On this episode, Peter and Adam list off seventeen of the most called jazz tunes that you need to know to be prepared for any jam session.
Peter Martin: Hey, Adam.
Adam Maness: What’s up?
PM: How many tunes do you know?
AM: About 16.
PM: Okay, you’ve got one more you need to learn, my friend.
PM: Today’s your day!
(“Emotion in Motion” plays)
AM: I’m Adam Maness.
PM: And I’m Peter Martin.
AM: You’re listening to the “You’ll Hear It” podcast.
PM: Daily jazz advice comin’ at ya’.
AM: Coming at you. Pete, today’s a big day.
PM: Big day, big day.
AM: Big announcement.
PM: Big announcement, big announcement.
AM: Do you wanna do that right now, or are we gonna save it to the end?
PM: Everything you say, I’m gonna say it twice.
AM: It makes it more impactful, for sure. (laughs) But it’s very confusing.
PM: It’s like a doppio. It’s like a double shot of espresso.
AM: We’ve been talking a lot about espresso lately.
PM: Man, I need some right now.
AM: I’m for it.
PM: Yeah, let’s just, well, let’s just talk about it a little bit now. We’ll talk about it more at the end. We’ll give them the details. We mentioned it yesterday. It’s “You’ll Hear It Premium.” It’s the next level.
AM: “You’ll Hear It Premium.”
PM: It’s for lovers of this podcast, not haters of it.
AM: Yeah, people who wanna support the podcast, help us grow. We wanna do more episodes at the piano, we wanna be able to do more transcriptions. Those things take a little more time than just you and I sitting here in front of the mics talking about our favorite tunes, which is also very cool. And by the way, we’ll always have the regular old “You’ll Hear It” that you’ve come to know and love, the free podcast.
PM: The free version for cheapskates is what we’re calling it from now on. (laughs)
AM: Now don’t shame them, don’t shame them. But it is true.
PM: No, you’re right.
AM: We wanna be able to do more substantial things, more like really dig into some of these things, and to do that…
AM: …we’re asking for help, and we’re hoping that we get some support.
PM: Yeah, we’re going next level. We’re excited to announce this. It’s actually available today. If you’re super early bird and you jump on, it may not quite be, but go to youllhearit.com. You’ll see it very shortly, and you can sign up as a charter member. So we’ll tell you some more at the end, but first we are talking about what, sir?
AM: 17 tunes you’ve gotta know.
PM: You gotta know. Now, I wrestled with seven or 17 or 77. Really, we could come up with 77, maybe even, I don’t know, about 777. 117, 217.
AM: I could do 117, probably.
PM: But these are tunes–
AM: I wouldn’t know all of them.
PM: Right, right. But these are tunes you’ve gotta know, just to be, maybe we should have qualified it, but we like the shorter title. You know, 17 tunes you’ve gotta know to call yourself a jazz pianist, right?
AM: I would say yeah, yeah. I mean, these are the tunes that you wanna know going into a jam session. You wanna have all these at your fingertips, as they like to say, when you go to the session. So that you can go up there, call it, something that you know everybody else is gonna know and be confident in it. And, you know, a lot of these tunes are the tunes that other people who are just learning this music are getting into as well. Some of these are harder than others. Some of these are super easy. Some of these are really challenging. But they’re all worth your time right now, and if you don’t know all 17 of them.
PM: Shame on you.
AM: No, no, no. No excuses. Fill in the gaps. Make sure that you don’t get called out at the session. You know, I am not a tune hound.
PM: Yeah, me neither.
AM: There are some New York jazz pianists that know gobs and gobs of tunes.
PM: Bill Charlap comes to mind immediately.
AM: Oh my gosh, some of these guys…
PM: Hovering over me.
AM: …can play every tune and every verse and every intro. You know what I mean?
PM: And every story about it.
AM: In every key.
PM: Christian McBride?
AM: Yeah, I mean, and I have a lot of respect for those players, but these are just, these are not even that. These are just the bare minimum to get in there.
PM: And we tried to kinda hit tunes over, you know, sort of geographical boundaries for, as you said, like jam sessions. You wanna know these going into a jam session, but we didn’t wanna do – you know, every city, which I love this. I love regionality.
AM: For sure.
PM: Every city kinda has its own jam session tunes. I’m always surprised how, like in New Orleans for like the modern jazz players, when I was coming up there, every – “Minority” was like a standard, and I remember going somewhere and cats were like, I don’t really know. I mean, like everybody.
AM: Yeah, yeah, yeah.
PM: You know, guys would know “Minority” before they knew “So What.” Like you had to know “Minority.”
AM: Yeah, yeah, yeah.
PM: But I think I came back here, and I called “Minority,” and they were like, “Well, I don’t know it,” and I was like, “What?” So that’s kinda cool, those things, but we tried to avoid those kinda tunes. Like we really hit ones that are like international jam session tunes.
AM: Here in St. Louis, “Beatrice” is a popular entry level tune that you go to other places and not everybody really knows it that well.
PM: Exactly. New Orleans people are like, I mean.
AM: “Beatrice,” what’s that? It’s funny how that works. You know what’s not on our list, just before we get super deep into it, but has been called a lot in the jam sessions I’ve been to this year is “Strasbourg-St. Denis.”
PM: That’s, yeah.
AM: The Roy Hargrove tune.
AM: It’s pretty cool.
PM: It is cool.
AM: It’s pretty cool.
PM: But you couldn’t really go in a jam session anywhere and be like.
AM: People been calling it, man.
PM: Oh, they have been calling it?
AM: Yeah, that’s what I’m saying.
PM: Oh, I’m sorry.
AM: I think it’s just easy enough that it’s like people kinda know it.
PM: That’s cool. But that’s not gonna make this list.
AM: No, not at all.
PM: Great tune but not gonna make this list. This is really like…
AM: That was an aside.
PM: Yeah, like let’s say you can play jazz, but you’re like, “I don’t know any tunes.” I don’t know how that would be possible. “I only know like five tunes.” And, or like say you wanna know, and we do get this question, what and how should I expand my repertoire? So there’s so many different directions to go with that, but this would be like if you don’t know. Say you know 15 out of these 17. You know the next two that you’ve gotta learn. Plus, I’ve got a bonus too.
AM: By the way, I will say this, too. If you don’t know the melodies to these tunes, piano players and bass players…
PM: Oh, you’ve gotta know those.
AM: …you’ve gotta learn the melodies to all these tunes.
PM: You don’t know…
AM: It doesn’t count if you don’t know the melody.
PM: How, of course not.
AM: So learn the melody. All right, let’s go. We’ve got 17 (claps), we’ve gotta keep it moving.
PM: Okay, first: “Autumn Leaves.”
PM: That’s a classic. Look, just, you know, know it. And this one you’ve gotta know in a couple different keys because the singers like to do it.
AM: Yeah, you’ve gotta know it in every key.
PM: You’ve gotta know it in every key, but.
PM: E minor and G minor to start
PM: Yeah, those are big ones, and then you have to know it in French and in English. No, you don’t (laughs)
AM: If you’re a singer, you might.
PM: But, yeah, not a hard tune, but definitely know it.
AM: All right, number two is Miles Davis’s “Solar.” This is really a variation on a blues. It’s 12 bars, and it’s super, super fun to blow on.
PM: Is it so-lar or so-ler?
AM: I don’t know. Everybody says so-lar.
PM: ♪ Solar ♪
AM: But it’s written as solar.
PM: Right, and was it actually written by Miles Davis?
AM: That’s what it says in the Real Book, so it must be true.
PM: Ah, there you go. We do not endorse the Real Book.
AM: All right, number three?
PM: Number three is “A Night in Tunisia.” Now this one I kinda put in. You know, some people would sneer at this being called in a jam session. I don’t know why, but if it is called you’ve gotta know it.
AM: For sure.
PM: You gots to know it, I would even say.
AM: And learn the…
PM: And learn the…
(laughs) We’re like in sync. Learn, let’s see if we can say it together. Learn the
PM: Yeah, exactly.
AM: And if you’re a pianist and a bass player, learn the part, like learn the (vocalizes). And learn the (vocalizes). And the (vocalizes). Totally.
PM: Exactly. So basically, learn the tune.
AM: Yeah, yeah.
PM: Okay, good.
AM: Number four is “All of Me.” Classic again, some basic changes that are really hard actually to make sound good.
PM: ♪ All of me ♪
♪ Why don’t you take all of me ♪
Not my favorite tune.
AM: It’s not my favorite either.
PM: But you’ve gotta know it.
AM: You’ve gotta know it.
PM: You’ve gotta know it, absolutely. Oh, number five, “Body and Soul.”
AM: I love this tune.
PM: I love this tune, too.
AM: Beautiful tune.
PM: Overplayed, but.
AM: For sure.
PM: And not always played well, but, yeah, you’ve gotta know this one. I mean, if you were to get up at a jam session and somebody called this and you couldn’t play it, you might get laughed off the stage. Isn’t that right?
AM: That’s true.
PM: And it’s not a simple tune, I mean, it’s not hard, but it’s not super simple.
AM: It’s not for the pure beginner. It’s in E-flat. The bridge changes keys. The melody, there’s some tricky, like if you do the changes kinda with the diminished stuff can be tricky, but, man, worth knowing. I think it’s a beautiful tune. If you already kinda know it, you should probably learn like the Trane version, the Coltrane version of it. Because that gets called sometimes.
AM: Yeah, well, if they say like let’s do it like Trane. Know those changes. Know how they made it their own. It’s a good version. Okay, number six is “Green Dolphin Street.” Again, learn the intro. The Miles version is, of course, the famous version. But pro tip on the “Green Dolphin Street:” those first eight bars where it’s the pedal, for pianists, stick to the triads.
PM: That’s right.
AM: See if you can stick to the triads. Don’t try to do a fancy D, a fancy D-flat. I want a D triad over C. I want a D-flat triad over C.
PM: Well, and especially if you know the melody. That’s gonna kinda be your clue there. There’s another good one to learn, at least, learn in all keys of course.
AM: For sure.
PM: But at least E-flat and C, I say.
PM: It’s feeling like E-flat is more common, right?
AM: Around here it’s C.
PM: It’s C. Ooh, that’s a Real Book error, I think, because what recorded versions have been in C?
AM: I don’t know. That’s a good question.
PM: Yeah, yeah.
PM: Well, there you go. Number seven. We have “Softly, as in a Morning Sunrise.” Now, I was on a kinda, actually just sitting in on a gig once.
AM: I picked this one for us just so you can tell this story.
PM: I didn’t know it.
AM: You learned “Softy, as in a Morning Sunrise.”
PM: I learned it on the gig, and then later shamefully went and learned it. But I was young. I was four.
AM: You were playing with Wynton Marsalis.
PM: Four months. (laughs)
AM: Four months, come on.
PM: No, I was like 15 years old, 14. But I mean, yeah, that’s when you know. And I remember, like, when he called the tune, he didn’t even turn, this is how bad it was that I didn’t know it. Wynton didn’t even turn to me and say, “Do you know this?”
AM: He just started.
PM: Like if he was gonna do “Do You Know What it Means to Miss New Orleans?” You know that great ballad. He might turn to me and be like, “Do you know?” This was like, all right, “Softly.” This is one of those tunes that it’s just called by not a question, by an exclamation, so you’ve gotta know it.
AM: Number eight is “All the Things You Are,” one of my favorite of these tunes in this list ’cause it’s so much fun to play.
PM: Of these stale jam session tunes.
AM: No, a lot of these are a little stale.
PM: Potentially stale tunes.
AM: But this one for me is never stale. I think I called it last week on a gig ’cause I just like playing it. You know it’s helpful to learn that entire Brad Mehldau extended solo piano intro from Live at the Village Vanguard, but you don’t have to.
PM: Yeah, yeah.
AM: But you should.
PM: If you wanna be like Uncle Adam, go ahead.
AM: No, no, I was just kidding. No, learn the intro, the famous intro made famous by Bird. Yeah.
PM: Cool. That’s (vocalizes).
PM: Oh, that was… Oh, that’s right, of course it was Bird. Good, so that’s number 10. Now we’re onto number 11, “Impressions.”
PM: Now, you added this one. Explain yourself, sir.
AM: Wait, that was number, hold on. Hold on, that was number eight.
PM: Oh, number eight, sorry.
AM: And now we’re on number nine.
PM: Oh, we’re on number nine. Ooh, I gave away a number. That was number eleven. Number nine is “So What.” I was thinking similar chord changes. But not exactly the same.
AM: Close, very close.
PM: That’s right, number nine is “So What” off of the iconic Kind of Blue. Have we ever mentioned that album on this podcast?
AM: A couple of times.
PM: Have we built this house of cards based upon that album?
AM: It’s possible.
PM: I think so.
AM: Again, this is another one, don’t just learn the Real Book version. If you’re a piano player, learn that bass line. Everyone should learn the voicings that Bill Evans plays there. It’s a great opportunity to like really teach yourself about some jazz theory in a tune.
PM: Yep, good stuff. Number ten.
AM: Number ten, “Stella by Starlight.”
AM: Beautiful. This is probably my number two favorite of all of these like standards, anyway. It’s such a beautiful tune. It’s tricky to play. Try to go back as far as you can, to get away from the Real Book changes to know.
PM: Yeah, which are incorrect, I might add.
AM: Incorrect. And yeah, and have fun.
PM: Yep, good one. Okay, number eleven. Now we have “Impressions.” This is actually good. Now I’m remembering, and this is definitely a St. Louis jam session tune. There’s a lot of places this is frowned upon to call this…
AM: Is it?
PM: …on a jam session.
AM: That’s funny.
PM: Yeah, yeah. New Orleans is one of those places where you have got a lot of rolled eyes. Nothing against the tune or John Coltrane. Just, I don’t know, it’s part of the kinda culture there. It’s like why are you going to do it? It’s just, you know, two chords. But this one. But, again, to your point of learn the original version. And like kinda the interplay, yeah, it’s D-minor, but it’s kinda G7 too, and like what you actually hear on that recording, I mean there’s the Live at the Village Vanguard, and Live at Birdland, so many great versions of this with that iconic quartet. But piano players, you’ve gotta, don’t be like, “Well, I already know the changes because I already know ‘So What.'” Learn the melody.
AM: Yeah, on the original recorded version, listen to what notes the bassist is playing. It’s not always just D and E-flat, at all. Like there’s a lot going on there. Number 12 is “Straight No Chaser.” Our first straight blues. F blues, it’s a great blues head to know.
PM: Originally in B-flat, though.
AM: Oh, really?
PM: By Thelonious Monk. Yes, sir. Yeah, Miles Davis kinda changed it.
AM: I feel like a tool.
PM: No, no, no. Miles Davis sort of, I don’t know if it was because it was easier on the trumpet or whatever, sort of changed it there.
PM: But the original recording, and I think Monk always played it in B-flat, I believe.
PM: It’s all good.
AM: (slaps hand)
PM: It’s alright. It’s okay.
AM: I need to.
PM: Where’s the ruler? Andrew, where’s the ruler? All good. So that was number 12.
PM: Now number 13, “Summertime.”
PM: Ooh, you’ve gotta know this one.
AM: This is a great one.
PM: You’ve gots to know this one. I mean if you, if a singer of any merit or not a lack of merit were to turn to you and say “Summertime,” and this you’ve gotta know in every key…
AM: For sure.
PM: …if you’re a piano player.
AM: For sure.
PM: “Summertime,” A-flat.
AM: Yeah, for sure.
PM: The only question with that is are they thinking the major key or the minor key because it starts in major.
PM: And ends. Oh no, it ends in minor?
AM: And the singer sometimes don’t delineate.
PM: Oh no, sometimes? Never, or often though.
AM: You know what’s great about this, about “Summertime” for this list? This is a really great example of, you know, try to learn, like you can get the sheet music for this. And try to learn it as close to that as possible because it’s not just a minor blues. Like there’s a ton of stuff, even just down to that.
PM: Yeah, ooh, that sounds like it’s from the original orchestration there, yeah.
AM: You know what I mean? How great is that though as opposed to just treating it like a Dorian minor blues or something?
PM: Well, it’s not a minor blues at all actually, is it?
AM: Kinda is. I mean it, yeah.
PM: It’s bluesy. It’s bluesy, for sure.
AM: It goes to the four. It goes to a tense turn around. I consider it a minor blues.
PM: That’s true. Good, that’s 13. So number 14 we have
PM: This is politically incorrect.
AM: It’s culturally insensitive.
PM: Totally culturally insensitive. So stay away from the lyrics. (laughs) But you’ve still gotta know it. You know what I mean? You don’t have to approve of it, but you’ve gotta know it. And this is one that, you know, that like the changes, really… Okay, if you don’t approve of this song, don’t learn the melody. This is the one tune we’re gonna let you do that, the words or the melody. But you’ve gotta learn the changes.
AM: Yeah, the changes are important.
PM: Because there’s other tunes based upon it.
AM: Dude, I was at a jam session about two months ago. I was playing. A trombone player, my friend Jacob Melsha, at Julliard right now, came home, called “Cherokee.”
PM: I love Julliard.
AM: Came home, called “Cherokee” in E..
AM: …at about 3:25
AM: I was like, “Bro, you are…”
PM: Get back to New York, sir.
AM: “I’m never talking to you again.”
PM: Take your trombone and go back to New York.
AM: That was really fun.
PM: You hear about the trombone?
AM: He killed it, on trombone.
PM: I bet he did. Did you hear about the trombonist who left, that went to New York, and left his trombone in the back of the car in Times Square? He didn’t realize about the crime problem there. It got broken into, and there were two trombones left. Okay. (drums tabletop) (mimics cymbal crash) Do you like that one, Andrew?
PM: Nope. ‘Cause you’re not listening. Good, alright.
AM: Okay, number 15.
PM: Yep, “Sweet Georgia Brown.”
PM: This is a classic. So this one I kinda added like not so much that maybe people are gonna call it that often, but if they do, you’ve really gotta know it. And then it’s a foundation for a series of different tunes that are sort of based upon those chord changes. And it’s just sort of an iconic, I mean, it’s not like the blues, but it’s an iconic form.
AM: “Bright Mississippi.”
PM: “Bright Mississippi” and a bunch more that I can’t even think of now that you just have to kinda know.
A: Do you have to learn how to twirl a basketball on your fingers?
PM: Yes, you do, as you’re playing in the left hand.
PM: Rooted voicings only.
AM: I think I just flipped off the cameras when I tried to do that.
PM: That’s okay. Love you.
AM: Finally, number 17. We do have a bonus.
PM: No, you’re skipping. Number 16.
AM: Number 16, all right.
PM: We never go up this high on the numbers. That’s why we’re getting off.
AM: Yeah, I know.
PM: I can’t count. Okay.
AM: Number 16 is “Giant Steps.”
PM: Okay, now, I noticed you put this. This is one of the most challenging numbers on here. So it could be argued that do you really gotta know it?
AM: I think you gotta know it at this point.
PM: You are right.
AM: I think this wouldn’t be the first one you would learn, but at a certain point everybody has to spend some time with “Giant Steps” just to be able to get Coltrane changes under your fingers. It’s something that’s gonna come up again and again unless you have it, so just take the time. That’s all it takes is time. Spend some time with it.
PM: Yeah, it’s not gonna happen overnight, but if you start now, within a couple months or so you’ll start to get a handle where you can at least kinda slop your way through it on the jam, but at least you’ll know it.
AM: For sure.
PM: You might not be able to excel at it. That’s okay.
AM: And then you get to be the cool cat that calls it on the jam session.
PM: Exactly, exactly. But, yeah, you gotta know–
AM: And then you can vibe everybody who doesn’t know it.
PM: That’s right. You can be like, “I’m laying out at first, but let me hear it.”
AM: Yeah, yeah.
PM: All right, number 17, our final. But we do have a bonus that I’m excited about.
AM: Yeah, yeah, yeah, yeah.
PM: But number 17 is another tune that I think is really tricky, but I kinda wrestled with. But, yeah, you gotta know it, “Round Midnight.”
AM: I think so.
PM: Also known as “‘Round About Midnight” by Thelonious Monk.
AM: I took too long to learn this one, for sure, and got caught out a couple times.
PM: Right. Were you bearded by the time?
AM: No, I don’t think I was bearded.
PM: Sans beard. Sen-za beard, or sans?
PM: Pre-beard, okay. Well, that wasn’t too long then.
AM: No, but it was long, and I should have known it. You know what I mean?
PM: I mean, it’s a complicated tune. There’s two. There’s really two main versions of it.
AM: Yeah, yeah.
PM: I mean, I’m such a purist, I always say, you know, learn the Monk version.
AM: Which is in B-flat.
PM: Yeah, it’s same key but it’s like very different. It’s got the intro, the changes are different. You know, Miles really changed it up, and (laughs). But I used to be the one who’d like go to the jam session and somebody called it, or even when I called “‘Round Midnight,” I’d start forcing through the Monk changes, and the bass player’s looking at me like, “You’re playing it wrong,” and I’m like, “No, I’m more dogmatic than you. I know the correct way.”
AM: I’m righter than anybody.
PM: I know, and then I finally gave up on that. I’m like, okay, I pretty much assume, unless I hear somebody going with the correct, what I consider the correct changes, I don’t force it on them. If they don’t know it they don’t know, but it’s best to learn both of them. So you have that flexibility.
AM: Well, I love this man. You know, it’s great to kinda to codify this for us.
PM: Yeah, it’s great because you know all these tunes. Of course it’s great.
AM: It feels good for me. It feels very validating.
PM: Mission accomplished. But like I said, like we said at the beginning, you know, you can, we could really expand this certainly to 100 tunes that you gotta know, so just start here. If there’s a couple that you don’t know, I mean, grade yourself. Grade on a curve, but a self curve.
AM: Think of it this way. If you go to a jam session and someone calls “Straight No Chaser” in F, you can shame them.
PM: That’s right.
AM: And be like, “Oh, you’re not playing the original changes?”
PM: That’s right.
AM: Because I’m gonna do that.
PM: “What are you, in Adam Maness’s band or something?”
AM: I’m gonna totally do that tomorrow night at the jam session. I’m gonna go call it, when they start playing in F be like, “What up, man?”
PM: Yeah, yeah, yeah, yeah.
AM: Anyway. So, before we get to our bonus though, let’s talk about our exciting launch.
PM: Our exciting news today, “You’ll Hear It Premium.”
AM: That’s right.
PM: And we have a very special, this is only for our listeners, of course. So if there’s anybody listening that’s not a listener, please leave the room right now. Well, I guess you’d have to be a listener, right?
AM: I think everybody who’s, yes.
PM: Okay, so we have a charter member special. Highly discounted. And what we’re looking to do is to kinda reward our long time listeners, those that have been there for a very limited time, to be able to join us at this very special rate, and if you go to youllhearit.com you’ll be able to see all that beautiful information and what it comes with. But what this is gonna be, it’s gonna be kinda a recurring membership, and what we’re gonna be giving you is, yeah, all the regular episodes, but we’re going with the bonus episodes. Why don’t you tell them a little bit about those?
AM: So the bonus episodes will be episodes all recorded at the piano, all thoughtfully produced. I mean, they’re essentially lessons. They’re essentially lessons on either very specific jazz piano things or very specific jazz concepts, improvisational concepts, voicing concepts, arranging concepts, things that we can actually, nuts and bolts things that we can actually document with things like notation, which we will have available on many of those.
AM: And worksheets and things like that. So that you’re actually getting something that you’re able to take with you from this silly podcast.
PM: Yeah, exactly. And we’ve had a lot of requests from those, and we’ve only been able to do them intermittently, but we’re gonna be able to do more of those for you. That’s gonna be at the premium level. And then, full access to the archives. So, it’s kinda limited in terms of the Apple and some of the other podcast systems in terms of how many episodes going back, and we had a lot of questions about certain episodes, and when we went back and realized, we’re like, wow, that’s already before the last 300.
PM: That’s there.
AM: Yeah, we’re creeping up on 500.
PM: Exactly. So coming in at the premium member level, you’ll be able to get full access to the entire archive. And so that’s coming like very soon if it’s not there already.
AM: The ongoing archive.
PM: The ongoing archive.
AM: So as you only get access to 300, the latest 300, which is less than a year. We’ve been around already for, you know, over that. So as we make more and more episodes and the archive gets bigger and bigger, you’ll have constant upgraded access to that archive.
PM: Yeah, yeah. And then there’s a bunch of other things. We’re starting, we already have a great community thanks to you guys, to our listeners and our viewers. So we’re gonna just kinda tighten that up, or not even tighten it up, just sort of have a place for everybody, all the fans of the show, to be able to interact with us, and maybe even Andrew, our wonderful producer, as well. On our community side, we’re gonna have some exclusive Q&As that’ll be a lot easier to manage with a smaller number. Some early access to episodes, behind the scenes stuff.
AM: The Facebook.
PM: With some random giveaways. I’m excited about those ’cause I’ve got some good ideas there.
AM: There’s also the private Facebook group, which we’ve had for years, the Jazz Piano Studio, and it’s really popular. I’m posting in there all the time – you post on there sometimes. Where we post videos. We answer video questions. It’s a really popular thing. This would be by far the most affordable way that you would get access to that Facebook group.
PM: Yes, exactly, and that’s instant access, right? As soon as they sign up for “You’ll Hear It Premium.”
AM: There’s a button right there, yeah, yeah.
PM: And then, oh, and then SpeakPipe Hotline if you wanna ask a question. This is gonna be the way to do it. Because we’re kinda getting inundated, not in a bad way.
AM: No, no, no, we love the SpeakPipes.
PM: Yeah, but we don’t want to only do SpeakPipe, and so we’re gonna kinda limit that to the premium people, so if you wanna do that definitely consider signing up. And it’s 10 bucks a month. It’s the charter member special. It’s super exciting because it’s just $5. So, if you sign up within the next few days, you’ll be able to come in at that level and stay there forever. You’ll be grandfathered in.
AM: I’ve always wanted to do this. $5 is less than I spend on my cappuccino every morning.
PM: It actually is.
AM: And that’s the truth.
PM: Yeah, it actually is. So anyway, we hope you’ll join us, and we’re really excited for this next stage, and as we said, if you wanna stay on just as a regular listener or viewer on YouTube, no problem, we’re not going anywhere. But if you wanna step it up a little bit to support us and what we’re doing here and also get some. Oh, you get a discount on swag. We’re gonna have some swag giveaways too for the You’ll Hear It Premium. That’s what I’m really excited about. We have some new things that you don’t even know about that you might not even own. So you might wanna be a part of that giveaway, my friend.
AM: Yeah, I don’t get swag for just being a co-host of the podcast?
PM: No, you will. We’ll see what happens. Alright, so let’s get to our bonus. Oh, so go to youllhearit.com to sign up.
AM: Youllhearit.com, sign up for “You’ll Hear It Premium,” and not only are you supporting this podcast, making sure that we can keep going, keep doing better and better things, but you get access to all this great stuff. I’m excited, man.
PM: Yeah, me too.
AM: It’s exciting.
PM: Me too. So, we have a bonus of our 17 tunes. So this is actually number 18, and the reason I wanted to do this one, the bonus is “I Got Rhythm.”
PM: Now, this is a funny kinda bonus because normally people don’t call this.
AM: No, almost never.
PM: And actually, and when it is, this is another one that would raise some eyebrows, but the reason I said it’s a tune that you gotta know is that you just learned 35 tunes, right?
AM: (jazz piano music)
PM: How many, yeah. Are you gonna go through all 35? We don’t have that kind of time, man. (laughs) Yeah, exactly. So, I mean, you’re learning a bunch of tunes, and it’s just like learning a blues or whatever, but.
AM: Wait, that was “Straight No Chaser” in B-flat I just played! (laughs)
PM: Oh, that was good. That’s what I said, the blues are on my mind.
AM: Ignore that.
PM: Do you know “I Got Rhythm?” It’s got the little funny tag thing.
AM: I mean, I can sing it. I can honestly say I’ve never played it.
PM: Yeah, but it’s… So this is the only one on here that you gotta know it. You’re probably never gonna play it because it’s not gonna be called, but it’s gonna be good that you do know it. You’ve learned a whole bunch of other tunes and you understand a big sort of faction that’s needed to be known.
PM: Cool. ‘Til tomorrow:
AM: You’ll Hear It.