:15,113
I do.

1419
01:03:15,234 --> 01:03:15,854
You don't open doors?

1420
01:03:16,154 --> 01:03:17,324
Hey, man, when one door closes-

1421
01:03:17,393 --> 01:03:21,314
I love that you're always like, it's like you have metaphors ready to

1422
01:03:21,354 --> 01:03:22,374
go, Peter. You have these-

1423
01:03:22,414 --> 01:03:23,054
It's like a tumor

1424
01:03:23,074 --> 01:03:25,734
... imagery. You're an author, man.

1425
01:03:25,774 --> 01:03:26,414
Auteur.

1426
01:03:26,454 --> 01:03:27,294
You're an auteur.

1427
01:03:27,354 --> 01:03:29,034
Right. Haute couture.

1428
01:03:29,134 --> 01:03:30,434
Bespoke playlist title. What do you got?

1429
01:03:30,474 --> 01:03:32,074
If this was a playlist on Spotify-

1430
01:03:32,154 --> 01:03:32,374
Yeah

1431
01:03:32,384 --> 01:03:32,974
... before, what do you got?

1432
01:03:35,074 --> 01:03:38,514
Well, the one I really want to do is New Jersey Audiophile.

1433
01:03:38,974 --> 01:03:39,614
Oh, that's not bad.

1434
01:03:39,754 --> 01:03:39,974
You know.

1435
01:03:40,154 --> 01:03:40,594
That's not bad.

1436
01:03:41,354 --> 01:03:44,954
Because this is recorded in Jersey at a certain place, but I'm actually going to

1437
01:03:44,994 --> 01:03:45,894
call this one...

1438
01:03:47,214 --> 01:03:49,474
I'm not going to do that. I'm going to do "In Da Club."

1439
01:03:49,864 --> 01:03:50,534
"In Da Club"?

1440
01:03:50,614 --> 01:03:51,554
Like 50 Cent.

1441
01:03:51,914 --> 01:03:52,094
Why?

1442
01:03:52,123 --> 01:03:55,454
"In Da Club." Because this has the- This, um-

1443
01:03:56,174 --> 01:03:59,903
Your Spotify playlist titles always have a "duh" or

1444
01:04:00,294 --> 01:04:01,004
there's always a...

1445
01:04:01,254 --> 01:04:04,004
I'm from the streets, man. What can I say? A Z. I like to add Zs.

1446
01:04:04,014 --> 01:04:04,614
You got a Z.

1447
01:04:04,914 --> 01:04:05,434
Martinz.

1448
01:04:05,494 --> 01:04:06,834
You add a D to s**t. Yeah.

1449
01:04:07,094 --> 01:04:10,183
No, the reason is "In Da Club" because bespoke playlist, there's other stuff on

1450
01:04:10,214 --> 01:04:10,314
there.

1451
01:04:10,374 --> 01:04:10,574
Okay.

1452
01:04:10,634 --> 01:04:10,814
Right?

1453
01:04:10,974 --> 01:04:11,114
Okay.

1454
01:04:11,194 --> 01:04:12,854
And so I'm thinking Plugged Nickel, whole Black Hawk.

1455
01:04:12,874 --> 01:04:13,224
Oh, yeah.

1456
01:04:13,274 --> 01:04:15,834
Because this is like, it's a studio record, but to me it's a live record.

1457
01:04:16,034 --> 01:04:17,634
It's a working band that's been in the clubs.

1458
01:04:17,714 --> 01:04:18,854
I don't think this is the first time you've-

1459
01:04:19,134 --> 01:04:21,074
Ahmad Live at the Pershing, that would be on there, too.

1460
01:04:21,084 --> 01:04:21,854
"In Da Club."

1461
01:04:21,884 --> 01:04:23,114
"In Da Club." D-A. Da.

1462
01:04:23,174 --> 01:04:26,954
Mine, my bespoke playlist title is Contractual Obligations,

1463
01:04:27,654 --> 01:04:30,294
and it's just albums where the artist made it.

1464
01:04:30,334 --> 01:04:31,154
It's like, "Here, my dear."

1465
01:04:31,434 --> 01:04:31,834
Oh, right.

1466
01:04:31,874 --> 01:04:32,934
It's like this.

1467
01:04:33,254 --> 01:04:36,364
So would you say contractual obligationss, with a Z?

1468
01:04:36,374 --> 01:04:38,213
With a Z? We can.

1469
01:04:39,774 --> 01:04:40,654
What are your quibble bits?

1470
01:04:42,874 --> 01:04:46,754
Quibble bits. Actually, for me, the only quibble bit I

1471
01:04:46,814 --> 01:04:48,114
have on this is-

1472
01:04:48,214 --> 01:04:50,514
Actually, I want to change the name of this category.

1473
01:04:51,034 --> 01:04:51,234
Okay.

1474
01:04:51,494 --> 01:04:53,234
Quibble bits or hot takes.

1475
01:04:53,594 --> 01:04:53,814
Okay.

1476
01:04:54,954 --> 01:04:55,254
How you doing?

1477
01:04:55,274 --> 01:04:56,344
So you could either do a quibble bit-

1478
01:04:56,374 --> 01:04:58,064
Your hot take is that you're changing quibble bits.

1479
01:04:58,094 --> 01:05:00,814
Well, the problem is, is sometimes I don't have a quibble bit, and I really got to

1480
01:05:00,834 --> 01:05:01,594
reach for one.

1481
01:05:01,614 --> 01:05:03,194
We could just say... We've said non before.

1482
01:05:03,494 --> 01:05:05,614
But a hot take is like the opposite of a quibble bit.

1483
01:05:05,634 --> 01:05:06,824
It's like, "I got a hot take." You know?

1484
01:05:06,854 --> 01:05:08,994
Did I have quibble bits on "Money Jungle"? I can't remember.

1485
01:05:10,754 --> 01:05:11,694
You had a few.

1486
01:05:11,734 --> 01:05:15,364
Okay, so my quibble bit on this, and it's definitely a quibble bit, not a hot take,

1487
01:05:15,374 --> 01:05:18,794
but it's very slight, is the bass sound, oddly enough.

1488
01:05:19,954 --> 01:05:20,624
But I have to qualify this.

1489
01:05:20,624 --> 01:05:22,574
Oh, I'm sorry you don't love great bass sounds?

1490
01:05:23,294 --> 01:05:24,714
This, I don't think is a great bass sound.

1491
01:05:24,774 --> 01:05:24,954
Ooh.

1492
01:05:25,304 --> 01:05:25,654
But-

1493
01:05:25,664 --> 01:05:26,263
That is a quibble.

1494
01:05:26,294 --> 01:05:27,594
But it's so far up in the mix.

1495
01:05:27,614 --> 01:05:29,453
That might be a hot take, honestly.

1496
01:05:29,494 --> 01:05:33,424
Maybe so. PC's playing so good, and hearing the lines, it affects

1497
01:05:33,434 --> 01:05:35,994
the music a lot, I think, actually, in a very positive way.

1498
01:05:36,074 --> 01:05:39,064
So the placement in the mix I'm cool with. I just don't think it's a super...

1499
01:05:39,114 --> 01:05:41,334
Do you have any of it isolated, any of the bass?

1500
01:05:41,394 --> 01:05:41,994
Yeah, I do, actually.

1501
01:05:42,054 --> 01:05:45,594
I just don't think it's like an... I've heard more natural, like actual sound, how

1502
01:05:45,634 --> 01:05:48,814
PC sounded. To me, this doesn't... It sounds good.

1503
01:05:50,874 --> 01:05:52,484
It's a little like, a little bit of a nasal.

1504
01:05:52,534 --> 01:05:54,264
I know it's not an amp, but it

1505
01:05:55,994 --> 01:05:57,454
just doesn't sound super natural to me.

1506
01:05:59,774 --> 01:06:02,934
But I get it. He's got it pushed up in the mix.

1507
01:06:02,994 --> 01:06:06,754
It's very clear. It's just not super natural, but this is a

1508
01:06:06,814 --> 01:06:10,804
small quibble bit for me. The piano sound on this record, actually,

1509
01:06:10,844 --> 01:06:11,454
I'm okay with.

1510
01:06:13,114 --> 01:06:13,934
I'm not okay with that.

1511
01:06:15,174 --> 01:06:16,094
You got some artifacts there.

1512
01:06:16,394 --> 01:06:16,654
Yeah.

1513
01:06:16,694 --> 01:06:19,814
Okay, interesting. I have a hot take. I don't have any quibble bits, honestly.

1514
01:06:19,934 --> 01:06:20,854
I do have a hot take.

1515
01:06:20,894 --> 01:06:21,014
Yep.

1516
01:06:21,774 --> 01:06:22,194
Hear me out.

1517
01:06:22,694 --> 01:06:23,074
I'm listening.

1518
01:06:24,054 --> 01:06:26,874
This is the greatest rhythm section in the history of recorded music.

1519
01:06:27,874 --> 01:06:29,414
That is hot. That's red hot.

1520
01:06:29,734 --> 01:06:30,454
No, it's a hot take.

1521
01:06:30,494 --> 01:06:32,124
The greatest rhythm section ever.

1522
01:06:32,534 --> 01:06:36,244
In the history of recorded music. I think PC, Philly Joe, and Red Garland,

1523
01:06:36,534 --> 01:06:37,454
specifically that unit.

1524
01:06:37,514 --> 01:06:39,514
Can't they just be great? Why do they have to be the greatest ever?

1525
01:06:39,554 --> 01:06:40,384
Well, because it's a hot take, buddy.

1526
01:06:40,394 --> 01:06:41,834
So Tony Williams, Ron Carter-

1527
01:06:41,994 --> 01:06:42,024
It's a take

1528
01:06:42,024 --> 01:06:43,654
... and Herbie, boo.

1529
01:06:44,054 --> 01:06:45,774
No, no one's booing anybody.

1530
01:06:45,834 --> 01:06:45,974
Okay.

1531
01:06:46,054 --> 01:06:49,774
I think this is, if it's not the greatest, because

1532
01:06:49,854 --> 01:06:51,254
I realize that is-

1533
01:06:51,514 --> 01:06:52,834
Wow, you fell off that mountain quickly.

1534
01:06:52,854 --> 01:06:52,864
No.

1535
01:06:52,914 --> 01:06:53,804
I mean, barely-

1536
01:06:53,894 --> 01:06:54,734
I was trying to be a-

1537
01:06:54,834 --> 01:06:56,434
Wait, I'm falling.

1538
01:06:56,894 --> 01:07:00,054
Trying to get a hot take going. I just think, let's put it this way.

1539
01:07:00,134 --> 01:07:00,914
There's nobody better.

1540
01:07:00,964 --> 01:07:01,214
There's nobody better. I like that.

1541
01:07:01,234 --> 01:07:02,014
There's nobody better than-

1542
01:07:02,054 --> 01:07:02,694
I could go with you on that

1543
01:07:02,744 --> 01:07:03,794
... than these three musicians.

1544
01:07:03,834 --> 01:07:04,134
Yeah.

1545
01:07:04,154 --> 01:07:04,734
And let me tell you why.

1546
01:07:04,794 --> 01:07:08,264
And playing this music, like this kind of arrangements, this period, I could

1547
01:07:08,754 --> 01:07:10,094
agree that it's the best.

1548
01:07:10,154 --> 01:07:11,144
Let me be specific-

1549
01:07:11,674 --> 01:07:11,684
Yeah

1550
01:07:11,684 --> 01:07:15,486
... of why.All three of them as a unit are

1551
01:07:15,626 --> 01:07:18,286
so swinging. The groove is so incredible.

1552
01:07:19,106 --> 01:07:22,566
There's those little details, the transitions, the intros, the things that they

1553
01:07:22,646 --> 01:07:26,086
play together, the way the ride cymbal and the bass lock up, the way Red Garland

1554
01:07:26,106 --> 01:07:29,066
does his Red rhythm, which is like that and of four, and of two anticipated-

1555
01:07:29,086 --> 01:07:29,946
He just calls that rhythm.

1556
01:07:30,326 --> 01:07:34,046
I know he does, but we have to classify it for contractual

1557
01:07:34,106 --> 01:07:37,666
obligations. But the way that they work together as a unit-

1558
01:07:37,826 --> 01:07:37,846
Yeah

1559
01:07:37,856 --> 01:07:40,586
... supporting other soloists is as good as it can get.

1560
01:07:40,646 --> 01:07:43,866
And then on top of that, all three of them are

1561
01:07:44,106 --> 01:07:47,926
world-class, top-tier, S-tier soloists in their

1562
01:07:48,006 --> 01:07:49,526
own right. Red Garland is

1563
01:07:50,926 --> 01:07:52,886
just a complete monster on these albums.

1564
01:07:52,946 --> 01:07:56,606
He is crushing every solo. I mean, crushing every solo.

1565
01:07:57,026 --> 01:08:00,986
Incredible language, fluent language, choppy when he needs to be.

1566
01:08:01,426 --> 01:08:04,566
Big spread chords like Erroll Garner, like we mentioned.

1567
01:08:04,806 --> 01:08:08,286
Philly Joe plays some arco solos on here that are unbelievable.

1568
01:08:08,586 --> 01:08:10,465
He's one of the greatest bass soloists ever.

1569
01:08:10,486 --> 01:08:11,086
And,

1570
01:08:12,826 --> 01:08:16,606
sorry, PC. And Philly Joe is playing some of the

1571
01:08:16,646 --> 01:08:19,226
greatest, most transcribed drum solos in history-

1572
01:08:19,246 --> 01:08:19,257
Yeah

1573
01:08:19,257 --> 01:08:19,846
... of straight-ahead music.

1574
01:08:19,887 --> 01:08:20,166
Yeah.

1575
01:08:20,246 --> 01:08:23,186
I just think that individually, they're all the greatest soloists on their

1576
01:08:23,226 --> 01:08:24,126
instrument at this era,

1577
01:08:25,626 --> 01:08:29,566
or arguably some of the greatest soloists on their instruments in this era.

1578
01:08:29,576 --> 01:08:33,507
And then as a unit, they are an unstoppable engine

1579
01:08:33,547 --> 01:08:36,826
of swing under Trane and Miles, and I just think there's no one better.

1580
01:08:37,486 --> 01:08:40,826
So in summary, you love this rhythm section. Got it. Check mark.

1581
01:08:40,906 --> 01:08:42,587
All right. Stem-ometer, what do you got?

1582
01:08:42,746 --> 01:08:44,286
Five. Straight five.

1583
01:08:44,486 --> 01:08:46,266
I got a four, so we're not too far off there.

1584
01:08:46,726 --> 01:08:47,927
That's a couple weeks in a row we've been five, four.

1585
01:08:47,967 --> 01:08:51,906
Yeah, no. I think it is fair. Like I said, you

1586
01:08:51,927 --> 01:08:54,626
could show this to someone as their first jazz album, and you wouldn't go wrong.

1587
01:08:55,047 --> 01:08:56,566
These beautiful ballads.

1588
01:08:56,726 --> 01:08:57,746
So that would make it lower.

1589
01:08:58,007 --> 01:08:59,346
Well, lower than a five for me.

1590
01:08:59,467 --> 01:08:59,587
Yeah.

1591
01:08:59,686 --> 01:08:59,927
But

1592
01:09:00,906 --> 01:09:04,587
they still get John Coltrane on here doing some stuff that, there's still-

1593
01:09:04,626 --> 01:09:06,186
But this is some of the most accessible

1594
01:09:07,106 --> 01:09:07,967
Coltrane, wouldn't you say?

1595
01:09:07,996 --> 01:09:10,646
It's true. Besides maybe "Blue Trane" or something like that.

1596
01:09:10,826 --> 01:09:12,916
Yeah. Well, even that, he's kind of going crazy on that.

1597
01:09:12,927 --> 01:09:13,846
He's kind of going crazy, yeah.

1598
01:09:13,906 --> 01:09:15,726
But no, this is a solid in the middle.

1599
01:09:15,927 --> 01:09:17,746
I feel like this is tailor-made five.

1600
01:09:17,986 --> 01:09:18,906
Okay, the big question.

1601
01:09:19,206 --> 01:09:19,467
Yes.

1602
01:09:19,706 --> 01:09:20,766
Is it better than "Kind of Blue"?

1603
01:09:21,425 --> 01:09:21,436
No.

1604
01:09:21,446 --> 01:09:22,566
You have no?

1605
01:09:22,646 --> 01:09:22,916
Well,

1606
01:09:24,467 --> 01:09:28,286
ah. I have no. I could almost say

1607
01:09:28,297 --> 01:09:29,297
"Relaxin'" would be equal for me.

1608
01:09:29,297 --> 01:09:30,486
Well, you don't like Red Garland.

1609
01:09:30,587 --> 01:09:34,547
I love Red Garland. I think Red Garland, I'm going to

1610
01:09:34,566 --> 01:09:34,866
say no.

1611
01:09:35,106 --> 01:09:35,326
Okay.

1612
01:09:35,427 --> 01:09:35,746
What do you say?

1613
01:09:35,806 --> 01:09:36,927
Wow, I'm shocked.

1614
01:09:36,967 --> 01:09:39,406
Well, are we saying one in particular?

1615
01:09:39,436 --> 01:09:43,116
"Relaxin'" I feel like is the strongest. That's what I'm taking.

1616
01:09:43,547 --> 01:09:45,887
I'm very close, but I'm not saying better than.

1617
01:09:46,047 --> 01:09:47,146
I'm saying equal to "Kind of Blue."

1618
01:09:47,547 --> 01:09:50,746
But the question is not is this better, equal, or lesser.

1619
01:09:50,786 --> 01:09:51,846
I'm sorry?

1620
01:09:51,967 --> 01:09:52,816
It's a binary question.

1621
01:09:52,846 --> 01:09:53,306
Excuse me?

1622
01:09:53,427 --> 01:09:54,166
I've said

1623
01:09:55,086 --> 01:09:55,346
maybe.

1624
01:09:55,486 --> 01:09:55,906
Pardon me?

1625
01:09:55,986 --> 01:09:58,346
I've said maybe. Okay, sorry. Hypocrite.

1626
01:09:58,866 --> 01:09:59,886
Thou art and

1627
01:10:00,746 --> 01:10:02,465
jo soy un hypocrite.

1628
01:10:02,546 --> 01:10:05,846
Accoutrements. Can we ask ChatGPT who did these album covers?

1629
01:10:06,806 --> 01:10:10,006
I got a nine on these because I really like them. We don't know a lot.

1630
01:10:10,066 --> 01:10:11,766
We're not going to go in deep, only because we don't have time.

1631
01:10:11,806 --> 01:10:12,796
We know all about it.

1632
01:10:12,846 --> 01:10:13,966
Oh, yeah, we know everything.

1633
01:10:13,976 --> 01:10:16,886
But I do like the one with Wynton Kelly. That one's cool.

1634
01:10:17,006 --> 01:10:19,026
Actually, I love them all. That one's different. There's the black and white one.

1635
01:10:19,106 --> 01:10:21,756
I absolutely love them all. I also agree, nine is the way to go.

1636
01:10:21,756 --> 01:10:24,866
That's fun that the Prestige had a Blue Note-looking cover. That's cool.

1637
01:10:24,986 --> 01:10:24,995
Yeah.

1638
01:10:25,006 --> 01:10:25,226
But they're

1639
01:10:26,046 --> 01:10:26,446
great.

1640
01:10:26,726 --> 01:10:27,966
Yeah. Up next, what do you got?

1641
01:10:28,566 --> 01:10:28,986
Kayal Beat.

1642
01:10:30,506 --> 01:10:30,826
Why not?

1643
01:10:31,055 --> 01:10:33,106
"Round Midnight." Same era.

1644
01:10:33,146 --> 01:10:33,726
Live at Newport.

1645
01:10:33,806 --> 01:10:36,886
"Round Midnight" is the same band from on Columbia.

1646
01:10:37,126 --> 01:10:37,686
Yeah. Exactly.

1647
01:10:38,866 --> 01:10:40,426
I'm going to say "Round Midnight" because that's a fun one.

1648
01:10:40,766 --> 01:10:42,266
Okay. Other albums that you might like from-

1649
01:10:42,286 --> 01:10:43,246
Sorry, "Round About Midnight."

1650
01:10:43,296 --> 01:10:45,086
"Round About Midnight," right. Oh, we don't have to do that.

1651
01:10:46,386 --> 01:10:47,346
Good. Man, this was fun.

1652
01:10:47,466 --> 01:10:48,126
Oh, it's a blast.

1653
01:10:48,206 --> 01:10:51,286
So if you guys like to get some behind-the-scenes stuff, we have a newsletter.

1654
01:10:51,296 --> 01:10:54,266
Don't tune out now because we got other fun stuff coming. Not really.

1655
01:10:54,346 --> 01:10:54,886
Man.

1656
01:10:54,986 --> 01:10:57,406
We have a newsletter. Go to you'llhearit.com.

1657
01:10:57,426 --> 01:10:59,036
And we have some other accoutrements of ourselves.

1658
01:10:59,086 --> 01:11:02,506
Actually, to be honest, I haven't been on you'llhearit.com in months, but I hear

1659
01:11:02,546 --> 01:11:03,446
there's fun stuff happening.

1660
01:11:03,486 --> 01:11:03,626
Come on.

1661
01:11:03,666 --> 01:11:04,456
We still have the SpeakPipe?

1662
01:11:04,506 --> 01:11:08,406
No, you spend all your free time on the chat board at you'llhearit.com.

1663
01:11:08,466 --> 01:11:09,266
There's no chat board.

1664
01:11:09,446 --> 01:11:10,506
I don't know. I've never been there.

1665
01:11:10,726 --> 01:11:11,606
Do we still have the SpeakPipe?

1666
01:11:12,066 --> 01:11:14,906
We do have a SpeakPipe. You can leave us a message, and we'll listen to it.

1667
01:11:14,946 --> 01:11:15,406
We don't know where

1668
01:11:16,206 --> 01:11:16,886
it goes.

1669
01:11:17,446 --> 01:11:20,136
But hey, if you do want to go on a deeper dive on any of this musical stuff, don't

1670
01:11:20,166 --> 01:11:22,366
forget to go to openstudiojazz.com/yhi.

1671
01:11:22,406 --> 01:11:26,086
That's openstudiojazz.com/yhi, and you can sign up for a free

1672
01:11:26,186 --> 01:11:27,586
trial and get lessons from Peter Martin.

1673
01:11:27,856 --> 01:11:30,266
That's right. Good stuff. All right. Well, till next time.

1674
01:11:30,446 --> 01:11:31,126
You'll hear it.