00:00:00:00 - 00:00:26:19
Unknown
Hey, Peter. Mark. What's up? Here's to those early summer days. Yeah. A warm breeze. A sunny meadow. Children catching fireflies at dusk.
00:00:26:21 - 00:00:36:18
Unknown
Here's to a slow flow down the Merrimack River. With 15 of your drunkest friends.
00:00:36:20 - 00:00:53:10
Unknown
Here's to jams in sweaty garages. Playing the tunes of glory days with your buddies. Yeah, a Van Halen poster on the wall. I don't know about that. A nonalcoholic IPA in your hand. Maybe.
00:00:53:12 - 00:03:04:23
Unknown
Here's the ovary. Harmonizing jazz classics. Here's to mood chords. Here's the dotted quarter notes. Here's to Shirley Horn. Houston life.
00:03:05:00 - 00:03:31:05
Unknown
I'm Adam Dennis, and I'm Peter. And you're listening to the you'll hear podcast music explored. Explored, brought to you today by Open Studio. Go to open studio jazz.com for all your jazz lesson needs. And Peter, go to Open Studio Music on YouTube to check out some of our performance tracks. Yes, and we're putting together an album of some of our performances, some stuff from here on, the You'll Hear It podcast, some original music that we've been writing.
00:03:31:06 - 00:03:46:03
Unknown
Yes, yes, maybe a little bit of what they just heard. Maybe we'll fill that on. Maybe we'll do another version of it a little. Yeah, a little. Here's to Life featuring Caleb Kirby on the drums and Bob the boo on the bass. Yeah. Is that recognizable? I think so what? We're we're taking it out. We're taking it out.
00:03:46:03 - 00:04:04:18
Unknown
But while used to love. Yeah. Here's to you. So we are talking about Shirley Horn's Here's to Life. Oh, today I know this is one of your all time faves. It is. And actually I had heard of it, but I didn't really give it a fair shake until I started hanging with you when you were like, no, no, this is the one, this one right here.
00:04:04:22 - 00:04:21:23
Unknown
Right. So I think this. Yeah. And this is so this is 1992 release recorded in 1991. So you would have been a young and young and then maybe not even will into well this kind of jazz. Not. Yeah. Not emotionally mature enough to understand why this is so impactful. But tell me about your relationship with this album. Yeah.
00:04:21:23 - 00:04:42:16
Unknown
Well, I was kind of barely emotionally able to. I was young, but. So when this record came out, I was doing some stuff with like, Roy Hargrove and Josh Redman starting to I was a little bit on the scene in New York, whatever. But especially the years after this, like 93, 94. The record came out in 92. This was such this was the early 90s kind of the Young Lions period.
00:04:42:22 - 00:05:00:12
Unknown
But it was also a really interesting period for several wonderful vocalists that had a little bit of a renaissance, or at least a little bit of a highlight. I'm talking Shirley Horn, I'm talking Betty Carter, right. I'm talking Carmen McRae. Although she would lose the wonderful Carmen McRae very shortly thereafter. But I got to hear all of them.
00:05:00:12 - 00:05:17:03
Unknown
I got to work with Betty Carter in 91, and I heard Shirley Horn, on tour over in Europe, my first tour in 91, when I was with Betty Carter, I got to get a little bit of Betty's reaction to Shirley and kind of find out some of the the love they had for each other and a little bit of the, competitiveness.
00:05:17:03 - 00:05:33:05
Unknown
Well, tell me about that. What was that like to see those two, you know, in this, like, you said, this sort of resurgence in both of their careers. Yeah. Well, it's interesting because I didn't fully understand it at the time, but I sort of pieced together later. Betty very much always kept going. So they're they're about the same age.
00:05:33:05 - 00:05:56:12
Unknown
I think Betty is just a few years older, was a few years older than Shirley, but they're basically contemporaries, as well as Carmen. And so, you know, they were coming out already in like the, the late, late 50s, both of them. But Betty, like very much, was not only an amazing singer and then later on mentor to trios to many great musicians, but she was also an entrepreneur, started her own record label.
00:05:57:01 - 00:06:20:11
Unknown
Really like was very scrappy at a time when female, especially African-American female vocalists, we was kind of unheard of. Some of the things that she did, and she created her own little empire that was amazing and just amazing singer, but a little bit I wouldn't say the opposite of Shirley Horn, because Betty was an amazing ballad singer as well, but she was more name, I mean, her nickname that I believe the Miles give it to her, Betty Bebop, right?
00:06:20:13 - 00:06:40:17
Unknown
Like she was like, you know, scatting and singing and like, playing with the melodies and doing uptempo stuff. Wonderful at ballads, incredible up tempo singer. Yeah, like an all time great, all time great great. And doing stuff in seven. But Shirley Horn is we're gonna hear today very much known for balance, although Shirley could do some mean I have some examples of some uptempo stuff, but they're not really on this record.
00:06:41:01 - 00:07:00:00
Unknown
This is very much, you know, Shirley Horn with strings. Here's to life. This is very luxurious record with, incredible sound and ballad and just artistry of her voice, but also of her piano play. So that was another difference. So Shirley was very much, I'm going to say, almost pianist first and we're going to hear her. Well, let's go ahead and hear her talk about this.
00:07:00:00 - 00:07:30:23
Unknown
I think that this will frame things. Well, how I started this is sure. I was influenced, I guess, around 12, 13 years of age. But Earl Garner, younger, like I said by ear, I'd play his music note for note. You know, I was, at school, I was these would call me Earl. Got a queen. Earl, because I loved his music, you know, and I he was the first, piano.
00:07:31:01 - 00:07:56:01
Unknown
Really kind of blew me away. Right. And did you decide? Did your parents decide you should take, a classical? Yes. I was studying it for years. At 44. Yes. And jazz came into a life at 12. Yeah, that's. Well, what did your teachers say to that? Well, there was no problem, because I was very good with the classics.
00:07:56:01 - 00:08:25:01
Unknown
You know, my kids love. You know, the time I was studying, Erroll Garner was also studying Rachmaninoff and Debussy, you know, so it didn't interfere, you know, and singing came later or. Yes, singing. My parents didn't know that I was sneaking a gig, so to speak. Right. So she goes on to it's a really fascinating interview, but talk about the but that was much later.
00:08:25:01 - 00:08:48:09
Unknown
That was like 1928. Reminds me of Roberta Flack story as well, which would be a little bit later than that. But starting off with a lot of classical music and then getting into jazz and then singing. Right. Nina Simone as well, and Nina Simone as well. Yeah. And like Roberta Flack, she's from, Shirley's from Washington, D.C. she went to Howard like pre-college division and ended up going she got into Juilliard, but her family couldn't afford to send her to Juilliard.
00:08:48:11 - 00:09:06:23
Unknown
So she ended up going to Howard and, doing classical. But then she started gigging, like, around in D.C.. I think it was in Georgetown or not Georgetown. There was an area U Street or something where the clubs were and, obviously an amazing vocalist, but I think it's very revealing because I've always felt that she's kind of a piano first vocalist.
00:09:06:23 - 00:09:24:00
Unknown
Right. And so, like, Betty Carter could play piano, Carmen McGregor could play piano and stuff. Sarah Vaughan could play very well, apparently, but they were very comfortable away from the piano. Shirley was mostly like to me, all of her classic recordings that I really loved. She was always at the piano as well. I think it's an integral part of her artistry.
00:09:24:00 - 00:09:39:07
Unknown
She's never far from the piano on this entire record. She did do some stuff, I think, for when Quincy signed her at, Mercury in the early 60s, where she was always in piano. I think it was a little bit less successful. Not that the piano was a crutch for her, but because she was so great at it.
00:09:39:07 - 00:10:01:04
Unknown
Yeah. And it was such a part of her artistry. You know, I totally agree. Yeah. So underrated as a pianist. And there's some good YouTube videos, too, of her playing the piano and playing with her band and definitely worth checking out. Yes, absolutely. So, yeah, so the period of this kind of early 90s for this and hearing her, I mean, she was only, only 57 at the time.
00:10:01:04 - 00:10:19:17
Unknown
I was like, wow, she's so amazing. And I thought, I'm 57 is very old. It turns out that's about, fast approaching that you get close. But it was like such an interesting peer because I feel like a lot of ways she was at her peak. Betty Carter was at her peak? Yeah, Carmen, for sure. But it's like I got so many chances to hear them, to hang with them and with Shirley.
00:10:19:17 - 00:10:33:14
Unknown
And she was just a beautiful person. What you hear on this record is very much, in my experience, the way she was, you know, sort of to hang with. And I used to ask her about different voicings and stuff, and she was like, oh, Peter, I want to check with you. What is that thing you're playing? I was like, don't worry about it.
00:10:33:16 - 00:10:52:07
Unknown
Some stuff I stole from you was trying to get. You know, I love this. Because it is this sort of resurgence time, and I think it's probably the best example of a resurgent, you know, like a third act in a career. Yes. That is just an amazing third act that she has here. Right. And this album was incredibly well received.
00:10:52:07 - 00:11:09:10
Unknown
And I think has stood the test of time. Absolutely. And so just to kind of frame it, the year before she came out in 91 with the with You Won't Forget Me, which was her really her first really big, massive hit. And it was an important record because Miles played on it. Miles famously did not play as a sideman on very many recordings.
00:11:09:10 - 00:11:29:20
Unknown
I mean, something else, Cannonball Adderley, the occasional thing. But there's a whole history with Miles. He really kind of first, put Shirley on the map in like 1959, 1960 when he was playing at the Village Vanguard and had Shirley playing the opposite SATs. He, told Lorraine and Max about her, actually, and then she started to get a lot of notoriety.
00:11:29:20 - 00:11:45:23
Unknown
Quincy Jones first heard her there. So, you know, she always had they always had a very special connection. He recorded this and then died in 91. Actually, I think they recorded 90 miles passed in 91. But what's this? Listen to a little bit of this. You won't forget me because this is coming just a year before.
00:11:45:23 - 00:11:55:11
Unknown
Here's to life. Forget me.
00:11:55:13 - 00:12:02:19
Unknown
Donate five.
00:12:02:21 - 00:12:11:14
Unknown
Me? I'm out of memory. You.
00:12:11:16 - 00:12:27:08
Unknown
Two. Wonderful to die. Oh my God, when? Shirley scores! Oh, and it will happen.
00:12:27:10 - 00:12:36:17
Unknown
That. No. And then.
00:12:36:19 - 00:12:50:05
Unknown
You'll fall to wondering if we shouldn't have tried to see. In.
00:12:50:07 - 00:13:08:16
Unknown
But this was back when. It's good, it's so good. I like this record for some reasons. Oh, God. They got lost even more than Here's to Life. I think it's some of Miles's, like, people forget, like what he still had right up until the end. And I think that's sort of the best example of that. Shirley's accompaniment I know Miles love that.
00:13:08:16 - 00:13:23:00
Unknown
That's what I'm saying. She was a pianist first. And, oh, there's so many different things I want to play a little bit, because when we listened to a lot of ballads, just so people don't get it twisted out here. This is from 92. You mentioned some of the YouTube stuff. This is actually, I think, on YouTube Live at Newport.
00:13:23:06 - 00:13:40:07
Unknown
So the year this record came out with her trio, big shout out to Steve Williams and Charles Ables, her longtime trio, on electric bass and drums. I heard them play so many times, such and such a big part of the Shirley Horn sound during this third act kind of period, and you can't state their importance enough. They were always wearing tuxedos.
00:13:40:07 - 00:13:55:18
Unknown
Shirley was very much about the tuxedos with the trio, but they just complemented her and knew her arrangements and tunes so well. You got to keep it classy. Gotta keep it clean. A lot of folks don't know that. Peter Martin insists on tuxedos right here in open studio, but only when we're deep into work. So we don't do it for the show, though.
00:13:55:19 - 00:14:13:14
Unknown
We change. But as soon as we get done with this, we. Here we go. We change our tuxedos. Yeah. So this is a little bit of just in time, Newport, 1992 I did my lonely night that got me that wanted to hear a piano song. I know this one.
00:14:13:16 - 00:14:17:08
Unknown
Was.
00:14:21:12 - 00:14:26:09
Unknown
It's got a little humping right?
00:14:26:11 - 00:14:41:00
Unknown
And so she had that, I mean, obviously, and if you heard her live, you heard a lot of that. But a lot of people that heard you won't forget me. Here's the live during this period. Didn't get all that. I want to jump back just a little bit. I know we're all over the place, but then we're going to get into here.
00:14:41:00 - 00:14:59:17
Unknown
So life. This is 1961. Sometimes I'm happy this for years was was released as live at the Village Vanguard, but it was actually live in Saint Louis, just a few blocks from here at Gaslight Square. No, absolutely. Yeah. It was titled Vanguard because people thought that I would, I don't know, somebody thought it would be more popular, but this was corrected.
00:14:59:17 - 00:15:16:07
Unknown
And this is what this surely sounded like 30 years before what you're about to hear. On Here's to Life, we're going to do some request the first part of the set. Okay.
00:15:16:09 - 00:15:34:18
Unknown
This is with, Daryl mix bass, Johnson. Johnson. Yeah.
00:15:34:19 - 00:15:40:22
Unknown
What pianist is that about you? But there.
00:15:41:00 - 00:16:11:00
Unknown
Sometimes I'm happy. Sometimes I'm blue. My. This was this Garland there. A red Garland I do, I'm. Never mind the rain from the skies. As long as I can see the sunshine in your eyes. But it almost sounds like. It sounds like a Saint Louis club. Not the van. Exactly, exactly. And I'm like you. But, I mean, the thing is, it sounds like some tat.
00:16:11:00 - 00:16:29:04
Unknown
Like the way she's back phrasing and like. But then she's comping on top. That's so hard. Like, it sounds like it's pretty amazing what she's doing. Those like. And a four and of two rhythms that you would hear, like Red Garland do in Miles's band. Yes. And then Miles is usually phrasing back. Phrasing on stuff. Yeah. She's kind of like, is that whole band bias?
00:16:29:06 - 00:16:45:10
Unknown
I know, and she would have heard Miles on those Vanguard. Yeah, maybe the Red gala or maybe Wing Killer, maybe even Bill Evans during that time, very much of that style. So she was the real deal. I love that that was from the Gaslight Square, which is literally like two blocks that way. Yeah, yeah, yeah. So anyway, fast forward.
00:16:45:10 - 00:17:10:05
Unknown
So Shirley famously, why do you use the word famously so much? That's really gotten to our now I was watching our episode the other day. It's famously and it's really affected our vernacular. Yeah. Shirley infamously was that's not Shirley took a number of years off kind of from the mid 60s. She did a little bit of recording here and there, but pretty much so the till like the late 70s to raise her family, her daughter, she was married for many.
00:17:10:05 - 00:17:25:14
Unknown
She had been married since, I think the mid 50s when she was relatively young. And really was just living in D.C. like, because this kind of like I don't for whatever reason, like she never really became like a huge star. She was known, but it was never, like, whatever. And she wanted to raise her family and stuff.
00:17:25:14 - 00:17:42:05
Unknown
So she kind of came, you know, by the 70s, it was a little bit of a lost time for this kind of stuff. If you weren't already well established, established. She made a great record in 79 that I'll recommend if people want to go on a deep dive, lazy afternoon on steeplechase. That was really the product of Billy Hart and Buster Williams.
00:17:42:05 - 00:17:58:05
Unknown
I think it was kind of recommending her, and that was sort of the beginning of her getting back into in the 80s and like, especially in Europe, going to the North Sea Jazz Festival, the head of the festival, there was a big promoter of hers and kind of led up to this renaissance at the end of the 80s, beginning of the 90s on Verve Records.
00:17:58:07 - 00:18:21:22
Unknown
Shout out Richard Seidel, who signed her and was really kind of the promotional architect behind the the possibility of her having this third act at this time. And that leads to Here's to Life, you know, and this the idea of like, really Shirley Horn and Johnny Mandel, you know, Johnny Mandel, composer of Shadow of Your Smile, the theme from Mash.
00:18:21:22 - 00:18:46:12
Unknown
Emily. Emily, you know, Sinatra arranger, count Basie arranger Tony Bennett, soundtrack to The Sandpiper, I mean, legend, but maybe a little bit more behind the scenes. Yeah. You know, but wrote all this great music and was a great arranger. So Richard Seidel had the idea about putting them together. Shirley had already been singing, or maybe it was Shirley's, or their idea of whatever Shirley was was down with, because she'd already been singing a bunch of Johnny Mandel's composers versions.
00:18:47:07 - 00:19:13:15
Unknown
And that's what this record is about. So let's listen to the first track. Is that cool? Yeah, absolutely. We can listen to all of it. We'll probably come back to her for some highlights, but this is, Here's to Life by Artie Butler, with lyrics by Phyllis Molinari.
00:19:13:17 - 00:19:45:13
Unknown
No complaints and no regrets. I still believe in chasing dreams and placing bets. But I have learned that all you give me is all you get. So give it all you've got. Oh.
00:19:45:15 - 00:20:08:09
Unknown
I had my share I drank my fill. And even though I'm satisfied, I'm hungry. Still. To see what's down another road beyond the hill.
00:20:08:11 - 00:20:18:00
Unknown
And do it all again.
00:20:18:02 - 00:20:26:10
Unknown
So here's to life.
00:20:26:12 - 00:20:36:02
Unknown
And every joy it brings.
00:20:36:04 - 00:20:43:20
Unknown
So here's to life. You.
00:20:43:22 - 00:21:31:19
Unknown
To dreamers. And let you all. Oh my. Funny how the time just flies I love can go from warm hellos to sad goodbyes. And leave you with the memories you've memorized. To keep your winters warm. You.
00:21:31:21 - 00:22:11:21
Unknown
Sure. For there's no yes in yesterday. And who knows what tomorrow brings or takes away the love. As long as I'm still in the game I want to play for laughs, for life, for love. You. So here's to life. You.
00:22:11:23 - 00:22:21:20
Unknown
And every joy it brings.
00:22:21:22 - 00:22:44:09
Unknown
Here's to life. Oh, you were dreamers I may dream.
00:22:44:11 - 00:22:51:22
Unknown
May all your storms be weather.
00:22:52:00 - 00:23:01:16
Unknown
And all that could get better for you.
00:23:01:18 - 00:23:07:09
Unknown
Here's to life.
00:23:07:11 - 00:23:27:13
Unknown
Here's to love. Here's to you. All right, I'll pause it there because we're going to. We're going to come back to this. Oh, I know you like that, but I just feel like the next part together. Yeah, right there buddy. Yeah, I'm fine of out there, big guy. It's. You know, I was just lots of thoughts on that one.
00:23:27:13 - 00:23:47:17
Unknown
First of all, like, you really can't sing it like that unless you've been around the block. Yes, a few times. Yes. Right. There is something amazing about youth and there is something invigorating about youthful musicians. We just last week listened to you and Joshua Redman and Blaine Bryant play when you all were super young, and the energies on fire.
00:23:47:19 - 00:24:05:23
Unknown
Yeah, do. But there's something to this that's not. But you got there's no way that that band at that time could have come close to recreating something like this. You just have to have in the decades of being beaten down by life a little bit. Yes. And just feeling all of these things and contemplating them. Yeah. I think.
00:24:06:01 - 00:24:23:03
Unknown
Yes. And, and to be a sensitive artist on top of it, to just already be Shirley Horn. Yeah. And then to express that and that's, that's grown folks delivery right there 100%. And then also I'm it makes me a little bit sad because, you know, I'm you know how much I love orchestras. I yeah, I love an orchestra so much.
00:24:23:05 - 00:24:40:02
Unknown
And it's a gear that we're just not going to get very much of anymore. Let's bring it back, man. I tried talk. It's hard. It's very expensive. I know, and it's. And we're just not set up for it. Like there we were set up for orchestras for the longest time, I know, not that they weren't expensive even back.
00:24:40:02 - 00:24:59:07
Unknown
And they just have them in, like, every, like, radio station or local television. My dad, when he was in high school, played in like the NBC affiliate in Charlotte and like the band yes, orchestra. You know, it's I'm saying just to have have a big string section at your disposal, have horns at your disposal when woodwinds at your disposal.
00:24:59:07 - 00:25:21:00
Unknown
As a musician, I know it's great. We can do everything in a computer now. Fantastic. But man, you can't tell me that that, the human beings, probably 50 or 60 of them. Yeah. In that recording session, getting together and making music all in one room isn't a special thing. Like that is a special endeavor. It's a monumental task.
00:25:21:00 - 00:25:38:23
Unknown
Johnny Mandel is incredible at this. Yeah. And that's really it's really makes it. There's there's no way that you can get I think it's emotionally charged with it, with computers, I just wait. I know, I mean, I know it's it's different. You try not to be a Luddite. You know what? Embrace your life. No, it's not even a Luddite thing.
00:25:38:23 - 00:25:57:21
Unknown
It's just like there is something about human beings. Dozens of them in a room. I know building cords together. Well, especially for something like this, a song like this. And look, this became, you know, famously, Shirley's signature song from this point on. And she wasn't the only one to sing it. Actually, this was originally written like, this is a very modern standard.
00:25:57:21 - 00:26:16:18
Unknown
I always thought at the time that this was like an old standard, because it's got that sound to this recording. But Artie Butler wrote this like in the mid 80s or like something. Yeah, no late 80s. And it was originally for Peggy Lee, and I think she did end up recording it. Maybe. I'm not even sure, but surely no she didn't.
00:26:16:18 - 00:26:30:03
Unknown
Shirley was the first one to record it, you know, Barbra Streisand record. I dunno if you've heard that version. I should have pulled that up. It's I love Barbra Streisand. It's not Shirley Horn, though, because when you once you get a signature song, it's like it's very hard for anyone else to do this. Other people have done it.
00:26:30:03 - 00:26:48:00
Unknown
It's fun. We just did it. Is it our signature song? I regret doing that now. After listening again and I regret, but I mean, she just like you say, she brings the lifetime experience. A mother, an artist, a wife, a citizen, a human. It's just. Yeah. And I think back to the brief little moments I got to be around her.
00:26:48:00 - 00:27:10:09
Unknown
I got to hear her sing this with the Metropole Orchestra. Amazing. Live. You know, I think that was in 92 or 93. No. 94 at North Sea Jazz Festival. And I can tell you it was every bit as thrilling as listening, actually, even more so because it's like you're sitting right there. Yeah. And her intensity, but also like to me that is such a mature, patient reading of that song.
00:27:10:11 - 00:27:34:23
Unknown
And then Mandel's arrangement, like you couldn't have had 22 year old Mandel be able to write like that. No, you know what I mean? Like the restraint. There's a lot of sophistication there. But how he matches her delivery and tone. And this track, we're going to talk about how this actually went down, because this is one of only two tracks that they recorded all together with the strings, with Shirley and the trio together in one room.
00:27:35:03 - 00:27:53:17
Unknown
Yeah. And I, as you say, they really gives you that gravitas, that connection. But it's really a stunning thing. And I mean, you know, he's got the classic Hollywood strings thing that brings the nostalgia, but there's very much like, a modern sound to it, you know what I mean as well. It's not just like a throwback thing.
00:27:53:17 - 00:28:11:08
Unknown
The sound is so great. Al Schmidt, he he, was the engineer on this and all the string stuff. And then David Baker, the great David Baker, did the trio recordings with Shirley in New York. There's something kind of odd about the way her voice is recorded on this that works. Yeah, it almost makes it timeless. You're like, wait, is this 1992?
00:28:11:11 - 00:28:30:22
Unknown
I know, or is this 1962? Like, there's something in the way that her voice is, and I don't know what that is. I'm sure there's engineers that can help me out there, but in the chat. But, man, I'll tell you what. That's as good as a ballad can get, that is. And and there's a couple of little things I think that tip it off in the songwriting, that it's a little bit more modern.
00:28:31:00 - 00:28:53:02
Unknown
But one thing that I think that Shirley Horn does that is crucial for the song is it's never super sappy. Like, she doesn't she doesn't overindulge in it. She doesn't throw anything away. And then there's a couple of moments in the arrangement that, like you said, like Johnny Mandel is a grown person. Yeah, like when it just breaks down to just the piano.
00:28:53:06 - 00:29:06:18
Unknown
Yes. Oh, at the end. And that and we think about, oh, that's not the part that he erased. That absolutely is the part to give that space. So surely I heard it. She could do this just here at the piano. Sure. No problem. Yeah. Yeah. And it was great. That is a strong, confident choice. Yes. And that's the right choice.
00:29:06:18 - 00:29:32:00
Unknown
Yes. Yeah. And it's their choice. It's their choice. Right. Yeah. But just like we talked about with Marvin Gaye, like sometimes what what's not being played like when they didn't have the snare drum on that on what's the last track? Make me want to holler, remember? Where was that? Yeah. Intercity. But I mean, like, these kind of things where they can be everything that what you're taking away and her playing and then those octaves, this one note or octave down the left hand.
00:29:32:00 - 00:29:47:07
Unknown
You. I don't think anyone did it better than her phrasing. Yeah. Shout out to the harpist or a harpist holding it down. And the most thrilling part we're going to get ready that believe you cut it off where you cut it off. But we'll get it coming, man. There's a form to it. Okay, so that's the first track.
00:29:47:07 - 00:30:15:01
Unknown
And then, well, we'll check this out too. Johnny Mandel had a really interesting he produced this arrange. This was was won a Grammy for the arrangements on this. But this was kind of his concept or his observations about Shirley with pianos at the piano. She's able to totally control her environment. You know, it's it's like she said, my voice comes from the piano, and, it's for her to sing without playing.
00:30:15:01 - 00:30:31:02
Unknown
The piano is kind of like having to rub your head and pat your stomach. You know, it doesn't, some people can't do it. Some people can't. I've heard, I've heard, like, sting can't sing without playing the bass. Like he's got to mimic the bass when he sings, right? Yeah, right. So some people, I think that's just a a muscle memory thing.
00:30:31:02 - 00:30:59:04
Unknown
Yeah. And then this was Jim. Holly horn is the one singer who all the great singers, Peggy Lee, for instance, who I adore. This little Carmen from the great. She's the one. Shirley is the one singer. They all bow down to that saying some cosmic ray and Peggy Lee. So, there's that. Okay, so now we're going to listen to, the second track, which I love.
00:30:59:06 - 00:31:16:20
Unknown
Come a little closer. Great track. Yeah. And, I'm just going to put it out there. This is my desert island track, all right? I can't hold back. Damn. Yeah. And because it's a two for one, is this a medley? This is come a little closer. And while we went. And so we should talk about two. No, no, no, this is not.
00:31:16:21 - 00:31:35:10
Unknown
There's a bunch of men there. Oh, a time for love. We haven't gone to that. There's like three Johnny Mandel compositions on here as well. But, we're going to start with Come a little closer. By the way, this medley expertly executed the transition. Oh, I've got that cued up for you. That's something that might interest is it is very much something.
00:31:35:12 - 00:31:42:20
Unknown
I love the sound of the piano on this record.
00:31:42:22 - 00:31:52:02
Unknown
Her clusters. Me likey. Do you know where they recorded this? This was at,
00:31:52:04 - 00:32:16:00
Unknown
I think it was at Power Station. I'm not sure. Three notes come a little closer. I will sing you my song. Just a little closer. It won't take very long.
00:32:16:23 - 00:32:46:15
Unknown
It's late, and we can't play this piano too loud. Her clothes. The neighbors upstairs are asleep. And dreaming. Okay, I just got to know something. This is dreaming. She did not play. She played the chords the way I like you. Or I would play behind a singer. Like, not exactly, because you don't. I don't know how she was, like dreaming.
00:32:46:15 - 00:33:00:02
Unknown
Yeah. That's the way everybody would do. If you're singing. But, like, she perfectly accompanies herself and you might say, oh, well, she knows what she's going to play. But again, that's like trying to do this. I don't know if that's what Mendel meant, but check it out.
00:33:00:04 - 00:33:41:08
Unknown
Because the neighbors upstairs are asleep right here and dreaming. Oh, that's crazy. Come a little closer. I will tell you, my happiness is one of my favorite voicings ever. Coming up, play. One sweet little. I mean, her level of payments. Close off the charts and I will sing my song a little closer.
00:33:41:10 - 00:34:00:05
Unknown
It won't take but the epitome of making really hard stuff at the piano sound. So yeah, I was going to say making hard stuff sound easy. She was the master. Yeah. The company accompaniment game is so strong. Yeah, is so, so strong. Is the voice in game is to be able to control a piano like this is so we know so hard and.
00:34:00:10 - 00:34:20:22
Unknown
Oh, just a squirrel crazy. Then we we're before. Well no.
00:34:21:00 - 00:34:27:09
Unknown
So this is a transition into.
00:34:27:11 - 00:34:51:06
Unknown
Richard Todd at the French Horn. We're going to be hearing him later.
00:34:51:07 - 00:35:23:09
Unknown
It's great. Man. Love me, love me. Say, you two. Oh, this is all track. Sounds like track. Dream. Let me fly away with you. They tracked all this. Just trip. First number.
00:35:23:11 - 00:35:33:06
Unknown
For my love is like the wind.
00:35:33:08 - 00:36:01:20
Unknown
And why you love is the wind. You hear Shirley Horn do this a lot in her accompaniment. Chord. Chord, chord chord chord. Yeah. Give me more like this. One chord. This chord.
00:36:01:22 - 00:36:20:03
Unknown
You like those voices on the strings? I really do, I really do like them. Yeah. Why. So what happened here I with these strings. They just played this the way they did. I heard her do this many times. This tune just with the trio. They just record the way they do what they do in New York. And they sent it out.
00:36:20:03 - 00:36:49:15
Unknown
Mathis wrote the arrangement, Let the Wind Blow. They recorded in Hollywood with the orchestra. He's matching. Yes, a lot of her voice in it. Yeah. And then having some little things taken away from you. The mix is incredible. Shout out David Baker and Al Schmitt, the great Al Schmitt.
00:36:49:17 - 00:37:11:22
Unknown
Yeah, but I mean, it's just, you know, fantastic. That's fantastic. Yeah. And then I'll just just this is a fun thing. That's why I was the wind. Check this out. This is also wild love for me in 1961. Yeah. You say you do.
00:37:12:00 - 00:37:32:14
Unknown
Let me fly away with you. So that's kind of where she was coming from. You know, she lived with these songs for many, many years. That's a great tune, man. I love the melody. Yeah, it's so great. Cool. Yeah. So, like, like I said that that's how they did it. It was very. I mean, this is certainly been done before, but it's it's not as easy as it sounds.
00:37:32:14 - 00:37:46:22
Unknown
I know as an arranger, I've done this a little bit where you've already got the tracks and it's like it can be a little disorienting because like, where do I fit in? How do I not just make it window dressing or just padding in like play? Put some interesting things in there. I think it was. Oh, yeah.
00:37:47:03 - 00:38:08:03
Unknown
Where do you start in here. So life is the only ones that they recorded all together in the same room with the orchestra and everything. Everything else was just a trio. Yeah. Shirley doing her thing and so forth to feel like for for Mandel to be able to give that addition without it over powering. Yeah. The trio. Because when you hear her do these songs around this time with just the trio, there was nothing missing.
00:38:08:08 - 00:38:25:22
Unknown
But obviously the bigger arrangement makes it more grandiose. But how do you do that when she starts with just that? I think it's like matching the voicings. Very simple, very patient. Not just matching the voicings in the harmony, but like matching the vibe, you know? Yeah, you want to keep a lot of space and I think Johnny Mandel nails that.
00:38:25:22 - 00:38:45:07
Unknown
Yeah. Just, just footballs in the strings parts, you know. Yeah. And then adding some spice with the brass and with the woodwinds as the, as the tune develops a little bit. I think that's, that's the way to go. Absolutely. So let's listen. This is track number three. We're not going because I love her comping on this. How am I to.
00:38:45:09 - 00:39:13:12
Unknown
So am I to know. And her yeah how I don't know if it's really love her back phrasing. So what you call it back phrasing that's found its way here. But her comping is like is on top right. Oh, how am I to know? Will it linger on? It sounds like a different pianist is playing. And leave me then do.
00:39:13:14 - 00:39:42:18
Unknown
Oh, I did not guess. At the strings. You happiness. So I'm going to give that Richard Todd a Grammy. Oh, and French horn killing. How am I to know? That song cannot be that love has come to stay here.
00:39:42:20 - 00:39:49:00
Unknown
Oh.
00:40:00:21 - 00:40:10:17
Unknown
Oh. Yes, sure.
00:40:10:19 - 00:40:23:17
Unknown
Oh, here.
00:40:23:19 - 00:40:36:04
Unknown
I shot nine descending. Steve Williams on drums. Charles Ables on bass.
00:40:36:06 - 00:40:57:08
Unknown
It's such a cool solo. It's like it's almost. It shouldn't be as good as it is. It's so understated. Yeah, it's, you know, good. But it's like everything she's doing in there is so, like, if you saw the transcription, you'd be like, oh that's cool. So but like her execution and like her swing and the blues stuff and her left hand comping and she's pushing through it.
00:40:57:10 - 00:41:14:21
Unknown
It's such a great segue between that amazing singing. So okay, we're moving on to track number four, A time for Love Now. So this is one we talked about in 91. You Won't Forget Me with Miles, guesting on that this record very interesting. Wynton Marsalis is guessing on two tracks. Never heard of him. Ever heard of him.
00:41:14:21 - 00:41:29:01
Unknown
And this is coming, right? Well, it's hot right after, but it was a little bit of a little bit of a beef between Wynton and Miles, famously. Did you know about that? I've heard rumblings. Yeah. What do we know about that? Well, what can we say about that? That's for another podcast. Okay. Yeah. To a whole Wynton Miles podcast.
00:41:29:03 - 00:41:45:02
Unknown
I mean, it it kind of, de-escalated by this point. But do we do a whole trumpet player and we could do a whole jazz musician, a beef trumpet players get a little passive aggressive or a little aggressive aggressive. Sometimes it's a hard instrument. I think they're solos, piano. We got 88 keys. What are they up? Three on number.
00:41:45:03 - 00:42:10:04
Unknown
They got on the same note. This is a time for love.
00:42:10:06 - 00:42:19:12
Unknown
A time. For summer skies.
00:42:19:14 - 00:42:50:13
Unknown
For moods and butterflies. I wonder if Miyazaki was a fan of Shirley Horn. There's a lot of footage of the way Studio Ghibli. Ghibli? Right chords that harmonize with the.
00:42:50:15 - 00:43:16:00
Unknown
So this is another beautiful ballad. Of course, we're going to go for two wings solo on here. Which is a lot of fun. I'd say. For the love.
00:43:16:01 - 00:43:32:04
Unknown
Oh, man.
00:43:32:06 - 00:43:40:18
Unknown
Who?
00:43:40:19 - 00:43:50:01
Unknown
I love this line that's coming out of his office.
00:43:50:03 - 00:44:09:10
Unknown
A time for holding hands. Great playing. Yeah, yeah. I mean, that's the most crystal clear trumpet sound. It's very clear. My only minor quibble bit with that is like, there's a little bit of a disconnect on that. I think he tracked it after the auction. Like, that's the only time on this record where it feels like everybody piece it together.
00:44:09:10 - 00:44:26:09
Unknown
Great playing beautiful, but there's not. I would love to hear some more like Shirley and Wynton kind of interaction. Maybe that's not what was needed on this. It's definitely not as effective as the Miles thing that we heard earlier. Yeah, but maybe that's a you know, Miles had lived a life by this point. Wynton was, you know, still a relatively young guy, but I mean, just playing on it.
00:44:26:09 - 00:44:43:10
Unknown
It's just as usual with this always. Yeah, the playing is great. Return to Paradise. This is great.
00:44:43:12 - 00:44:48:04
Unknown
This percussion stuff was added later.
00:44:48:06 - 00:45:03:22
Unknown
To.
00:45:04:00 - 00:45:33:07
Unknown
A little more the jumpy, Erroll Garner esque piano playing Come On, My Love with me. Across. And I think these are all. Now. These are all. All these ones that she had done with the trio were her arrangements, the trio range. And then they adapted out of Clementine. But she had been doing some of these for years. Like this to.
00:45:33:09 - 00:45:56:09
Unknown
Oh, that's a fun one. And this do some great stuff. This whole album has just like such a rich sonic scape to it. Like the whole landscape of it feels very, very airy, like a little bright. And there's a, there's a lot of room like there's a lot of space in both the arrangements and the performances, but in the sound itself, I really dig it, man.
00:45:56:09 - 00:46:15:21
Unknown
It's really dreamy actually, very dreamy. There is a lot of space, which is amazing because there's, there was such an approach. That's why I, like Mandel, use so much restraint on this, even though he gets a little busy at times. Not to be like busy in a good way, but there was so many. Like, there's such an opportunity to over erase when you already know what the rhythm section and the vocalists are doing.
00:46:15:23 - 00:46:34:19
Unknown
You know what I mean? Because it's like, oh, I can fill in every single hole. I don't have to just sit here and pat because I know the voicings she's going to play. I can match that. I can add little things. Yeah, but he holds back. And then when he does go in there, it's so thrilling. You know, an interesting it is really a challenging task and it doesn't seem like it would be.
00:46:34:19 - 00:46:52:08
Unknown
It's like, oh no, we already have everything ready to go. But you're right. You sort of like inclination could be to fill up as much space as you can think of. Yeah, right. And I mean, I've been tasked with this, a similar project. And I know you have to. Yeah. Of writing something after the fact of something that's already been recorded.
00:46:52:09 - 00:47:06:20
Unknown
Yeah. I find it more difficult because I feel like when you're writing the arrangement and I've kind of done in between to where there's already an arrangement, which is with a lot of these, like, Shirley already had her arrangements and they weren't going to change that. Really. Have you ever got a voice memo of someone just singing the song into their phone?
00:47:06:20 - 00:47:21:13
Unknown
And then you have to do a string arrangement, right? I think I've got that same person as you at the same time, perhaps. Yeah. Okay. So I want to play. What if I two more? No. Well, before you move on too quickly, tell me your strategy for that. Like when you have something that's prerecorded, what do you what are you looking to do?
00:47:21:13 - 00:47:42:00
Unknown
Well, I'm, I look at that is more like less. What are the possibilities that you want to do and more like. Okay, what's sort of the icing that I can put on this at most of the places, but then try to find some places where there's enough space. Not every time, but some of the spaces where you can do something really cool and interesting.
00:47:42:02 - 00:48:01:04
Unknown
Yeah, because if you only just put the pad and the icing, it's kind of like, okay, yeah, that sounds good. Yeah. But it's like because when you're doing the arrangement at the beginning or you're building up from that, you have to build in things, I think, into the arrangement that are really, and normally I would do this, I think just being a pianist or whatever, from the rhythm section and piano standpoint.
00:48:01:09 - 00:48:20:05
Unknown
So it's like you start there and then you start adding some things that match with that. This is the opposite. All that's there, including the rhythm section. So it's like you have to add things on. So it's like you're listening to what's happening. You're trying to match. And but even that process, even the fact that this is how they're going to do it, I think tells you a little bit, informs you of how you might write.
00:48:20:08 - 00:48:38:10
Unknown
Right? Right. They don't want the orchestra to be the featured player, right? Right. Not like Here's to Life, where it's like, it's all about that orchestra exactly. In the beginning. And it's like, if you are putting something on the top of like an already prerecorded track, it's like, okay, well, this is this is where they want this. They want this as I sing mostly.
00:48:38:10 - 00:48:53:03
Unknown
And then you kind of have to pick your spots and if you pick them, the great thing is, you know, you should know what the final price is going to sound like when we arrange a lot of time, especially for like the rhythm section, I any kind of solo, there's a certain amount of of openness that we're like, okay, let it let the magic happen.
00:48:53:03 - 00:49:08:03
Unknown
At the session. Yeah. But this is kind of like, okay, the magic happen. You need to bring some magic. But whatever you record with the strings and the winds and the percussion, that's going to be the end. So like, as he's listening to it come through, it's not like, oh, well, we'll see what else we can do in the next take.
00:49:08:03 - 00:49:27:09
Unknown
It's like, no, it's already done. Yeah. You know, so I bet he had to do some rearranging as he was going or some taking away or something. And I do think that not writing like this kind of arranging after like it definitely breeds to, to be overwriting and I think like laying back and letting like he leaves the trio alone a lot.
00:49:27:09 - 00:49:44:21
Unknown
Probably more than I would think to do. And that's great, because the way they're playing, the way she's singing, don't need anything else. But I wonder, I wonder, I don't know if this is the case, but I've had gigs like this where I have written, I sort of overwritten on purpose. Yeah, with the idea of like, I'm going to give them a lot.
00:49:45:03 - 00:49:58:06
Unknown
Yeah. And they can take or leave what they want, but they're going to have a lot of options, right? You know what I mean? So I wonder how did it happen? I wonder if he wrote more. But like when they heard everything, they were like, now let's take this out of this or I wonder if it was like predetermined.
00:49:58:06 - 00:50:17:03
Unknown
But no, I think can be an experience. I would say, that probably happened. And I'm saying at the session he might have been like, because it's very different than like listening to the whole, like, you already know, apart like the sort of foundation of the tracks. So. Well, yeah, he's been arranging to that. And then when you hear the strings play a key part immediately knew like, oh, that's too much there and was like, okay, let's task with that.
00:50:17:03 - 00:50:31:04
Unknown
Or just wait during the mix. You can also take stuff out. Yeah, we've done that. Yeah, yeah. It's just just for safety if like, I'd rather have something that I can take away than not have anything in hand to try to scream. But what a fun thing to do to arrange when you know you don't really need outside of those two tracks.
00:50:31:05 - 00:50:50:22
Unknown
Yeah, like you can just like. I mean, unless you're worried about somebody being like, you ain't give me enough to play you not to do a lot, you don't have, you know, the when when you've got some great stuff happening already there. Okay. I want to play two more tracks just to this. If you really love me, I want you to just hear a little of the inspiration.
00:50:50:22 - 00:51:11:21
Unknown
Shirley Horn was a big fan of Edith Piaf, as were, of course, many vocalists. Is that the first Edith Piaf reference on the You'll Hear podcast? Oh, absolutely. It might be. This track comes directly from that. This is Him album, L'Amour. And, she's singing in French. Of course, Shirley is going to sing. Silver, say, for the live.
00:51:11:23 - 00:51:31:13
Unknown
Oh, Shirley, change. This is. This is how you gather the public. I'm. I'm mom, I'm telling you. Listen a little bit. Shall I catch a shooting star?
00:51:31:15 - 00:52:08:04
Unknown
Shall I bring it where you are? If you want me to, I will. And this is a little bit buried at the end of the record before a classic. You can set me any task. I'll do anything you, Usk, if you'll only love me still you.
00:52:09:03 - 00:52:37:11
Unknown
If the sun should tumble from the sky. Could be, though. So you already did the woodwinds. I didn't need to get at it. If the sea should suddenly run right, we. Yeah. So that's just, you know, we could have just listened the whole record. That would have been fun. Please do that. Okay, so there's that.
00:52:37:15 - 00:53:02:07
Unknown
That's the second last track, and then the last track is probably this record is really bookended by two classic like compositions that were hugely influential on a whole generation of vocalists and just musicians in general. Here's to life. Of course, every singer and their mama has tried that. That's that's Shirley song. And, and then a state, which of course means summer, is the last track.
00:53:02:07 - 00:53:24:06
Unknown
So it's very interesting, I think that the two sort of bang not really the bangers, just the most classic kind of off repeated. But the history of this tune is actually, the Bruno's Bruno Martino. Bruno. Exactly. Right. Yeah. Bruno Sammartino kind of had a minor hit with this. And then some others did it. And then your Bruno in 1977.
00:53:24:06 - 00:53:41:03
Unknown
Yeah. Covered this in Italian. Yeah. That's why Brazilian. He's got such a thick Portuguese Brazilian accent that you might confuse it for Portuguese, but it's the difference between the two, so it's not gonna be. Have you ever played this song in Italy? Oh my God, they go crazy. They go crazy. Love the same thing. It's so last like this.
00:53:41:03 - 00:54:13:12
Unknown
Yeah. It's beautiful. Yeah. Should the. Think I'm not gonna eat. But you feel the lineage of here's the life and surely love this recording. And, My money can't pass that to a lot of people. But she ordered up some English lyrics to put in another key starting in summer. Yes. Oh.
00:54:26:18 - 00:55:04:14
Unknown
Oh, oh. Start slow and patient and slow and patient. Piano playing is really some beautiful choices. Really, really good. It's starting. To feel you bathe me in the glow of your caresses. And you would think you need the Italian in such a more romantic, beautiful language than English. But she kind of nails it. You turn my me. No to ego.
00:55:04:15 - 00:55:14:22
Unknown
Yes, it's vibes. You like vibes? I love vibes, especially in an orchestra. So yeah.
00:55:15:00 - 00:55:37:20
Unknown
You sweep away my sorrows incredibly well with your signs. But yeah. Shout out to the Bruno's for right. You know what I'm saying? Serious melodies in harmony. But they're also not related to.
00:55:37:22 - 00:56:00:07
Unknown
Oh, how you go. She waits until, like, seconds between these two phrases. Yeah, I'm here for it. Wait. Oh, so that's how the record ends? A start yesterday. And, That's it. Can we get to some categories? Let's do some categories. Happy, man. I'm I'm, I mean, this is this is grown folks music. You know what? Now that you're over 40, how old are you now?
00:56:00:11 - 00:56:14:10
Unknown
46. Welcome to the old. To the grown folks club. Not see? Now you can accept. I'm an old guy. I've slow down now, but you know what I'm saying? Joke's on you. I've been in my 40s my entire life. Okay, so does it around checks. You already have come a little closer. And. And wild is the wind.
00:56:14:10 - 00:56:35:10
Unknown
I mean, is a two for one. So they're great. I have Here's to Life because. Oh, yeah. We got on a live with soccer. It's just too good, man. I wanted to do that, but I wanted to. I wanted to leave you that because I still. I stole yours last week. Apex moments. Apex moments. So I think the last I'll just play the last minute or so of wild is the win.
00:56:37:04 - 00:56:47:04
Unknown
I mean, there's so many apex is on this screen clean to me. This is the last minute.
00:56:47:06 - 00:57:16:17
Unknown
It's been very patient. Beautiful reading of this. For we're creatures of the wind. Why is the wind blew away the streets? We in this dark blue animals who live to great.
00:57:16:19 - 00:57:25:20
Unknown
Wow, man. Let's check this out. Is my love. Just you.
00:57:25:22 - 00:57:34:04
Unknown
For you.
00:57:34:06 - 00:57:55:12
Unknown
Beautiful. Gorgeous. And the only thing added to that. Like he could have put strings all over the. That's just that little bit of bells. Everything else is just trio. The strings moving with those triples before it bad. It's so well crafted. Yeah. He has great little sparkly things and the percussion all over this album. Yeah, yeah. I would like to now hear the end of your slide, please.
00:57:55:14 - 00:58:06:18
Unknown
Thank you. I've been thinking about it since you cut us off. So this is your apex moment? Yeah. Okay. We're going to go right to where we came out. This is great.
00:58:06:20 - 00:58:54:18
Unknown
This is iconic. What? This should just be on our bespoke, iconic list of the way records. No complaints. Yeah. How could it be better? It's so good. Here's to you. Doing. Richard, there's an origin. Oh, jeez. There you go. You. Oh, Richard. Todd, latest challenge is killing me. Oh, your stars. Beware the red. And. Oh, that's good. Get better.
00:58:54:18 - 00:59:11:06
Unknown
That's right. How incredible he is to nice. His to love.
00:59:11:08 - 00:59:22:09
Unknown
Year to you.
00:59:22:11 - 00:59:37:14
Unknown
Do you in the crowd. Is there anything. Oh.
00:59:37:16 - 00:59:57:02
Unknown
Well done. Oh, Johnny Mandel, this is like being in New York, upper east side. Yeah. What's the Algonquin? One of those hotels where you. Everything is just perfect. You you get your little martini. A really, really nice, nice that the classiest drink I know. Probably some Manhattan. How about a Manhattan? You're in Manhattan. Manhattan is so old fashioned.
00:59:57:02 - 01:00:14:00
Unknown
Maybe old fashioned. Yeah. That's everything. Everyone's wearing perfect clothes. And the French man. I can if you want to. If you want to talk like a little arranging thing here, you want to break your audience's heart a little bit. Yeah. So it to the horn or break the spirits, depending on who you have playing for you. Yeah. Not every horn player can get to them.
01:00:14:00 - 01:00:31:01
Unknown
They could make do with like that. Really cool. So hi there. Richard Todd killed it. And did you hear he didn't just go up like he kind of vibed his way up. Yeah, man. Oh, it's it's not it's not easy. It's not an easy instrument. It's not an easy. It's not an easy instrument. My son is, you know, in seventh grade, he plays the tuba, and he's got a whole.
01:00:31:01 - 01:00:51:02
Unknown
They've got a huge band that is school. So, like, they actually break up the band, seventh grade band into different sections. So there's just the the brass section rehearses every day together. And he's like, I was like, how's band class coaches? Like, it's good. The French horns are fucking it up now. So we go on, the horns are it's he's like, I think horns hard.
01:00:51:02 - 01:01:10:11
Unknown
And I'm like, yeah, horns hard man. Horns are. Yeah, it is hard. All right. Bespoke Spotify playlist. Why are we promoting Spotify. Can't just be a bespoke playlist. Yeah okay. What what do you got? I had music for grown folks, but you said it like five podcast, so, so that's. That makes it perfect. Yeah. Music for grown folks for sure.
01:01:10:11 - 01:01:33:11
Unknown
Yeah. I mean, it could also be baby making music, for sure, but it's like baby making music for grown folks that are still, of the age to be able to make babies. That's okay. We could call it a it's not really baby making music. Can you stop saying that? Can we call it maybe, like, old fashion on the Upper East Side?
01:01:33:11 - 01:01:54:19
Unknown
How about that? That'd be nice. I like that. All right. I'm gonna call it. I got slow Burn serenade. It's a great man. Great playlist. Thank you. I mean, the whole record like each track individually, but. But even more so, like, on the, on the, on the macro level, like the whole record is just a slow burn and then it's book and it does kind of go get a little bit out of the ballad thing in different places.
01:01:54:19 - 01:02:12:20
Unknown
But the beginning and the end are so epic, old Hollywood classic, you know, it's got so much in them. It's just a slow burn. Up next, these would be, other albums that you think would pair nicely with this. I, I'm gonna make a zig and then his eggs. Okay, so my zig is Bill Evans from left to right.
01:02:12:23 - 01:02:30:06
Unknown
So this is an album where Bill's playing piano and rose, and I just think the sound of that album has a somewhat similar quality to this. And it's a very romantic album. And then stay with me here. Okay? Norah Jones, come away with me. So we're talking about a slow burn, man. This was right around that same period too.
01:02:30:07 - 01:02:51:15
Unknown
Well, that was about ten years later. Was it? Yeah, 2002. So, slow burn. Yeah. Tasty pianist. Yeah. Singing at the same time. Right. But very understated. Yeah. Different. Whole different thing. Yeah. No, I think I like that. I like that you would go into that. I think the only know those are good. I, we might, we might should do a come away with me.
01:02:51:15 - 01:03:07:13
Unknown
That's a great record. Yeah. I think the only thing with that and really with any of these records, this is such an epic album. If you listen to this whole thing from beginning to end, I think you're done for the night. Like, this is be very hard to like, go right into something else. It's such an emotional it's not an emotional rollercoaster.
01:03:07:13 - 01:03:34:23
Unknown
It's just such a deep, mature, reflective like like her precision. We didn't really talk about her as a reader of lyrics. I think Shirley Horn is unmatched. It's interesting. Mathis I mean, Mathis Mandel talking about, the Johnny Mathis with the Breeders on the Johnny. Johnny Mathis great, great writer arranger, too. But Johnny Mandel, you know, Peggy Lee was another one, great writer of lyrics that he had a big affinity for.
01:03:35:00 - 01:03:53:18
Unknown
But I think that, like her choosing of the songs on here, I mean, this is just so much emotional, romantic life, debt, life depth to these that it'd be kind of hard to go on to something else. But I'll throw a couple in there anyway. Betty Carter dropping things. That was the same year. That was Verve, and she was another vocalist.
01:03:53:18 - 01:04:10:23
Unknown
Very different kind of record, but another really mature, amazing musician, vocalist Betty Carter. Good. That's one of her best record. Good call. Also, Carmen McRae sings monk, another one that I was listening to a lot, and I got to hear her doing that. I don't know that one great record on is that on Vert? I think it's on there too.
01:04:10:23 - 01:04:19:16
Unknown
Yeah. Global Bits or RCA Novus, one of them. Where do you got quibble bits? I said none, but I.
01:04:20:06 - 01:04:35:15
Unknown
I let me hear yours first, okay. Because I just want to hear it. I think I might possibly have the same one I want to hear come out of your mouth before I. So we talked about the arranging process and the recording process and how aside from was it just here's to life that was recorded all together or where's the life?
01:04:35:15 - 01:04:58:11
Unknown
And, where do you start? Right. Great. Bergmans song Allen and Marilyn Bergman and Johnny Mandel. So great song. As good as Here's to Life is with the arrangement. Yeah, the way it is and the way it was recorded with this album have been better, had the whole thing been recorded in that way? No. Okay. Not possible to be better.
01:04:58:13 - 01:05:15:12
Unknown
I'm just saying it would be great. Be so stunning. Be different. But wouldn't you like to hear a version of this where everything was done in a big studio in LA with a huge string section all there on the day and the arrangements were bespoke for this, rather than just layering the orchestra over what she was already doing.
01:05:15:14 - 01:05:29:06
Unknown
I'm just for the sake of argument, you know, I think it sounds like that to most people, including me. I mean, I kind of knew about it because I knew some of the I remember when they were talking about doing this, and I knew Richard Seidel a little bit and some of the different people. I heard her a lot.
01:05:29:19 - 01:05:46:19
Unknown
But I think if you're hearing this, it doesn't sound like I would challenge people. Track one and track five, if you think they sound any different. I think Here's the Life definitely has a different vibe than every. Well, it's different too, because it's not like it's very much an orchestra. And although the trio, I believe is on there and she's playing piano some.
01:05:46:19 - 01:06:14:08
Unknown
Yeah, but it's very much a Shirley and orchestra. It's a very specific kind of thing, but I but I definitely see, hear where you come over. I think that would be an interesting record. But to me, you, you would gain some things in terms of that collegiality, I guess you'd call it. But I also think you might I think the trio would play a little bit different when you've got an arrangement in the orchestras there and you're kind of like, like they were able to do what they normally do, which was a very restrained and specific thing that had little things jump out at different times.
01:06:14:08 - 01:06:28:23
Unknown
I feel like I've been on these orchestra sessions. When you're playing with the rhythm section, you kind of like, wait, I'm like, can I play here? Am I matching like you play in a different way? So I think something would be lost there. Okay. Yeah. What do you got? I got no quibble with. It's because I love this record.
01:06:28:23 - 01:06:59:08
Unknown
Okay. Yeah. Snap monitor. I'm going to give it a three. I'm going to give it a four only because it is very sleepy. Like, it is very slow paced, very slow. And so you have to be ready for that. I think so. So snobs are ready for that. I think if no one knew this or knew Shirley Horn or knew about this genre, yeah, it would be tough without some kind of like, oh, I, I want to, you know what I mean?
01:06:59:08 - 01:07:14:12
Unknown
Like, you'd have to you have to really lean into, like, we're here for a while and we're not doing much. So that would actually push it more towards snob then because, Linda would be like, I need some more. I don't know who this is. Whereas Ethan Iverson would be like, yeah, I'm a snob about music. I this is her specialty.
01:07:14:12 - 01:07:37:13
Unknown
I'm good with it all being exactly, exactly. Oh, that's why I had four and I had three. Okay. Yeah, I got four, which is so not very snobby. No that's true. I mean, it's this is like one of the best selling jazz records. It's all good the night of all time. It's not very snobby, but I do feel like because it is slow, slower paced and there's no, like, really like, you know, you know, you don't, you know, some kind of big swinging number in there that, you know what I mean?
01:07:37:13 - 01:07:55:01
Unknown
Like, yeah, some kind of bigger, but I'm not. Yeah. Showy piece or anything like that. I would be so great if it had that it would not be. I mean, it doesn't need it at all, but is it better than Kobe? No, man. I wrote no, but excruciatingly close. And I just say no. You can't just say yes or no.
01:07:55:07 - 01:08:15:05
Unknown
I want to say equal. Are you really? I really am, oh my. Because I love I feel like Caleb. Can we tally how many equals that is for Peter. Well, but those are great records, man. Because to me, Caleb is amazing. But it's not like it's the greatest record ever. And everything else fails in comparison. Okay. I mean, what would you say?
01:08:15:19 - 01:08:36:18
Unknown
Secrets better than Caleb. You love that record. I think I might, yeah. Okay. Okay. Jamal's I have five. Yeah, I'll give it seven just because it's Shirley, but it's a little bit of weird spacing, the big logo and stuff. I'm not crazy about that, but it doesn't matter. We talked last episode about when we were talking about Joshua Redman.
01:08:36:18 - 01:09:00:00
Unknown
Spirit of the moment 9895. Yeah, 90s were an interesting a static time. Yeah, yeah, yeah. No, not not a high point. Yeah. All right. We are shilling for comments. Ratings and reviews were threatening to bring the gala back. Can we bring it back? The gentlemen and ladies agreement. Exactly. Tell them what it is. So I don't know, it's like this in a bother to me.
01:09:00:00 - 01:09:23:08
Unknown
I really don't understand. And I don't understand the ladies agreement we provide you. If you've made it this far, I think you either fell asleep and you're just waking up or you actually enjoy what the hell we're talking about here, which is really, we're not talking about anything except just listening to, enjoying and connecting with the humanity. That's right of us, with you guys, with everything of this great music in this turbulent, crazy world that we have, we've got things like, here's to life.
01:09:23:08 - 01:09:40:16
Unknown
And so that's really what we're celebrating here. We're having fun with it because this music is amazing, but it's meant to be live with, you know what I mean? Shirley Horn isn't with us anymore, but I still remember the last time I got to hear live and got to hang out with there a little bit, and her spirit is still here, so we're trying to keep that alive, and we're doing that for free for you guys.
01:09:40:16 - 01:10:00:15
Unknown
Although it's not free, there's an agreement that you have made by stay. If you still are listening, you are agreeing. So are you. There, you're there, gentlemen and ladies. Agreed. But we give you a free podcast. You go and leave us a rating review or comment. Some kind of engagement or no both. You got to go leave a rating or review on Apple or Spotify, and then you got to go to the YouTube comments.
01:10:00:15 - 01:10:15:07
Unknown
That's right. And say gala, you can say something else to gala, adhere to Allah, gentlemen LA and ladies. And you can say you can comment down on Spotify as well. You can know you don't see because we haven't figured that out yet, but you can do it. Speaking of comments, we've got a couple. You want to read one of these and I'll read one.
01:10:15:07 - 01:10:38:14
Unknown
So this is off of YouTube. This is from Katie Day. You guys are not only the best music podcast, but simply the best music related material on the internet, educational or otherwise. Thank you for your service. Salute. Thank you, Katie Day. Katie, you are not overstating our level of expertise. I would say, Diane B de Dane B573 says I need this pod to stay forever.
01:10:38:18 - 01:10:56:18
Unknown
It's great. Such a good format to go over classic albums and still keep the essence of the old pod with covering the musical theory and ideas going on in the music. Appreciate you guys. We appreciate you. We appreciate everybody who's listening as well and watching, and we hope, peace and love, is enveloping you in this world and with your love.
01:10:56:18 - 01:13:08:20
Unknown
Why are you looking at me like that, man? I'm. I'm getting sentimental bad. We listen to here's a life, man. Here's. So here's the pod, here's here's the pod. Pop a pod. Until next time you'll hear it.
01:13:08:22 - 01:13:47:09
Unknown
Oh.
01:13:47:11 - 01:13:59:08
Unknown
Come on.
01:13:59:10 - 01:15:01:07
Unknown
Now.
01:15:01:09 - 01:16:10:19
Unknown
I.
