00:00:00:00 - 00:00:52:17
Unknown
Peter. The music's awfully sad. Are you okay over there? Yeah. I'm fine. You sure you want to talk about it, buddy? I really don't want to. Okay, I will. So, you know, I was just on vacation with my family. We'd like to go down to the Ozarks and kick it. It's magical. And it was fine. We had a great time, but I wanted to do a little special thing.
00:00:52:19 - 00:01:09:03
Unknown
It's the last time with the kids. They grow up so fast, you know that. They really do. Yeah. So I decided instead of bringing my iPhone 17 plus Max, executive edition, I was going to go old school.
00:01:09:05 - 00:01:35:05
Unknown
You remember a little company called Kodak? Of course. Yeah. Rochester, New York. Shout out Rochester, new. And I got a old Instamatic. I pulled it out of the attic. I was able to find some film. Won ten. And I shot pictures of the kids playing in the lake. I saw I shot selfies of the wife and me walking by the lake.
00:01:35:07 - 00:01:58:20
Unknown
Which is hard, but that kind of camera. Really? Well, we did it. So I collected all these little memories. These little moments. Right? I brought them back with me here. Then I had to find a place to get the film developed, and I found it at Walgreens. But then the story takes a dark turn. They had to send the film out.
00:01:58:22 - 00:03:19:04
Unknown
And I've been waiting for those little memories. Those moments I've been waiting. It's hard. Yeah, I'm sure. But you know, Peter, I'm sure someday your prints will come. Yeah. Yeah.
00:03:36:07 - 00:03:54:21
Unknown
I'm Adam, and I'm Peter Martin, and you're listening to the You'll hear podcast. Music explored. Explored brought to L.A. by open studio. Go to open studio jazz.com for all. Just a little jazz lesson. These little musical accouterments and some noodles happening. Hey, Peter, you know, we got a brand new newsletter. Speaking of. Yes, you'll hear it.
00:03:55:13 - 00:04:16:18
Unknown
Read all about it. Yeah. It's called you'll read it and it is presented by our very own producer, Caleb. And there's a lot of interesting stuff in there. Like we just did the Fleetwood Mac. Album, and our audio producer, Sam did this whole breakdown of, like, they, like, had to crank up the X. Yeah, to get the sound they were going for.
00:04:16:18 - 00:04:32:10
Unknown
It's fascinating. And you know what? I wish I'd had that newsletter before we did the episode. That would've been helpful. Now it's definitely worth subscribing to the newsletter. You get, a brief email every week talking about some of the inside stuff that happens here on the podcast. There is a charge for the newsletter. It's $0. Yeah, it's it's free 50.
00:04:32:11 - 00:04:52:10
Unknown
So, but Peter, today we're going we're going back to a classic. Oh yes we are. It's not this record I love it. It's one of my favorite all time Miles Davis albums, one of my favorite albums of the 1960s, one of my favorite straight ahead jazz albums of all time. Would you say this or Giant Steps is your favorite record from the 60s?
00:04:52:12 - 00:05:11:03
Unknown
You know what? I'm gonna ignore that because Giant Steps is from 1959 ish. Now, this is Miles Davis, his 1961, classic Someday My Prince Will come. Yeah, featuring John Coltrane and Hank Mobley on the tenor saxophones went and Kelly on the piano, Paul Chambers on the bass, and Jimmy Cobb on the drums. Classic line up right there.
00:05:11:03 - 00:05:30:02
Unknown
And everyone. Oh, this was a cool thing. You don't see this a lot anymore. Everybody's name is on the cover. All the sidemen as a as it were. Yeah. And this is kind of a funny thing. It says Miles Davis Sextet. This was not the Miles Davis sex. Not at all. The Miles Davis Sextet had disband in a year or so before when Cannonball Adderley left.
00:05:30:02 - 00:05:42:19
Unknown
That's right. The kind of blue group. But I wonder if this wasn't a little bit coming off the success of Kind of Blue of Columbia Records being like Miles Davis Sextet? I mean, there's six people playing on it. Not at the same time, not at the same time. Right? Yeah, yeah, yeah. Well, I mean, John Coltrane's on on two of the tracks.
00:05:42:19 - 00:06:01:23
Unknown
We're going to get deep into that because that's, certainly illustrious, innovative part of this record, but it's basically a quintet record. This was Miles's working quintet in 1961, and I believe even starting in 1960, train had officially left the band by this point. Yeah. John Coltrane don't train. Yeah. No. You? Yeah. Old friends. Yeah. Old friends.
00:06:02:21 - 00:06:22:21
Unknown
And Miles went through a lot of different tenor players. I mean, he had Sonny Stitt, Jimmy Heath, I believe Jimmy, Johnny Griffin. I'm not sure about that, but, I mean, he had different people. Jimmy Forest from Saint Louis. There's some recordings from him right there. Yeah. From right around the corner from here in Gaslight Square. But, you know, I mean, Coltrane was a huge, monumental presence in this group.
00:06:22:21 - 00:06:42:13
Unknown
So was Cannonball Adderley on the alto hard to replace either of them? Exactly. Yeah. And obviously Miles wasn't satisfied probably till he found George Coleman. Right, I think so, I mean, I think so. And then I mean, think about, you know, Jordan, Hank Mobley, John Coltrane, Hank Mobley, you know, Jimmy Heath, Sonny Stitt, Wayne Shorter.
00:06:42:13 - 00:07:00:23
Unknown
I'm just thinking all the tenor players, 60s on just an incredible line up, all the way up to, like, Branford Marsalis up in the early 80s. Miles love tenors, tenor players. And I mean, I think everything that we think about for the sort of modern jazz quintet sort of came from that Miles Davis sensibility of trumpet, tenor sax.
00:07:00:23 - 00:07:29:01
Unknown
Yeah, piano, bass and drums. And, you know, the trumpet tenor sax thing is important. But to me, what's so exciting about this album, and we'll talk about this more later, is that there's no more important relationship, I think, in this era of music possibly, than that of Miles Davis and John Coltrane. Whenever Miles hands off a solo to John Coltrane, it's usually one of the most magical, you know, 32nd periods of any recorded music.
00:07:29:01 - 00:07:50:19
Unknown
Yeah, because these are two masters that are ever present in what's happening and ever, contrasting each other. And to me, it's some of the most magical stuff. So some of my favorite things that are actually my favorite thing that happens on this album is one of those classic handoffs. Well, my one of my favorite things for sure.
00:07:50:19 - 00:08:11:22
Unknown
Well, it's interesting you say it's about Coltrane and Miles because there's a lot of stories, a lot of lore, some disinformation, sure, but check out what Coltrane said about, Miles and how he helped him. How would you say, working with Miles Davis has influenced you stylistically? Well, is it is led me into most of the things that I'm doing now.
00:08:12:00 - 00:08:32:03
Unknown
You know, he made you play the way you do or you you, got a chance to play like. Well, I've been free. I've been so free here, you know that almost anything I want to try is. I'm welcome to do it, you know? So there's, the freedom has helped me. Words of John Coltrane. And we hear this echo from, you know, Wayne Shorter later on.
00:08:32:03 - 00:08:51:23
Unknown
Certainly Herbie Hancock. Jimmy Cobb in interviews and stories over the year about Miles, and how he could set the table of a musical situation, be it a band for several years with different people coming in and out or performance. You see it in the live gigs and stuff, and we can talk about The Black Hawk, because I was right around the same time.
00:08:51:23 - 00:09:11:00
Unknown
Yeah, you can feel it on these Columbia sessions for sure. For sure. Columbia sessions are, I think, my favorite Miles sessions, as you mentioned, Miles is, I mean, even more so than maybe a trumpet player or a composer is a tastemaker. Like his taste, I think, is what sets him apart. Yeah. And puts him into like the stratosphere level.
00:09:11:03 - 00:09:31:11
Unknown
But look at the I mean, just look at the entire thing here. Yeah. The the cover is so on point. Yeah. And you know, and that has a lot to do with miles. Like miles making these kinds of, of pushes towards how things are going to look, how things are going to sound, how things are going to feel going all the way down to the personnel he picks, the tunes he picks.
00:09:31:17 - 00:10:05:18
Unknown
Even. So, talk about some of the chord changes in some of the standards that he picks. Yeah, very intentional, very intentional. So this album I believe was the first. It was right around the same time, as the live The Black Hawk Friday and Saturday night. But when, Miles began demanding that his album covers feature African-American women, he put his wife, Frances Taylor, the, beautiful and extremely talented and legendary ballet dancer who had her own incredible career, before she was married with Miles and after as well with the Dunham dance group.
00:10:05:18 - 00:10:23:20
Unknown
And she was, you know, the Paris Ballet and a lot of crazy stuff that she was able to do. But Miles said in his autobiography, it was my album, and I was Frances Frances Prince and and she was also on the cover of the Black Hawk, Columbia Records, the, the live from the Club in San Francisco.
00:10:23:20 - 00:10:44:03
Unknown
And then famously a few years later on, ESP right before they broke up. They're both on the cover. That's a great album cover as well. Yeah. And and very tumultuous relationship, especially towards the end. Yeah, to say the least. Yeah. I mean, Frances got the short on the stick on this one for sure. Yeah. And we'll talk about this probably later in the, in the, accouterment section.
00:10:44:08 - 00:11:06:15
Unknown
But another thing Myles started doing was demanding or requesting probably turned into a demand that there be no liner notes on his records. And for this whole period, there weren't he believed he said, I never thought there was nothing nobody could say about an album of mine. He said this in his autobiography, Great Autobiography. Miles controversial autobiography. I just wanted people to listen to the music and make up their own mind.
00:11:06:16 - 00:11:26:07
Unknown
So he's really starting to get into that period where I let the music speak for itself. If you think about like, all the, you know, Blue Note records, prestige, impulse, a lot of the stuff before this and even during this period, there was a real trend towards, you know, IRA Gertler that hands off these great writers. To write liner notes, but because of the, you know, the impact.
00:11:26:07 - 00:11:48:17
Unknown
And look, even when I was coming up looking at LPs like you're reading the back of it, right? Yeah. And so the critics, narrative about the record, really had an impact. Impact, I think, on how we received that, you know, how we consumed it. And so I think Myles was very prescient in his thinking that, you know, beautiful photography, composition.
00:11:48:17 - 00:12:06:15
Unknown
But just let the music speak for itself. You got the legal stuff with the publishing and whatever the list of the tracks produced by Thomas era, and that's it, I get it. And I mean, I, I love, music journalism in general, and it's helped me to discover some things and think about some of my favorite albums in different ways, for sure.
00:12:06:21 - 00:12:30:20
Unknown
But there is a there's a limit to what just language can say about music. I think that was the famous quote, writing about music is like dancing about architecture. Like there's just no relation between what we can put into language versus what music actually does to us and how it affects us. And, and instinctually, I think when you're making it, language seems so cheap to talk about it.
00:12:30:20 - 00:12:47:00
Unknown
I mean, famously, Myles didn't love to talk about the process of making music, either of you with his band, you know. Yeah, it was very much, I'll show you. Let's figure this out by doing it more than by talking about it. And I think it's a really wise philosophy to take on something that can't be talked about.
00:12:47:00 - 00:13:21:06
Unknown
Really? Absolutely. Well, in that spirit of, yeah, let's talk about it for an hour. Let's let's listen to the first track. I was going to say, here we go. Oh yeah, definitely appreciate it. But making it as a whole other thing. Is it enough. Yeah. Do. With Kelly on the piano chords all chambers. Jimmy, come off.
00:13:21:08 - 00:13:47:20
Unknown
That when Kelly dance and Kelly kind of steal this album a little bit. Extended intro. Precision piecing his opinion. In you jam and then pay off.
00:13:47:22 - 00:13:52:18
Unknown
The that.
00:13:52:20 - 00:14:10:10
Unknown
Then. I mean.
00:14:10:12 - 00:14:21:02
Unknown
Who? Do.
00:14:21:04 - 00:14:49:01
Unknown
Bad. This is so in the pocket. But it's so beautiful and epic at the same time I absolutely amazing. And I think you hear Paul Chambers just got half, you know, just got a half note and that's allowing, you know, Wynton Kelly to really jump you. Me just swinging miles.
00:14:49:03 - 00:14:53:14
Unknown
Me?
00:14:53:16 - 00:15:19:03
Unknown
Miles with the harm in me. Oh, come on, this is the best version of straight ahead jazz. I mean, this is straight ahead. Mid 20th century jazz at its peak. Pretty bad when Kelly's a little interjections on this whole album, but especially this track. And then, you know, Miles's intonation on this is pretty incredible because harmony is famously make everything sharp.
00:15:19:03 - 00:15:28:02
Unknown
Yeah. And trumpet players usually start sharp anyway. All right. Here, second straight up.
00:15:28:04 - 00:15:34:04
Unknown
No. Oh.
00:15:34:06 - 00:15:40:05
Unknown
No.
00:15:40:07 - 00:15:58:00
Unknown
And this next phrase here is this is like the weirdest. He gets on this record this week. But it's still so beautiful that I just don't like. That's the weirdest part. This is a perfect solo.
00:15:58:01 - 00:16:04:23
Unknown
It might be.
00:16:05:01 - 00:16:24:16
Unknown
Oh. I'm Jimmy Cobb's transition from from brushes to sticks. Nobody does it like that. What? Everybody copied him. So I mean, there's that Hank Mobley we're gonna talk about Hank.
00:16:24:18 - 00:16:49:10
Unknown
Who I think I so I got it. I got an initial question for you. Yeah. Is there a letdown going from Miles's solo? Not in terms of the rhythm section and the swing and the feel, but like in terms of the intensity of the swing of the soloist and the lyricism for Miles to paint bowling and.
00:16:50:09 - 00:17:11:04
Unknown
Snare drum Hanks play some great stuff. And I think, I think this is a and I don't think there's anything wrong with with Hank Mobley's doing. And it's not like Hank Mobley is not swinging because Charlie House has some problems. I know, but I think it's artistic. Like there's they're almost they're not similar Miles and Hank, but Hank is so relaxed.
00:17:11:04 - 00:17:38:12
Unknown
Yeah. And there's like, what I was talking about earlier about Miles and train is miles has this relaxed, easy, lyrical, long note phrase is your style. And then train comes in all the time with absolute fire. Yeah. After a mile slow. And it's just like the most refreshing eye opening thing. And both of those are great. And so I think when Hank Mobley comes in here after Miles, it's not a letdown.
00:17:38:12 - 00:17:55:22
Unknown
But it's just not it's not as like especially with this. And it's hard not to be, a little bit, biased having listened to this my whole life. Yeah. Especially knowing that the train soul is coming, the John Coltrane solo, which is going to be like, so incredible, is coming. It's just not fair to Hank Mobley to put them next to it.
00:17:55:22 - 00:18:18:05
Unknown
Yeah. Like that, you know. No, I agree because the chemistry between Miles and John Coltrane is so I mean, it's world. It's the best that ever was. Right? Right. So like man how do you how do you compare those two, you know. Right. Right. I mean, I think that this I think Hank Mobley I would I diverge a little bit from your opinion in that I think there is a little bit of a letdown, but I don't think it's like Hank Mobley is perfectly serviceable.
00:18:18:10 - 00:18:35:07
Unknown
Like he's playing the changes, he's playing nice melody, he's swinging. He just doesn't. And it's not just were of Miles to me. He doesn't have the intensity of the groove and the spirit of the music like Wynton Kelly. Yeah, like Jimmy, I mean, Jimmy Cobb is very subtle, like his, but it's so much faster, man. It's so massive.
00:18:35:10 - 00:18:58:15
Unknown
There's nothing like he's not going crazy on anything, but like, everything's in the right place. Yeah, like holistically, the whole thing works. And I don't think Mobley does anything to mess that up. And I think it's fine. It's not like I get to that. I'm like, fast forwarding. Yes, of course, if you know that the John Coltrane which you have to wait until we get a little later to come to that I want to play just a little bit of Wynton Kelly solo, because.
00:18:58:17 - 00:19:12:06
Unknown
I mean, classic Wynton Kelly. You know what you're going to get and you love it.
00:19:12:07 - 00:19:26:22
Unknown
You think you do. You. A joke, right? Cymbal.
00:19:27:00 - 00:19:49:09
Unknown
Man, such a great solo win. Kelly. Like infinitely if transcribed. Like if you're a if you're a beginner pianist and intermediate pianist and you want someone to transcribe that's going to teach you how to swing, they teach you the language, the building blocks of the language, of the music. When you're your pianist, I think there's one person to transcribe or at least listen to and copy his stuff would be Herbie Hancock, 100%.
00:19:49:09 - 00:20:09:12
Unknown
In fact, I want to just jump back a little bit to the introduction. Again, this is one of the greatest, this court record. Yeah, yeah yeah yeah. So I think Herbie, maybe. I don't know if this is the exact voicing, but the thing with this is so this tune is in B-flat, the rest of records in F, by the way, which is insane.
00:20:09:12 - 00:20:24:02
Unknown
Every tunes that have this starts on F, all of the songs are in F, except for Some Day My Principle, which is in B-flat, but it starts on the outside and goes to F a lot. Yeah, but this kind of a thing, this major seventh, you've got the suspended fourth and the third at the same time. Yeah, yeah.
00:20:24:02 - 00:20:43:15
Unknown
And then he goes down. You know, these are very much like voicings. You can hear Herbie Hancock with Miles Davis like a year later. I mean he had to have been checking it out. He's a young pianist. Miles Davis is in the is the biggest jazz artist there is. I'm sure he's listening records and learning stuff. Yeah. So this is what Miles did say about Hank Mobley.
00:20:43:15 - 00:21:00:10
Unknown
This is my thing, is not me. Okay? This is not out, right? Miles said the music was starting to bore me because I didn't like what Hank Mobley was playing in the band. Brutal. Playing with Hank just wasn't fun for me. He didn't stimulate my imagination. I mean, you, that's pretty much what you're saying. You really feel. Yeah.
00:21:00:10 - 00:21:21:20
Unknown
Yeah. I'll hold back. Do you think that Hank fit a little bit better on the live at the Black Hawk? Which was bad months later? I thought he was killing on that. Yeah, yeah, yeah, the music is one month later. He has a lot more energy. Yeah, I don't know, but you know, I, on the other hand, what you're saying, I think this is one of the like, like if you were to say what's a perfect jazz record from any time, this would be on my list of like top five or top ten.
00:21:21:20 - 00:21:41:04
Unknown
It might even been top one for like, so like Hank Mobley doesn't detract from this record. He maybe doesn't add what Miles or a lot of you know what could be. But Trane is on that. We're going to get to that later. But anyway. Yeah. And he's on the Black Hawk. And, yeah. So it's all good.
00:21:41:06 - 00:22:01:06
Unknown
Why don't we go on to so yeah, this is B-flat and then we're getting into track number two, which is old folks. There's some beautiful ballad. There's two, there's really three, but there's two in particular standards. Basically you got three, two, three originals and three standards on this record, which is an interesting theory. The three originals are all Miles compositions.
00:22:01:06 - 00:22:22:07
Unknown
They're all named after people that were in his life. Financing is for Francis, his wife. Title is for Tomasello, the producer of this record. Shout out to you on this. And then, drag dog. We'll talk about that. That's a fun one. But what the first standard, of course, was some day my prince will come, which is the name of the record we are open with.
00:22:22:09 - 00:22:55:23
Unknown
This is has a very interesting history because of course it was from the Disney movie Snow White. Do you remember this 1937 Sunday my prince will come Sunday. A hell of a Labrador she's got right? That's like a 50 year old singer, Adriana Castellano shout out. Right? Yeah, she American, Italian, American. Okay, so that was that. This is a crazy story.
00:22:56:13 - 00:23:12:21
Unknown
There was a group actually in a concentration camp in Germany, 1943. That was the first jazz version. Of course, there's no recording of that. There's a lot in the song we can recognize now why this would become a jazz standard, but that was the first version of it. The name of the group was The Ghetto Swinger, so we want to acknowledge them.
00:23:12:22 - 00:23:28:04
Unknown
Oh my God. That was 1943. And then there was a bunch of different versions. There was the the Dave Brubeck and 57 record of this Bill Evans. That was the other one that I kind of knew. Yeah. Do I have that on here from Portrait in Jazz? Yeah. Here it is. Yeah. We we talked about this in the when we did the trio.
00:23:28:04 - 00:23:37:01
Unknown
Riverside. Riverside. Yeah, yeah. This is 1959. It's a great time. Yeah.
00:23:37:03 - 00:23:57:15
Unknown
So that's of course something that you know Miles would have heard. I mean Bill was playing with Miles right before this, this period as well. So that's probably sort of the Genesis of it, but it was already kind of a jazz standard. And of course, you know, there's some great versions of Keith Jarrett doing this. I heard him do it live, at Juan Lappin, the great Antibes Festival, and he did it at the Deer Head in that great live.
00:23:57:15 - 00:24:14:12
Unknown
Right. It's a really fun tune to play. Do you play this tune? Yeah, I play a little bit. Yeah, I it's my kind of go to if we want like a standard in three. Yes. My go to. Yeah for sure I love it. Okay so here's the second track. I every one of these tunes on this record, there's six tracks.
00:24:14:14 - 00:24:30:19
Unknown
They all start so well. I always think about like you talk about perfection in terms of how you getting into something, how you getting out of it? The sound is incredible on here. This is old folks. Yeah, this is awful. This is a masterpiece. So this is like the ideal ballad. Yeah. Ideal Miles kind of textbook stuff for all instruments.
00:24:30:19 - 00:24:43:20
Unknown
Unbelievable.
00:24:43:22 - 00:25:13:13
Unknown
Even in infinity to infinity. This is space I mean.
00:25:13:15 - 00:25:34:03
Unknown
The. So it's 1961 at a time. Could you imagine sitting in your living room, maybe in Manhattan with your mid-century modern drinking in Manhattan? Drinking a Manhattan? Yeah. Holding this in your hands. That would be all right. That would be all right, man. Can we just talk a little bit about, mutes? So you mentioned the Harmon mute.
00:25:34:03 - 00:25:59:04
Unknown
There's always it's like f on this record. It's everything's in F and everything is in a harbor mute. So Miles Davis obviously playing the trumpet. And there are several different kinds of mutes that you can use with a trumpet. So one of the more common ones, you might hear Miles Davis play a straight mute hit. This is what a straight muted looks like.
00:25:59:06 - 00:26:17:05
Unknown
Things. So this is night Tunisia Charlie Parker. And you shove the straight you and the Harvard in the belly of the trumpet. The straight moon is a cone. It's a straight cone. And you shove it in. It's made. Usually I think of like. This is crazy. Yeah.
00:26:17:07 - 00:26:43:01
Unknown
Wild like Mitch is. You got. You can hear it doesn't have the buzz that the harmony has just muted. Is that I guess. Yeah. Yeah. So there's the straight music. And that was very very common I think before the Harmon mute. Yeah. And then there is a plunger mute is another kind of mute which was originally an actual plunger.
00:26:43:03 - 00:27:09:07
Unknown
Clark, Clark, Terry with the plunger mute. And this gives you the wah wa sound you would hear in a lot of like Duke Ellington, Count Basie kind of stuff. It's actually used from a common bathroom plunger. Yeah. Fun fact people still use the common bathroom pop. So this has a very vocal quality. And then there's the Harmon mute, which is what Myles is playing all over this album.
00:27:09:07 - 00:27:32:21
Unknown
Yeah. All the folks and you can hear it's got this buzz. It's it's metal, it's mountain. There's also a couple pieces you can put the stem in which makes it very quiet and soft or the stem out sounding a little corny sounding. Styles usually play with stemless. Stemless. Yeah. You could also walla this with your hand if you wanted to, but this is how it gives you that buzzy sound that yeah, it's hard for trumpet players now to play these Harmon mutes.
00:27:32:21 - 00:27:52:18
Unknown
Yeah. And not be Myles Myles invoking Myles he that's how iconic he made the Harmon mute. Yeah. And also like the way that you play on the mic. You can play a lot closer on the mic. Yes they probably weren't in the recording studio. This is shout out Columbia 30th Street. Hell yeah the church I mean the sound on this record.
00:27:53:06 - 00:28:11:16
Unknown
Fred Plow is the engineer. So Fred shout out Fred made to me. And I mean, I know we talk about. Well, yeah, but, Yeah, Fred did I mean, he did Time Out. That's a great song. A record debut for some of the biggest records of all The West Side Story. Leonard Bernstein. Never heard of it. That's a great sounding.
00:28:11:16 - 00:28:28:16
Unknown
Yeah. Score from that. And a little record called Kind of Blue. I never heard of never. But I think what you see here is like, this was a period for miles where like it was it wasn't necessarily the peak of his fame because later on he stayed famous and maybe even got more famous. But this was the beginning of like because of the success of Kind of Blue.
00:28:28:16 - 00:28:44:22
Unknown
And we always think of Kind of Blue as being the slow burn to millions of, of sales, which is true. But it was a huge hit, and this was a time when Columbia Records and I mean, yes, to a certain degree, you know, prestige, Blue Note, impulse, you had these great riverside, great jazz labels that were doing amazing things.
00:28:44:22 - 00:29:07:10
Unknown
But Columbia Records, like, they were able to take the most promotional muscle, the, the accouterments, right? The album, the photography, the design and really lift it up. Just a few jazz artists up to this superstar status level. And to put something like this out, I mean, to me, this the sound on this record, the production of it, it kind of brings everything together.
00:29:07:10 - 00:29:47:17
Unknown
Like if you listen. And this was great stuff. 1958, just two years before prestige from the work in steam, in Relaxin. Great records. That's right. Garland on piano Miles is going to be on Harmony again. He definitively. And this is great stuff, right? Incredible. I love these records, but I can see how this for the for the for a larger audience, the stuff on kind of blue and someday my Prince will come with the sound of that Columbia sound and everything was a little bit more popular.
00:29:47:19 - 00:30:07:07
Unknown
Well, it sounds about the same. Oh, sounds better, I think so. Boom. Roasted. There you go. All right, should we go on to, the third track? Okay, so now we're getting into we started out some the first track, of course, in three. Yeah, the Waltz. Then we got that beautiful old folks ballad. Now we've got a little bit.
00:30:07:09 - 00:30:24:09
Unknown
Oh, how do you like your swing swinging? And let's just check out the start of this one more time, because. To leave in miles. Yeah. Snaps. What a cool thing.
00:30:24:11 - 00:30:37:03
Unknown
I like this piano sound. The piano is not in tune. Totally, but I like it. It's not perfectly voiced either.
00:30:38:10 - 00:30:48:23
Unknown
Okay. Yeah. Hank Mobley's on there.
00:30:49:01 - 00:31:05:21
Unknown
Too. Wow. Set the tone.
00:31:05:23 - 00:31:19:17
Unknown
And I think Miles was like, you know, we had so much success with Freddie Spieler, just like Whitney Kelly. Take it. This is so Freddie freeloader ass. But if you had Wayne Kelly in your band, you'd let him take the first of all and every blues he played, right? Yeah. And then Miles cut him off as he off.
00:31:19:17 - 00:31:36:23
Unknown
Set the table. Cut him off when you're done. Right. Yeah. And this kind of swing. It sound like it's the right way to swing. But it's a way. It's the right way to say we're talking about.
00:31:37:01 - 00:31:51:22
Unknown
Two course that. Pulled up so no muted here. Open drummer for the first time. First time with the end of the first A-side.
00:31:52:00 - 00:31:57:18
Unknown
Haha.
00:31:57:20 - 00:32:30:22
Unknown
Who. I was feel like I shouldn't say this, but I'm gonna take this back. Check this out. Wynton Kelly's reminding Miles how to swing. Check it out. Wow. That's a bold statement, my friend. So Miles kind of comes and cuts him off. I'm Dodo. There's that one. There's another one, of course. Miles, a swing in the misses a little later, Jackson slightly.
00:32:31:00 - 00:32:39:00
Unknown
Hey, this is a great milestone. Yeah, I.
00:32:39:01 - 00:32:49:15
Unknown
Do.
00:32:49:17 - 00:33:04:20
Unknown
People. Never. I mean, it's too many. Believe me, baby, that's way too.
00:33:04:22 - 00:33:24:07
Unknown
You like it? I love it, man. I was just thinking. I love this solo on prancing from Miles. It's one of my favorite Miles solos. Yeah, and it's amazing. You know, Miles Davis being arguably the most popular jazz musician, certainly of this era. Yeah. And somehow the least copied of his own soloing. Yeah. You know what I mean.
00:33:24:07 - 00:33:46:01
Unknown
His bands are copied, right? And the players around him are copied a lot. But somehow, I mean, I suppose some trumpet players certainly. Yeah. Have made careers, you know, copying a little bit, but I not that parts are not that kind of like and of the other instrumentalists. Well maybe, maybe I'm not reading enough into it. But for pianist it's so hard to copy what he's doing.
00:33:46:01 - 00:34:11:11
Unknown
It's so hard to do these like long lyrical passages right on our instrument that has a has a finite sustain. Right. You know, that's way more finite than what Miles has, that it's it's kind of amazing. Like, it just makes me want to transcribe some more miles. Like, I feel like, oh, man, wouldn't it be great to have more of that, less of even the Wynton Kelly stuff, right in our playing to have more of the space?
00:34:11:11 - 00:34:30:10
Unknown
And this is general attitude and philosophy on improvising and and making others sound good with his melodies and making the audience want to listen to what he's playing. Yeah, they want to listen to it. It's not a bunch of like, fast note bullshit. There's some there's some fast notes for sure, but it's not. He's not doing anything to impress.
00:34:30:10 - 00:34:49:05
Unknown
In fact, he's kind of anti. He's kind of like it's almost like punk rock. Before there was punk rock like his like punk attitude. I mean, he plays with bird and he's like, okay, I'm bored with this fireworks, these like acrobatics that we can do with bebop. And I'm just going to play these long, beautiful melodies, mostly with arm and mute.
00:34:49:06 - 00:35:06:00
Unknown
Yeah, it's really something. And then he gets even his. And then he turns away from that eventually in the, in the late 60s and constantly evolving. And then he turns away from that. It's it's that to me is like the lesson from Miles is like he never turns away from harmony. If you see the boot on the path, kill him like it's an old it's an old Buddhist saying, right?
00:35:06:00 - 00:35:27:19
Unknown
If like once, if you realize you found something good. Yeah, turn the other way. Absolutely. Right. Because that you probably the spirit of of searching is the is the, the goal. Yeah. Not what you're actually doing. Yeah. And I think that this very direct lyrical beautiful playing with the harmony mute, that's the one thing he never turned away from.
00:35:27:21 - 00:35:48:14
Unknown
Yeah. Even go on to like the early 80s time after time, even in the late 80s. Yeah. Late 80s, early 90s. Right. Yeah. Still playing all that decoy. Yeah. Is it always harmony with muse for purple? Yeah, exactly. Nice words and outfits. Suits. I mean, the thing is like two he talking about you're you're talking about bebop and him sort of turning away from there.
00:35:48:19 - 00:36:01:01
Unknown
I think he was somebody that may be reading something in it. I don't have any insider info on this outside of what I hear and the stories that I've heard. And I got my ears on the streets and I got my I got the streets. You got your nose to the grindstone. You got your ear on the streets.
00:36:01:02 - 00:36:17:13
Unknown
Yeah. No. But he was the clouds. Feet on the ground. Like he knew how to do the stuff that he could do well. And that was this. Like, this record is like textbook stuff that Miles can kill it on. Yeah. Key of F calming music. A lot of balance. You know, I think you could play it on the keys.
00:36:17:13 - 00:36:32:13
Unknown
No, he could, but I'm saying like, everything is like within his range. And his range was not small. Yeah. But like playing fast. I mean, he did that. He could do that. But he was also like Clifford Brown and Fats Navarro and Dizzy Gillespie. Yeah, they could do that better. Well, but to play a ballad like this with the harm, you know, one could do a better.
00:36:32:13 - 00:36:45:20
Unknown
I mean, Freddie Hubbard is about to jump on this. Yeah. He was. And like, what are you going to do when you hear that? You're like, well, nobody's going to be, you know, better than that. So I got to do my own thing. And this would totally diminish things to say. Like, Miles knew his lane because this is a big lane.
00:36:45:22 - 00:37:03:03
Unknown
But, you know, this really set the template. I mean, think about just a couple years later, a year later, right? Or two years later, he's got Herbie Hancock, Tony Williams, Ron Carter, who are all students of this rhythm section of Wing Kelly, Paul Chambers, Jimmy Cobb. Yeah, you've got George Coleman, then you've got Wayne Shorter, a couple other saxophone players in there as well.
00:37:03:18 - 00:37:20:18
Unknown
Wayne Shorter, also a notorious searcher. Never. Yes. Never staying too long on. Yeah, yeah. And I mean his laurels and Herbie too, I mean, like, how much of of Wayne and Herbie's and Tony's. I mean, a searcher, you know, for sure. With with what he hold and hold. That's how much of that came from John Carter as well.
00:37:20:21 - 00:37:39:10
Unknown
You know, I think that's the spirit was especially by that time where Miles is now like a significant generation above those guys. Yeah, exactly what, ten, 15 years. And yeah, like this is more like he's probably five years older than than Paul Chambers, I assume. Or maybe ten. Yeah. But like with the next band, he would be like the elder statesman.
00:37:39:10 - 00:37:57:04
Unknown
Exactly. Yeah. And I mean, I know it's made me not seem like it has a lot to do with the music, but being a musician, if I was like Herbie and them at that time, I mean, Miles was like, he had his place on a legendary four story townhouse on West 77th Street, Upper West Side. That was like a converted church or something.
00:37:57:04 - 00:38:16:11
Unknown
This huge house that him and Francis Taylor, after they were married, moved into it that he bought and what he was like, you know, like Frank Sinatra was going over there and Harry Belafonte and he's having parties. And, if you're a young Herbie Hancock going there to rehearse and he's got the intercom system where he's upstairs listening to what suppressive shit, that was some some impressive, some good.
00:38:16:17 - 00:38:33:17
Unknown
You're rolling up in there? Yeah. Uptown. And so it's like, you know, he was really in his element, I think, during during this time, I know there was a lot of tumultuous stuff with their marriage and all that fell apart. But this was the beginning of, like, such a fruitful period for for Miles, I think artistically.
00:38:33:19 - 00:38:52:23
Unknown
Yeah. He was going through some pretty tragic stuff in his personal life during this time, though. Yeah. I mean, he's struggling with addiction. Yeah. And pain. I didn't even know this, but he had, a lot of, chronic pain issues that he was like, medicating with, with with, prescription pills, but also cocaine and alcohol. Admittedly. Yeah.
00:38:53:01 - 00:39:10:14
Unknown
And even Miles said, while we're on dancing, this is probably appropriate. But, you know, he had this. It turned paranoid. During this era, I had turned into something like Phantom of the opera in that. Yeah, in that, you know, Brandy talks. Yeah. And he talks about that in the book and. Yeah. Yeah. So it's interesting. Okay.
00:39:10:14 - 00:39:26:06
Unknown
So let's move on. We're going to kind of roll through these quick because we want to get to some categories where we're going to hit some of our most favorite parts of this of the music. Just play the beginning of drag dog. So drag dog, this is like the only thing track on here. I think that's not played a lot.
00:39:26:06 - 00:39:46:08
Unknown
I know it's like in the real book and stuff, but I never hear anybody playing this. And it's a great Miles Davis ballad, kind of based upon some very standard ass kind of chord changes in the key of F. And it's, Goddard Lieberson, who was the Columbia Records president during this whole period, legendary record executive. It's named after him.
00:39:46:22 - 00:39:59:01
Unknown
It's his name backwards. Got her? Yeah. Dead. Don't give me.
00:39:59:03 - 00:40:05:17
Unknown
So another great vehicle for miles is beautiful harmony tone.
00:40:05:18 - 00:40:21:20
Unknown
Used to be definitive.
00:40:21:22 - 00:41:00:13
Unknown
And I can't tell you how. Trying to think of how impressive Wynton Kelly's. If you're a pianist, it's beautiful to listen to give a little subtle accompaniment. Here is that everybody? Of course, had piece by to counterfeit. It's a little bit of. I thought it might. Yeah. It's not exactly. It's not exactly what he was.
00:41:00:15 - 00:41:16:20
Unknown
Okay. We're going to come back to this later because my apex moments actually keep is come along. But I want to get through the whole record because it's six tracks. It's got some low parts of I thought about you for me. Yeah. Mercer Trent dogs. An interesting one. Yeah. It's basically just a vehicle for some beautiful, more ballad play, you know what I mean?
00:41:16:20 - 00:41:36:12
Unknown
Yeah, yeah, yeah. This is super romantic wreck. I've always thought of this as 100%. Yeah, 100%. I mean, maybe just because when I was listening to this as an LP, I'm looking at beautiful women listening to beautiful music and a lot of ballads on it. A cool Look at Miles is on the back of that album cover. Yeah, yeah, no, this is definitely like akin to Kind of Blue and that it's a very romantic album.
00:41:36:12 - 00:42:07:10
Unknown
Yeah, it's a very. Yeah, like you put this on, you know, middle late October, leaves are falling. You're walking through Central Park and effective nostalgic to. Right. Absolutely. Yeah. Yeah. Okay. So this is toe after toe. Marcel. Yeah. The producer, Acero and Sara, compatriot of Miles through this whole period. Oh, Jimmy Cobb, f minor. Yeah. The rhythmic precision here.
00:42:09:21 - 00:42:17:05
Unknown
The syncopation, the choices. Ooh!
00:42:17:07 - 00:42:39:16
Unknown
Never underrated. Miles. And he had recorded this, I believe, before this. I go with his live record. Yeah. This is a haunting tune. Very simple to. Over my.
00:42:39:18 - 00:42:53:20
Unknown
You did this on a number of different ways. On different records.
00:42:53:22 - 00:43:17:04
Unknown
Man. And then the recording of the drums on here, it feels like. Get some good speakers or some good cans or whatever. Jimmy, come. I can feel hear, you know, I said, wait. You would. How many more, how many more women? Kelly PC albums with miles out there after this, there's the black Hawk. Yeah, the Black Hawk and Jimmy Cobb.
00:43:17:06 - 00:43:43:09
Unknown
I think that live at Carnegie Hall, which must have been right around the same period, but by 62 he starts transitioning, I think. So, yeah. Bill Evans comes back some a little bit. Yeah. And then Herbie Hancock, Victor Feldman, I think yourself is in seven steps ahead in. So this is very much like the kind of maybe not the necessarily the groove, although that could be coming out of the the modality of kind of blue.
00:43:43:14 - 00:44:09:07
Unknown
You know this with the open section. Yes. This feels like this could have been the, the, you know, final track on kind of Blue, almost like. Yes. Or, or even Sketches of Spain vibes, you know what I mean? Right? Or Porgy and Bess and Sketches of Spain was actually the record he recorded right before this. I mean, like, that was the release right before this on Columbia was was a totally different kind of thing with, with a larger band and everything.
00:44:10:10 - 00:44:30:17
Unknown
But yeah, it's coming out of the spirit of that. And then we've got the last track on here, and in a lot of ways, you know, to end on a ballad like this makes a lot of sense. I think it's an interesting, bookends, thematically. And it's got one of the great, great, great, great, great introductions.
00:44:30:19 - 00:44:47:22
Unknown
Of all time.
00:44:48:00 - 00:45:02:01
Unknown
For me, I want to talk about that first chord. This is a beautiful song. And I thought about you.
00:45:02:03 - 00:45:19:11
Unknown
This is Jimmy Van Houston and Johnny Mercer. I believe in him. He did.
00:45:19:13 - 00:45:48:18
Unknown
And this is actually my desert island track, so this is good. We're gonna segue right into our categories, but. He. Miles plays it like, have you seen he. Is he the most lyrical trumpet player we have from our tradition? Yes. Yeah. Easily believe that note. Oh. Man, when Kelly's accompaniment to him is masterful. Miles would have been somebody difficult to accompany.
00:45:48:20 - 00:46:11:14
Unknown
Oh, okay. You stole that voice for sure. Yeah, I think Herbie's checking this out. Yeah, this whole album. So you were saying you had some insights on the beginning? Right on that intro. Oh, yeah. So I thought about you. Is a tune by Johnny Mercer and Jimmy Van Heusen. So I thought about you. If we do it here in the key of F, traditionally the first chord is F, right?
00:46:11:16 - 00:46:24:15
Unknown
And so the changes would be something like F, e7, a7, D, I changes. He means the chords, the harmony. Yeah.
00:46:24:17 - 00:46:47:04
Unknown
If you look up sort of the original sheet music. Yeah, something like that. So Miles doesn't start enough. He starts on a chord, a tritone away from F, which is the most dissonant you can be. If he starts on a B, it's mysterious. Right? It is. He starts on a B minor seven flat five B have diminished.
00:46:47:06 - 00:47:04:13
Unknown
So he's still getting the A7 on the third chord, but instead of f E7 he does, which gives it a different feel. Right? It's like is it a whole other. It's unsettle a little bit. Like so this is how it would traditionally start.
00:47:04:15 - 00:47:31:22
Unknown
Which feels very much an F. But this is a very settled boo double. We did it the same melody. Yeah. But I thought about you. Yeah interesting though. It's super interesting because and check it out when Kelly starts on the Duchy. Oh yeah. Weird. But this is all kind of leading somewhere. And when Kelly leads to that f right?
00:47:32:00 - 00:47:48:09
Unknown
Like, it would be bah bah da da da. But it does. It does it, it does that. But it's just like this is what. And they do a minor here traditionally that would be. Yeah. These are like chord substitutions. And you might think, oh, I don't care about that. I'm not a musician. But it just it gives you a different feel.
00:47:48:09 - 00:48:02:22
Unknown
Right? As a listener. It's like it could be a little bit forlorn. It could be a little nasty, it could be a little unsettled. And then the payoff is what it feels like. It's, you know, that it still hasn't gone there.
00:48:03:00 - 00:48:24:02
Unknown
Yeah. Relative minor. We take this stuff for granted now, and now is the first time I goes to a subtle major to the fourth. Yeah, it's not the ax. We take all these little moves for granted, but that whole B has to Minish to B-flat seven A minor instead of a seven, and make it just a little bit like more for lower and more melancholy.
00:48:24:02 - 00:48:45:11
Unknown
It's it's takes it out of. It wasn't hokey before, but it's like it's it's a song written in 1939. So it felt like the 30s more than it would feel like the 60s. And this brings it into the 60s. And again, as we talk about Miles being such a great tastemaker, such a great, you know, almost like a, like he's the host at a dinner party where it's like, you're going to sit there, you're going to like, he's arranging these things.
00:48:45:12 - 00:49:03:19
Unknown
He probably didn't. He probably heard somebody else, like a mod Jamal or Bill Evans or Art Tatum or whatever. Play that chord on this tune. Or maybe he came up with it. It doesn't really matter. Like he set it there and like, this became the standard. In fact, a lot of the the sheet music and people play it like this a little bit controversial.
00:49:04:00 - 00:49:17:11
Unknown
Lee like he did with other tunes, he sort of changed the chords on Thelonious Monk's Round Midnight. They were really good, but he was he wanted them to be another, different kind of way, so he was able to set the table in a way so that he'd still take that original melody and float it over as only he could.
00:49:17:13 - 00:49:31:22
Unknown
But but with the harmony that he was very intentional about. You hear it on some of the outtakes, not on this record, but on some of the other stuff where he's being very specific, like what he wants Ron Carter to play and like, Herbie played this voicing like he had a sound that he wanted in the harmony was very much a part of it.
00:49:32:14 - 00:49:48:13
Unknown
So that's my dessert on the track. Do you approve? I do, my dessert track is the title track something my principal called this one. I love it so much. So you could go to a desert island. Just listen to this. I do love it. I mean, there's I'm hot for food. Just chill. I'm probably just chill. That you'd be dead.
00:49:48:15 - 00:50:09:06
Unknown
This. That's okay. I'm die happy. Yeah, well, Herbie Hancock, we know, we know where, where, where from whence you came. What about you? What's your apex moment? Okay, my apex moment is a little bit off the beaten path, but I want to jump. Jump to, this part of drag dog. Do I have it on here? Yeah.
00:50:09:07 - 00:50:24:10
Unknown
Check this out. I just love the tone that when Kelly, his ideas, declared he of it, and then he kind of check it out. This is the end of Hank Mobley solo.
00:50:24:12 - 00:50:34:09
Unknown
Little double time deal here. Yeah, yeah, but he's floating on top. His left hand is super quiet.
00:50:34:11 - 00:50:42:05
Unknown
Oh, man, that's so good. He's kind of playing, like, as lyrically as Miles has been on the.
00:50:42:07 - 00:50:54:17
Unknown
Metal Herbie in there two very much. Oh yeah. And then Miles comes in.
00:50:54:19 - 00:51:06:13
Unknown
Here. But it's not over yet. Maybe when Kelly jumps back in the mix, check it out.
00:51:07:00 - 00:51:13:23
Unknown
Subtle groove.
00:51:14:01 - 00:51:42:11
Unknown
So, I chord, When Kelly jumps in, who? That's nice. That's a good moment. That's all. The moment you got the deep cut moment and he's all. He's all up on top of miles. But it's like a conversation. That's a really. Yeah. Oh, man. Sorry. Oh. I don't know, I think I can one up you on this one.
00:51:42:13 - 00:51:55:19
Unknown
That's good though as good stuff there. It's good one Kelly. Let's do we like good or do we look great. Is that the great. Well, I think that might be the for me, pretty great. The greatest Wynton Kelly moment it could be. But yeah. So maybe because he was the massive just like sitting down and making a moment.
00:51:55:19 - 00:52:12:18
Unknown
But that one is like, yeah, what do you got? Oh, I got, John Coltrane solo on Sunday. My principles. Yeah. So I don't know if you've ever heard that, but if you love obvious great choices. Yeah. I mean, it's pretty incredible. Oh, look, there's a pink elephant stampeding through the through the studio. Okay, let's just give a little bit of background on this first two.
00:52:12:22 - 00:52:34:15
Unknown
They recorded sometime in principal come. Of course we listen to this already great intro. Miles plays he solos Hank Mobley solos. Yeah. Which we talked about might have been a little might have been an energetic. And then Wynton Kelly great solo, great solo from Wayne Kelly. And then they get towards the end of the Wynton Kelly solo like The Train.
00:52:34:15 - 00:52:53:04
Unknown
This is the last half of his. And they just like walking in. He's walking. They he just couldn't find parking. What was going I don't know like Miles called him was like I think Miles called him because he's like, I don't like when Hank moments playing for Hank that cat and strays all over this. But they're in the, you know, the church, the 30th Street studio.
00:52:53:06 - 00:53:11:03
Unknown
And then they go back to play the melody, take the tune out. I mean, we're 5.5 minutes in. Yeah. Tunes over. Coltrane walks in. It's like putting his horn together. They're recording. It's one room. This is not like a studio with. Oh, yeah, it's a it's an old church. I think Miles is like, I guess because we sat well, we don't want to improvise too much, but maybe.
00:53:11:05 - 00:53:33:18
Unknown
But then they go back to the intro here, like they're going to segue out. But Jimmy Cardinals trained in one of the great moments ever. Train looks at the chords for the first time ever, literally reading it to the sky. So excited. He may never been.
00:53:33:20 - 00:53:40:20
Unknown
Turn over the tables. Yeah, yeah.
00:53:40:22 - 00:53:44:04
Unknown
That's what I'm saying.
00:53:44:06 - 00:54:18:13
Unknown
Hey me me me me me me I. I really like Elton. Hey, it's just like every one of these. This is what might be my favorite training. Every time. It's like just a a sunbeam of truth comes into the studio, and it's weird. Yeah. You we life is. We know. It.
00:54:18:15 - 00:54:49:01
Unknown
And look it up. Yeah. What I'm saying. This. This right here for me. For me. I know that Miles. Miles is taking these gorgeous, long, lyrical, harmonized solos. You got wind, Kelly. Just like Mr. Swing, like Mr. Funtime. Eighth note. Just having, like, turn everything into a party and then train comes in and it's here, and then you're like, the priest has arrived, right?
00:54:49:01 - 00:55:06:00
Unknown
And it's time 60s are here. Start to it's time to start worship service because like the truth comes in the building, the spirituality is in lifted. And, it's just. And then Miles play the melody again. Play the melody again. It's great. No I agree, and it's I mean, I mean, might be reading too much into this, but this is also like the 60s are here.
00:55:06:01 - 00:55:28:16
Unknown
Like, yeah, for sure. You know what I'm saying? That is where it's like when time is over. Rock and roll's here. Yeah. Like we got to do something. Yeah. And in fact so this is 1961 and that might be a little jarring. What Coltrane play, I mean, like in his first little bit, he played more notes and Miles played on the whole, like, jarring in a way that someone, like slaps you on the top of the head and it's like, wake up, slap you on top of him with like, a beautiful Bordeaux.
00:55:28:16 - 00:55:51:18
Unknown
From what I would hurt. But, you know, it's it's the greatest part about this, about music, about jazz music, about professional music, is that a player's personality can come in and completely detune whatever situation is happening and like, stir up the energy in a way that you're like everybody in the room, you can feel the anticipation of Jimmy Cobb's like, oh, this is got to know he's going to be good.
00:55:51:18 - 00:56:06:02
Unknown
This is going to be good. You can just feel it in the band. The electricity that's about to happen is so incredible. Recorded moment. We're so lucky to have it. Yeah. And I mean the fact that he's playing these chords, he's looking at him, playing them for the first time. So my apex moment beta is great. What about this for both.
00:56:06:02 - 00:56:33:01
Unknown
Really good. What about let me just play this. So this is 1961. So this this like we think about Miles and what he's transitioning to train was kind of already there. This is from his first impulse record I love this after this. Very good. He's got two bass players, Jimmy Garrison and I think our Davis maybe Richard Davis McCoy Tyner.
00:56:33:03 - 00:57:04:21
Unknown
I mean that's an E. 60s are coming. The 60s had a lot more openings on the bass today. I think it's l. Yeah. How did you feel the ways that. Oh yeah. Man I think.
00:57:04:23 - 00:57:23:07
Unknown
That's what the train is bringing to the party. But remember what Coltrane said about Miles being the one that opened him up to the possibilities, the freedom? Yeah. To go bonkers. You know what I mean? Yeah, yeah. Bespoke playlist. What do you got? Oh, this is silly. After hear that great music when jazz dreams of Disney. I like it.
00:57:23:08 - 00:57:41:06
Unknown
There's a lot of, like, Disney. I actually played on a record back of that. It was like jazzy Disney record. You know, there's always these jazz. Yeah. Disney things. Brubeck did one. Yeah. So anyway, that's silly. I've got yours is better. Harman. Heaven. That's good. It is. Harmon in honor of the Harmon. All right, all right, let's get to quibble this.
00:57:41:07 - 00:57:56:10
Unknown
Yes, this is our chance to complain about something. And I will remind you, this is a perfect record. So, what you got? Well, it's so no such thing as a perfect record, but it is close. The only thing that I would say could make it better if there was more John Coltrane. I think that moment is more cowbell, more.
00:57:56:11 - 00:58:12:05
Unknown
More Coltrane, more cowbell, more call. You can never have enough John Coltrane. Imagine him playing on old folks. Imagine him playing on financing. Imagine him playing on I Thought About You. I think it makes for a better album. I mean, he's on two tracks. I mean, what we just heard, of course, something our Prince will come famous solo.
00:58:12:07 - 00:58:27:21
Unknown
Yeah. And then he's on, till he plays a great solo on there. Lots of notes. Really interesting. I don't know, to me, it's kind of part of the sound of this record, him just jumping at those two different places, you know? Don't you want more of that sound? Of course I want more. And I can go hear that on his other records.
00:58:28:10 - 00:58:47:16
Unknown
I don't know. He would be. Of course, it would be great if we change the character of this record, if there was no Hank Mobley and all. John Coltrane, do you think this is a better album? No. All right, I don't. Okay. Which is weird, because my quibble bit is Hank Mobley. I was going to say I thought you weren't super into what he was doing, but but I think holistically, when I look at this record, I think it just all works, you know what I mean?
00:58:47:16 - 00:59:08:07
Unknown
Sometimes you can't argue with the results. Okay. You know what I'm saying? And so, like, having Hank Mobley, which objectively one could say is a little bit subpar to the other individuals that are on this record, but he's a team player. I don't know, maybe he's doing what needs to be done. And then Coltrane, when he comes in his team player and Miles is like holding this whole thing together, you know, maybe they got lucky.
00:59:08:07 - 00:59:29:18
Unknown
Maybe, you know, Teo, T.O. produced it. I mean, it's all kind of intersection of, like, luck and great skill and great playing and everything, but yeah, to me, Hank Mobley's just a small quibble bit in that his playing, there's a little bit of in terms of the arc of the improvisatory creativity falls and the swing feel maybe just a little bit falls off, but it's a great record.
00:59:29:20 - 00:59:44:19
Unknown
Okay, on a scale of 1 to 10, how snobby is this album? Is it one not very snobby at all or ten very, very standard. Yeah, I'll put this at a five. Clearly everything's at a five. No, but this is a perfect example of a five. Let's be honest, I think this is a three. I think this is less snobby.
00:59:44:19 - 01:00:08:22
Unknown
I think just with all the packaging, with the Disney song to Lynn, that I think it's a little less snobby than okay, like, say like I think plug nickel. We love this because that always pushes it more towards snobby. We are snobs. Let's mine. Okay. Right? Right. Sorry. Is it better than kind of blue? No. No, not even close.
01:00:09:00 - 01:00:25:22
Unknown
Oh, don't all. AU contraire, mon frere. Very close. I don't think it's close. I was about to say yes. I think it's kind of blue is a nine. This is a seven. How can you say it's not even close? I mean, it's like the same personnel almost. It doesn't have Cannonball Adderley. Doesn't sound as good. Doesn't have it, doesn't have Cannonball Adderley, doesn't have John Coltrane.
01:00:25:22 - 01:00:41:09
Unknown
Doesn't sound as good. Sounds as good. I don't think it sounds good. I think they have the piano in better shape. Well, it was a different piano on Kind of Blue. I mean, you think about actual Kelly solo and Freddie Freeloader versus Francis great solos, but the piano sounded way better on radio now. Way better. Sound a little better.
01:00:41:11 - 01:01:06:02
Unknown
Okay. Accouterments. These are special. Okay, I'm going to go nine and it could be. So shout out Bob Cato out of New Orleans. Yeah, yeah. Cuban New Orleans individual incredible cover. Did so many great covers. The famous LED Zeppelin first record, Bob Dylan, the Barbra Streisand on the beach on Columbia. Just great. And a lot of times you can people could say, oh, it's just a picture of beautiful woman.
01:01:06:06 - 01:01:26:03
Unknown
That's what makes it. No, there's design to this. Like, look at all this, look at all this, Adam. Yeah, look at this. You know what I'm saying? Yeah. Incredible design, iconic Bob Kato. Shout out well and shout out to Miles Davis. You mentioned that he started insisting that the labels his labels put black women on. Yeah, on his album covers and the liner notes and no liner.
01:01:26:03 - 01:01:43:01
Unknown
And so that that was a big part of that. That much better. Yeah, yeah, yeah. Okay. Up next up next, I've got live the Black Hawk. They recorded it a month later. Great club, San Francisco. They did Friday night and Saturday night, two different LP's, which you think would be overkill. Yeah, but it's not. Both of those records are incredible.
01:01:43:02 - 01:01:59:14
Unknown
I'm partial to Saturday night. But Friday night's amazing two. I mean, some of the great win. Kelly playing Hank Mobley is firing at a higher level than on this record, I think. Yeah, I got no quibble. I agree with him on that. It's a great band Miles. They're they're playing their best. Yeah. They sound. What's cool now is you can listen to that whole weekend.
01:01:59:20 - 01:02:21:05
Unknown
Yeah. Like right in a row. Yeah. I have John Coltrane's My Favorite Things. That's good. It's an iconic records I also have that was from 60, maybe. Yeah, it was right around his. Right. 59 maybe. Same thing. I also, one of the, I think John Ellis great, tenor saxophonist John Ellis, has an album called the you.
01:02:21:05 - 01:02:43:06
Unknown
I like. That's the music of Mister Rogers. And just as we're as we're talking about, like our children's. Someday my prince will come. My favorite things. Innocent jazz some some. Yeah. Childlike. Non cocaine wonder. Childlike wonder. Jazz. But it's a great album. It's you I like from, incredible tenor saxophone as John Ellis. Yeah, yeah. Awesome stuff. You mentioned the newsletter.
01:02:43:06 - 01:03:00:22
Unknown
Folks can go to your here at dot com to sign up for. You'll read it. That's right. Go to you'll hear.com sign up for you'll read it and get a newsletter every week. Yeah. So behind the scenes stuff some announcements some yeah some announcements. You get articles from Caleb, from Sam, from Liz, from our whole team here. Maybe I might write something someday.
01:03:00:22 - 01:03:18:16
Unknown
We will definitely write stuff. We can get our high school, accreditation. I have to learn how to read first, but. Yes. Also check out, I will. I will let you know about a certain program we have called Open Studio Probe. We get a lot of questions about this because people think it's for pros. No, it's for if you want to learn how to practice like a pro, how to treat music like a profession.
01:03:18:20 - 01:03:36:03
Unknown
Right. Actually, no. It's about how to live a musical life. It's what it's really about. And you can learn more if you go to open Studio jazz.com/pro. It's one of our it's our most popular program we've had. It's an amazing community, of like minded folks getting together six days a week for live classes. And, I'm so excited about inspired.
01:03:36:03 - 01:03:53:19
Unknown
Every time I go in there and see our amazing students from around the world. Can we talk with 120 countries now? Can we talk about that? That's crazy. It's crazy, it's nuts. That's crazy. And it is 120 countries right now. Australia, Australia, Andorra, we're doing all the year. So what about a gala? Peter, can I talk to you a little bit about a gala?
01:03:53:19 - 01:04:08:18
Unknown
I don't know about a gala, about a gala. So I want to read a couple of ratings and reviews here. So a gala is our gentlemen and ladies agreement bringing it back. We're bringing it back. And so we bring you this podcast Back Streets back. All right. The podcast doesn't cost anything, but it does. It does. Super expert.
01:04:08:19 - 01:04:35:21
Unknown
We require you to go on to your Apple podcast or your Spotify podcast or YouTube and leave us a comment or a rating and review. Here's some great ratings that we have from some listeners on our Apple podcast. So yeah, five stars. Wonderful. I love all the background insights on these incredible albums. Really nice show gala. And that's from Wolf Rick 16 another seven star, gala review seven stars out of four.
01:04:35:21 - 01:04:59:10
Unknown
We only we only take seven star reviews. It's five. But for those of us mathematically challenged musicians, just know that means greater than you'd hoped for, with 100% being the best you can hope for. Yeah, and that was from JBC 20 1532. Thank you Jamie. And then one more excellence from Boomer music lover right up around five stars.
01:04:59:16 - 01:05:16:19
Unknown
My thanks to Peter Now album for and Adam for helping me understand my favorite music better and introducing me to more great music. In addition to enjoying your enthusiastic and skillful explanations, I so enjoy when you all perform covers at the end of the show. Thank you very much Boomer music lover. We love playing for you and that spirit.
01:05:16:19 - 01:05:56:21
Unknown
That's about what we're going to go do, right? Let's go do it. All right, till next time you'll hear it.
01:07:18:23 - 01:07:50:18
Unknown
Maybe.
01:07:50:20 - 01:10:29:06
Unknown
You.
01:10:29:08 - 01:11:24:06
Unknown
Know. Oh.