00:00:00:00 - 00:00:14:19
Unknown
Yo, Peter. Hey, man. Man, these intro tunes have been getting kind of out of hand. I know, I know, it's been bonkers, man. And you know what? That's my bad. Lot of. No, I mean, cool arrangements, but, yeah, a lot of hits. A lot of farmers getting fuzzy. It's a little fuzzy. I thought today maybe we go, like, straight down.
00:00:14:21 - 00:00:47:13
Unknown
Oh, what are you thinking? Well, for this album, you know, Saint Thomas is classic Sonny Rollins tune. Yeah. Key of C, and, I made a lead sheet for everybody. I don't really need it. I mean, Bob Marley got one. Okay, I want the end.
00:00:47:15 - 00:01:08:17
Unknown
Yeah, guys, that's what I'm talking about. What do you think? Can we play Saint Thomas?
00:01:08:19 - 00:01:27:14
Unknown
I'm Adam, and I'm Peter Martin, and you're listening to the You'll Hear It podcast. Music explored. Explored. Brought to you today by Open studio. Go to open studio jazz.com for all your jazz lesson needs. Peter, did you know that we have a brand new YouTube channel that's devoted to just performances? I've heard of such a thing. Is it called Open Studio Music by any chance?
00:01:27:15 - 00:01:48:07
Unknown
It is indeed called Open Studio Music. Music performed. That's right. We're going to end this episode with a version of Saint Thomas. And that version of Saint Thomas is going to find its way over to the New Tracks channel, Open Studio Music. We already have. We've got a couple hits on there already. We've got our version of Michael Jackson's Rock With you from our Off the Wall episode from this podcast is over there.
00:01:48:09 - 00:02:04:18
Unknown
How was that? It's like people liking it. Really? Check it out. I don't want it to. I'm open. No, no, I'm a I'm a like an antelope follower. Like, what's the herd of antelope bouncing off the cliff? Yeah, yeah. But go check it out. Well, actually, that was the two piano one. Yeah, just the piano swished at the end.
00:02:04:18 - 00:02:22:00
Unknown
Alright. Good time. So go over there, check out Open Studio Music on YouTube. There is a price for that. It's free 99. It's free 99. Yeah. It's affordable, but it's not nothing. Well, it actually is not free. You have to subscribe if you enjoy it, if you don't like it. Yeah. Just leave us a sub. Also doing like original music over there.
00:02:22:01 - 00:02:44:13
Unknown
Yeah. Probably gonna make an album. We're having fun. Yeah. So today, Peter is a weird day. It is one of our most requested albums ever. It is an album that by, you know, by our dear listeners, it's an album that I was infatuated with when I was a young man. In fact, me and all my friends in my friend group would talk about this album, listen to this album.
00:02:44:13 - 00:03:08:14
Unknown
It was just a lot of fun. If you were in high school and a jazz nerd, which was in 1995, it is Joshua Redmond's spirit of the moment. Live at the Village Vanguard, of which, yes, you are playing on. Yes you are. This is the very first time we are listening to an album on the You'll Hear podcast that Peter Martin was on, and this is one that your fans really, really appreciate.
00:03:08:14 - 00:03:30:16
Unknown
They really love all of your solos. We get requested. Can you guys talk about Saint Thomas? Can you talk about Jake Jug? And so yes, today we are talking about it. I'm excited I can't you tell how you really feeling? Honestly, how are you feeling? I'm feeling fine. I'm I'm actually more I'm less into the listening of it than the than I do know people love this record and I think it is a great record, but I haven't listened to it a lot.
00:03:30:16 - 00:03:55:02
Unknown
And so it's interesting to there's so many records that like what you mentioned about being in high school with your friends. Like I kind of had the exact same thing probably ten years earlier where I was listening to, like, Wynton Marsalis with Kenny Kirkland, you know, Branford, Jeff Tain, what's on, Black Hoods from the underground and then JMU with Marcus Roberts, those records, because those guys were like ten years older than us.
00:03:55:02 - 00:04:10:10
Unknown
So but they seemed like they were just light years ahead of us and everything. But when you're in high school and you figured out a little something, and then you hear some guys and gals that are still kind of young, but this seems like, dang, how could I get there? You know, it's a really exciting time. So I get that.
00:04:10:10 - 00:04:25:10
Unknown
And, you know, a lot of people have I mean, this is probably one of the most talked about records just from people coming up to me, as you said, I'm sure that are just like, oh, I love your thing on that. But it's very interesting because I haven't I haven't listened to this record very much. In fact, I almost never listened to I've heard it, of course, and we're going to hear it.
00:04:25:10 - 00:04:42:10
Unknown
This might be the most I've ever heard it in years, for sure. Yeah. And I was involved a little bit in like the mix and listening to right at the time. But since then I had just haven't really listened to it. So it's very interesting to just get every other people's reactions to something, because normally if people tell me about a record or something, I go listen to it or it's something that I already know.
00:04:42:15 - 00:04:57:17
Unknown
And so you're getting people's, you know, comments and reactions and connections. You have that connection through, through the music. And so weirdly, for me, I don't even feel like I have that connection even though I'm on the album. Well, it's this album, by the way, too. This is a timely podcast about it because it is 30 years old.
00:04:57:17 - 00:05:16:20
Unknown
This damn. Wait, hold on a second. Yeah I know, yeah, well, you were in high school 30 years ago. I'm old man. That's right. But you're older. And when did you graduate? Exactly. So let's graduate is a loose term for me. So. But this is, this is a this will be a fun, if not slightly uncomfortable episode for Peter.
00:05:16:20 - 00:05:33:18
Unknown
It's always weird hearing yourself. I feel like 30 years though is enough time past. Probably where you could be like, it's a whole different dude back then, right? How old were you when you made this? I'm just look at the dates. I was 24. 20. Where was this? 90? Yeah, 95, I was 20, March 95th. I was 24.
00:05:33:18 - 00:05:50:02
Unknown
Just just a pop. I was just a pop, but I was I felt pretty well seasoned at this point, you know? You know, we'll get it. We were starting out earlier. Did some stuff because. Yeah, this is it was released August 1995, recorded March. But I'm pretty sure that was 95. We recorded it was it was March 9th, 1995.
00:05:50:06 - 00:06:12:15
Unknown
Yeah. The 21st in the 25th at the Village Vanguard was when these sessions took place. This was released on Warner Brothers Records. Right. Warner Jazz, Warner Jazz, under Joshua Redman's name. Yeah. One of the best live jazz albums of the 90s. Kind of like across the board. People talk about this one as up there as far as, like, live jazz albums, one of the best Village Vanguard live albums ever.
00:06:12:23 - 00:06:33:12
Unknown
And, Joshua Redman, also, a young pup. He's about your age, I think he's. Yeah, he was probably I think he was like two years older than me. Maybe. Yeah, that's about right. We were all right around. The whole quartet was within 1 to 2 years, actually. The rhythm section, Brian Blade, Chris Thomas and myself were all born in 1970 within a couple of months of each other.
00:06:33:12 - 00:06:47:13
Unknown
Yeah, we'll get into the rhythm section in a little bit, but. Sorry. No, it's all good. Josh, I know we got to talk about the saxophonist first. I know, I know, I know how this party goes. We'll get there. I'll get the key solos first on Never Like You, Peter. Josh Redman, comes from a musical family.
00:06:47:18 - 00:07:14:19
Unknown
Fathers also like you, a professional musician, the great Dewey Redman. Yeah. Tenor saxophone. Dewey Redman, famously played with Ornette Coleman here in the late 60s. This is round trip from New York is now to Two Tenors. Yeah, same.
00:07:14:21 - 00:07:30:08
Unknown
Here. And I'm. I'm ready for this. But Hayden, this is actually, Elvin Jones. Mimi Harrison. Oh, wow. On this album. Yeah, yeah, yeah.
00:07:30:10 - 00:07:48:08
Unknown
Look, great. Mean Ornette Coleman, Dewey Redman, Jimmy Harrison on the bass, Elvin Jones on the drums. Yeah. Train's rhythm section. Yeah, with those two tenor titans. Pretty great. Did you ever get a chance? That was Dewey ever around when you were in Josh's band? Yeah, he was, and I'd actually met him before that, and I got a chance to play with them a little bit.
00:07:48:11 - 00:08:12:08
Unknown
And he was a really, It's a such an intro. Could do a whole nother episode on the connection musically and obviously genetically father-son between Josh and Dewey. Super interesting in terms of their concept and stuff. But of course, you know, I was really even more familiar at at this time with Dewey's work with, of course, the American Quartet with Keith Jarrett.
00:08:13:13 - 00:08:32:12
Unknown
Because I'd been listening to that stuff a lot, actually, because Brian Blade turned me on to a lot of that stuff. Strangely enough, around this time, and this was still in it definitely had appeared for me of discovery. I mean, as much music as I heard and learned growing up. Still, when I was in my early 20s, thanks to people like Brian Blade and Chris Thomas and Joshua Redman and Roy Hargrove.
00:08:32:16 - 00:08:51:23
Unknown
I mean, they would turn me on to Sir Nicholas Payton, turn me on to so much music, man. I felt like a little green puppy, you know, like Kermit, Kermit the Frog or something. Just like, totally green. So it was a very exciting time for me. Yeah. Well, Josh Redman, having such an incredibly accomplished father, of course, naturally became a musician.
00:08:51:23 - 00:09:12:10
Unknown
I don't think he got there in a straight line, though. He. No, not at all. Is a smarty pants of a guy and probably could have done anything. He ended up, thankfully for all of us, turning to the tenor saxophone and turning to jazz. And in 1993, he made his debut. This is from the self-titled album, This is Blues on Sunday.
00:09:12:10 - 00:09:25:18
Unknown
We've got Josh Redman on the tenor saxophone, Kevin Hayes on the piano, Christian McBride on the bass, and Gregory Hutchinson on the drums quite a bit of.
00:09:27:10 - 00:09:46:03
Unknown
Early 90s jazz. Maybe an early 90s throwback. Yeah. Hey. Oh, yeah. This was on Warner Bros. Yeah, it came out on Warner Brothers. Yeah.
00:09:46:05 - 00:10:10:18
Unknown
This is a really young Christian McBride. It's a really young everybody, but. But it's so fun because, like, McBride, Kevin Hayes, everybody. General, they already had their personalities. Like, this is how they sound now, you know what I mean? Yeah. It was it was a very there was a lot of strong musical personalities, even though we were all very insecure and, like, still trying to figure shit out for sure.
00:10:10:18 - 00:10:32:15
Unknown
I mean, I remember I remember this whole period, in fact, Josh, right around the time, that was 93, I think 92, he came down to New Orleans, and I think it was before, like he won the monk competition, the Thelonious Monk competition, which was a really big deal, that I guess it's still a big deal, but it was really big then because he had just started, and, I guess it was a couple of years before he won, before we know this.
00:10:32:15 - 00:10:53:13
Unknown
But anyway, that's kind of what led to to the the debut album and the Warner Brothers deal and stuff. So first album with a bunch of his peers, Kevin Hayes, McBride. Right. All around your guys's age, next album with sort of the generation above Joshua Redman, Pat Metheny, Charlie Haden and Billy Higgins. This is whish, which is a lot of people's favorite album.
00:10:53:13 - 00:11:08:06
Unknown
That was the first record that was there around the same. That's right. Yeah, yeah, same year actually. This is turnaround from wish.
00:11:08:08 - 00:11:19:10
Unknown
Hey. Missy.
00:11:19:12 - 00:11:46:14
Unknown
And. You know, maybe we maybe we. Yeah. The legendary rhythm section here, Pat Metheny, Charlie Haden. Yeah. And Josh got to tour with this group while he toured with Pat Metheny, but it was essentially this music and which was such a great experience for him. I mean, all of us. That was the cool thing about to do a little bit of touring with the with the elders, with the Masters.
00:11:46:14 - 00:12:02:08
Unknown
So important because we were there's so many gigs, we were playing so much together, different iterations and stuff, but such a great, thing that the Masters gave back to us. And let us be on the bandstand with them. When is the Pat Metheny episode happening? That's what I want. Oh yeah, we got to do that. We got to do that.
00:12:02:12 - 00:12:18:18
Unknown
Next up, 1994. This is the when we played on the podcast before when we were talking about Brand Meltdown. This is Mood Swings meltdown, home brand meltdown. This is heading home from mood swing. Okay.
00:12:18:20 - 00:12:44:00
Unknown
So this week riding up here. Yeah. And this track is actually a little this is a little unusual from the rest of that record. This is kind of foreshadowing to more like funky crossover stuff. Josh will do later on. But this is Brian Blade. Chris McBride. Yeah, Brad meltdown. But this is leading into some things that we're going to hear on the spur of the moment.
00:12:44:00 - 00:13:10:14
Unknown
Yeah. And then later especially with like the elastic band and stuff, do we get funky? I don't even remember. There's feelings of funk. There's not like this, but it's the ceilings of it for sure. And it's now as all of this is going on, there are, there's a swell happening in the city of New Orleans, Louisiana. Yes, there are many, many young musicians who are about your age, including you, Peter.
00:13:10:14 - 00:13:31:07
Unknown
Yes. And there's especially a trio that has made a name for themselves. And there's a trio of Peter Martin, Chris Thomas on bass and Brian Blade on the drums. Yes. You all are playing together. I don't know how many nights a week a lot, yeah, a lot. We had a gig, one of the one of the gigs we did on the week we were playing with, with everybody, and then we were playing as a trio, you know, with Victor going in his band with Nicholas Payton.
00:13:31:07 - 00:13:50:00
Unknown
He was playing with us, but we had a great gig for a while at a place called Charlie B's Charlie Baron, great personality, impresario Rip Charlie Baring opened up a club in the warehouse district for a while, and the gig started at one all right, and one until either 4 or 5, I can't remember. It was an after hours kind of gig.
00:13:50:00 - 00:14:02:18
Unknown
How much would they have to pay you now to do a gig like that? I just go busy. I get up early. I would just be an early gig. It was a late, but we'd always have to have my green smoothie I can't get. Yeah. I was like, oh, this is great. I had to stay up late by six.
00:14:02:18 - 00:14:22:01
Unknown
Yeah. But yeah, it was such a great time though. Oh, man. Well, speaker, speaking of, Victor Gomez, Victor, we'll often joke that like, Josh Redman stole my rhythm section. I mean, I forgot about this is good, but you find all this online. I, I've, I know some people personally in this area, as it turns out. So, this is for mother's sake.
00:14:22:01 - 00:14:45:04
Unknown
This is from Victor Goines. Is 1992 album Genesis. Yeah. Victor, tenor saxophone is, famously from Lincoln Center Jazz Orchestra. New Orleans guy. And he had hired you and Chris and Ryan as a rhythm section. And within a couple of years you'd be playing with Josh Redman. The three of you. This is from other safe. Oh, man, it's Nicholas Payton.
00:14:45:05 - 00:14:58:08
Unknown
I think this year, teenage Nicholas, Peter Martin, Chris Thomas and Brian Blade.
00:14:58:10 - 00:15:26:07
Unknown
So here you are, 21, 92. Yeah. Hey, and Nick is probably nine, 18, 19. Yeah. But we were playing with him before the new 16 as well, I think when I met him. He's not like this. What's in the water, man? There was a lot of, like, thinking back on it, man. We played so much life.
00:15:26:11 - 00:15:40:01
Unknown
And then we were just, like, rehearse. Sometimes we wouldn't have a gig. We'd just be like, all right, we're going to rehearse. Can you imagine calling someone? You imagine me calling you? Can we just rehearse? Just jam. Remember when old cats would be, like, take advantage of the time when you're young? I know because you don't get it back.
00:15:40:01 - 00:15:55:11
Unknown
And you're right. Yeah, whatever. We'll be fine. But it's true that time that when you're. When you're teenagers, when you're in your early 20s, is the time to, like, do crazy stuff like rehearse all day, go play all night. Yeah. You know what I mean? It it gets harder and harder to do so during the year, wondering and listening.
00:15:55:11 - 00:16:13:00
Unknown
That's absolutely something that old, old people will often say and continue to say throughout history, because it's true and get together and play with people in real life. You know, like there's a tendency now it's like, I can send tracks around or I can, you know, put my video up on Instagram. That's all fine. But like, we you have to seek that out, like to learn how to negotiate that.
00:16:13:06 - 00:16:29:14
Unknown
But I will say so during this time, I don't remember the exact timing, but probably around a little bit after this record. Josh did come down a few times to New Orleans, which is, I think when I first met him, I might have met him. Yeah, because this is before I was played with Roy Hargrove and, Delfino Marsalis brought him down.
00:16:29:16 - 00:16:52:18
Unknown
I might be screwing up the story, but I'm 97%. No one else was. You know, I'm. You know, there's a lot of people there. I could just. I should just call Josh because he let me text me. Josh would definitely remember, like, he has such a great memory for this stuff, but he came down and, he knew Delfi, I think, from Boston, like, Delphia was at Berkeley and Joshua was going right before this to Harvard undergrad, but he was going over to Berkeley a lot.
00:16:52:18 - 00:17:06:16
Unknown
Aaron Goldberg, same thing. He was like coming up right after, Josh and Ben at Harvard. But they used to be over at Burke. That's all the cats were, you know? So, like, he came down to New Orleans and there is this thing about, like, he stole the whole rhythm. So it was a little more complicated than that, but he definitely would have heard us.
00:17:06:22 - 00:17:25:14
Unknown
I mean, we all played together that during that period. And then it was more kind of like he had this great group with meld that Mel Dao and McBride and blade. Yeah. And. Yeah. And I think McBride and Mel Dow were about to go do some other things, and he heard us, but he knew we were playing with blade a lot, and like, there was that.
00:17:25:14 - 00:17:42:18
Unknown
But for me, it was more the connection with Roy Hargrove, because that's when I played with Josh and really connected with him the year before 94, right? Right, right, right. Because he was playing as like a guest with Roy a lot because they did a record together. But he must have had U3 in mind somehow. Or was that just fortuitous?
00:17:42:18 - 00:17:56:17
Unknown
I mean, I think it kind of was a little bit fortuitous, actually. I mean, he knew we playing, we'd all played together in New Orleans, but Bley was already playing with them, and he knew we wanted to sculpt something around that. I was playing with him, with Roy, and then Chris was kind of playing with everybody during that time, so it came together nice.
00:17:56:17 - 00:18:18:11
Unknown
Well, you all have such a special chemistry, and I think what's really special about this episode in this album is that we get to hear you, first of all, you playing in a context of some of the highest level musicians of your generation. And whatever was going on in the air at the club that week. Yeah, the people are super into it.
00:18:18:11 - 00:18:39:00
Unknown
And I remember this from seeing Joshua Redman in the 90s. Like specifically, there was this energy around him. Yeah. Of like, this is like a whole new thing that we're seeing right here. Now. Nothing quite like it. Yeah. It happened. It was almost like Young lions kind of 1.1. Right. Because he was still the young Lions. But it was like Wynton Branford wasn't that.
00:18:39:03 - 00:18:58:01
Unknown
It wasn't that. But it wasn't like a generation later. Right. But like, we all like we were talking about like a half generation. Think Roy for like between I think Roy Hargrove and Joshua Redman. Yeah. Exactly. Exactly. No. Yeah. But I think I but I remember there was but there was also like the media landscape was different.
00:18:58:01 - 00:19:15:15
Unknown
And we like to think it's only about the music, but the way the stuff was presented, like they had a media machine behind Josh and kind of behind all of us. Yeah, yeah. I mean, we had like a Donna Karan, like, endorsement. You're kidding. No. All of us, the whole band get at it. Yeah. The clothes did fall apart from the studio.
00:19:16:00 - 00:19:40:13
Unknown
It was just. Yeah. So, like, stuff was presented, but I think we followed through on the music in a way, but it was very much geared towards younger people, like. And I think you'll hear this on the record. I remember the club. It was so excited. People lined up. And it wasn't just like old heads. Like I said before, the combination, you know, at this time I'm a junior in high school, I think, and me and all my friends, your final year, you know, my friends could not get enough of this album.
00:19:40:14 - 00:19:57:01
Unknown
Right? And so, you know, new every note, new every solo would try to play like I remember trying to play ERPs and roots and just falling on our faces, you know what I mean? And you know, what's cool is like that. These records, I don't know, maybe it still happens, but I don't know when when the record came out, it was just a few months.
00:19:57:01 - 00:20:14:22
Unknown
Well, march to August. Like there's something about especially a live record where it was just a few months ago. And you're getting in in Saint Louis at High Ridge. And it's like, man, this happened in New York, like in the spring. Like to me, that's exciting. I loved going back to listen to records from the 50s, but come on now, is that 75 years ago, how about seven months ago?
00:20:14:22 - 00:20:34:00
Unknown
That's cool. Yeah. So kick off with an incredible track to start. This is Jacob Jog. This is a Joshua Redman original as many of these are most of these are. But this track is just unbelievable. Let's listen.
00:20:34:02 - 00:20:41:21
Unknown
Oh yeah. D-flat blues I think.
00:20:41:23 - 00:21:09:13
Unknown
That Chris Thomas always played great stuff on this intro. Different every night, But I'm an.
00:21:09:15 - 00:21:20:20
Unknown
For an event for.
00:21:20:22 - 00:21:47:14
Unknown
That crazy. Anything. A great tradition to those Vanguard recordings. Yes. I have dry bones. Drowning bone, bone marrow drive. I can hear the kick drum so clearly. Yeah, I played always tuned his drums so well.
00:21:47:16 - 00:22:00:21
Unknown
But for I'm actually surprisingly playing pretty simple and disciplined here, which is we didn't always do that. It's very like the it's.
00:22:00:23 - 00:22:29:09
Unknown
Like Chris is the main one, which is great. And it all goes up and then yeah, it all starts to. But listen, you can hear the crowd from the jump like hanging on every note. Yeah. The energy was really palpable there. And helpful for us. I do remember that. More.
00:22:29:11 - 00:22:43:23
Unknown
Channeling RPG on this mix here. I forgot about that later for the piano. I haven't.
00:22:44:00 - 00:23:00:00
Unknown
Yeah, it's there's a little bit of like I forgot about this. Me and Blade and Thomas, we do have a little bit of that New Orleans way of playing a rhythm section, you know, like, this is not as it's New York, but there's got a little bit of New Orleans in it, you know, which made sense because that's where we all work.
00:23:00:01 - 00:23:22:06
Unknown
It. Hey. Yeah. You guys came together a couple years ago here at Jesse Louis. Yeah, for a little reunion trio. So that was unbelievable. It was fun. One of my favorite shows. The past five years. Oh thank you man. Everything.
00:23:23:15 - 00:23:43:05
Unknown
And. Yeah. Josh, always fitting good to the New Orleans thing, actually, as much as he's like, I'm a coastal guy, West coast, East coast, he pulls out the oh man stuff. That's a little bit of Dewey ism too, though. Like I think there play out bebop, but also like Texas tenor kind of vibe.
00:23:43:06 - 00:24:06:04
Unknown
Me? Yeah. His father Dewey from Fort Worth. Yeah. That's right. That's the Texas connection. And also the year before this, we did some gigs with Roy Hargrove, Joshua Evans, Stanley Turrentine, Johnny Griffin. Yeah. Rob Blake. Yeah. So, like, oh, he had a lot of really cool. Mark Turner like, younger and older, like tenor stuff. Tenors of our time.
00:24:06:05 - 00:24:10:18
Unknown
Yeah.
00:24:10:20 - 00:24:34:23
Unknown
And. And, you know, Chris Thomas and Y blade. Like I one of the great rhythm sections of all time that duo there. And they were just on the road with North Jones a couple years ago. Yeah. Together still. Yeah.
00:24:35:01 - 00:24:52:03
Unknown
Josh master building a solo. Not a problem. There's there's a lot of this. Yeah, there's a lot of it. Yeah, yeah, there's a lot of growth of the solos.
00:24:52:05 - 00:24:57:23
Unknown
Pretty.
00:25:09:02 - 00:25:23:14
Unknown
Okay. Turn it off. It will not turn it off. You.
00:25:23:16 - 00:26:07:04
Unknown
I'm. I'm all the kick drum stuff playing is doing throughout this first part of your solo.
00:26:07:06 - 00:26:37:15
Unknown
Hey. Oh, yeah. I'll already add it to the second set. This is definitely second solo and some quibble bits. There.
00:26:37:17 - 00:26:56:03
Unknown
I do remember, like, one thing about playing with Josh. Like, I was always very. I mean, I'm always trying to think about, like, not just like my soul is a story, but the whole thing. Yeah. And when he plays a soul like that, that goes to the mountaintop a couple of times. Yeah. Like, I don't like trying to go to that mountaintop.
00:26:56:03 - 00:27:13:12
Unknown
I think I do a maybe on some other tunes, but I try to balance that, you know, and I watch I'm probably going to try to go there now. Are you, do you. Oh do I really on this day off. Well I feel sometimes Josh be egging me on to play the or not even just me. I'm just saying like us as a band, I also think that's a young musician thing.
00:27:13:12 - 00:27:31:20
Unknown
Yeah. I'm like. Oh, okay. Forget about what he said. You know, you down a couple times, you do for sure. Like if, if he's trying to like build and building and I, I agree I'm the same way. It's like and when it's a live gig, it's even more important because you're feeling that. Because sometimes it's kind of like a chef.
00:27:31:20 - 00:27:53:19
Unknown
Just put too much on here, eat some more. You're like, oh, it's good, but I'm, you know, yeah, sometimes you just want to completely change up. Yeah. And not just everything is the same structure. Everything's the same architecture. Yeah. And blade actually does a great job. He's such a great architect. I'm like, oh, okay. Try to now.
00:27:53:21 - 00:28:05:09
Unknown
That's game playing though man.
00:28:05:11 - 00:28:17:05
Unknown
Chris. Oh.
00:28:17:07 - 00:28:34:01
Unknown
Yeah, but you guys didn't go fully right? Right? Right. What what you could do. What you did. Yeah. I'm on the tracks with the little Chris Thomas action here. Yeah, man. It's fun. Do you remember this week? Like, do you remember because it was over multiple days. Do you remember playing at the Vanguard? No I do, I do.
00:28:34:01 - 00:28:53:02
Unknown
Oh, this like you're first fourth. It wasn't the first time but it was. It was early on. I think I'd maybe played there two times or something, maybe three time. So I do remember and I can, I can check on this and if people are interested maybe in the comments I can figure this out because Josh will remember, I know this almost the whole album is from one night, right?
00:28:53:02 - 00:29:07:05
Unknown
They recorded every night, which was a really big deal because now when you record that, they can set up everything in the kitchen, you know, for recording, but they had a full like truck out there, which used to be, you know, like one of those audio trucks, trailers that would come in was like parked on Seventh Avenue.
00:29:07:07 - 00:29:20:09
Unknown
And it was a big thing because usually when you played the Vanguard, it was like you get 1 or 2 nights of recording. If you played there for the week Tuesday through Sunday, they would the record companies would give you either 1 or 2 nights of the trailer. So you had to do it. But they were like, we're working up the budget on this.
00:29:20:09 - 00:29:34:21
Unknown
They're going to have the truck there the whole time. Amazing. And then there was just like this one set that was just like, kill it. And so, I mean, I think the vibe as I recall, was good. Like we used to go out in the truck and listen to stuff afterwards, but that got a little bit like Josh was really into like, how are we going to put this together?
00:29:35:02 - 00:29:49:20
Unknown
But there was one set that I think was like half of the record, and I think that one night was like more than three quarters. So we did a lot of these tunes over and over again thinking. And it was early on in the week, two, as I recall. Was it really? Yeah. Yeah. It's funny. But there was a, there were some good choices.
00:29:49:20 - 00:30:04:15
Unknown
I wasn't super involved with that. I was there for a little bit of the mix and stuff, but it was mainly. Yeah, I mean, it's the Vanguard, man. It's just. And the audience was great. It was like packed every night. It was a very young and I mean, it was all different ages there. But I remember a lot of young, young people and super exciting.
00:30:04:22 - 00:30:21:18
Unknown
The next track, we take it to the Gershwin's this is absolutely beautiful. And this is I know a lot of people's favorite. This gets tossed around all sorts of jazz playlists. Here on Spotify. This is my one and only love. Oh.
00:30:21:20 - 00:30:44:07
Unknown
Yeah, I got a little bone to pick about the piano sounds. I mean, it sounds like. Which is cool. Yeah, but come on. I mean, it's very much the way the piano sounds in the vanguard, though, but level wise, yeah, I could. It's not like that. Me.
00:30:45:16 - 00:31:15:08
Unknown
Because, like, people in their phones has. Yeah. What people that rock like that. Now I feel like I know that something changing. Yeah. We just played a stand out. I just did, like, a regular entry. Just came in. It was like, boom. The gods get sexy. Yeah. It's sexy. Yeah.
00:31:15:10 - 00:31:21:04
Unknown
They.
00:31:21:06 - 00:31:41:09
Unknown
Made. These tracks are long. Everything is really. I mean, it's a live album. That's what you want, though. Yeah. This is what the people want. The long tracks on a live album. Yeah. We didn't. I remember it wasn't like we were just playing sets. There was very little. I mean, Josh is very good at like putting albums together and tunes and stuff, and I'm sure he spent a lot of time thinking about like sequencing and different things.
00:31:41:09 - 00:31:57:23
Unknown
But in terms of playing, I don't remember there being a lot of like, all right, guys, don't play too long. I think we just played it. It was a beautiful version of my one and only love. And I'm I love the long track list. Like, I don't want people to shorten this stuff, wait for like I want to.
00:31:57:23 - 00:32:13:07
Unknown
If it's a live album, I want to hear what you hear. You know this is the way we want to play at the Vanguard if they haven't been. And that's why it ended up being a double CD. Yeah, this is a great original here. The Count Me Out, which comes up. Hey, do you remember these tunes? Yeah. I mean, yeah, I remember.
00:32:13:09 - 00:32:39:00
Unknown
I stressful because I had all this stuff. Remember, I remember that we, we. Had. This.
00:32:39:02 - 00:33:16:06
Unknown
Before. Yeah. So I remember. I started adding those chords in because Josh always wanted, like, single line. I think I kind of just like a minute. I was like, okay, Joshua Redman plays the tenor often, just like it's a drum. Yeah, he he's very he's must be one of the more rhythmic man composers. Absolutely. Yeah. Players he really understands like rhythm syncopation in a, in terms of how it sits in the groove in a really advanced way.
00:33:16:06 - 00:33:25:20
Unknown
That's why he Beyblade play off of each other so well. I just stepped on a really great moment on the back it up. Okay.
00:33:25:22 - 00:33:33:11
Unknown
The.
00:33:33:13 - 00:33:39:00
Unknown
Up.
00:33:41:05 - 00:33:53:19
Unknown
And also, I think if you were to do an a Joshua Redman impression, you would have to do huge range. Yeah, it's part of.
00:33:53:21 - 00:34:15:15
Unknown
It's very Sonny Rollins. Like he's his understanding of the range of the tenor. Yeah. Is at that Sonny level. I would have to say it's. Yeah, but he's even more exaggerated. Yeah. I never you know, I always like laying out there. I think I did it a lot. I can't remember what tunes, but I felt like as much as I always wanted to play with them.
00:34:15:17 - 00:34:34:19
Unknown
Yeah. This is a great trio with the trio. Piano trio too. It's good. So it was always hard for me to like. And then when Peter Bernstein came to the band, I remember telling him sometimes I would come in and he would also be like, I'm like, yeah, you gotta, you'll have to put cool stuff happens when we lay out sometime.
00:34:34:19 - 00:34:55:18
Unknown
But yeah, I love letting the drummer kind of take over as the main company. Yeah. You know, like give them just all the space on this. You actually went up to be a great pizza place right above the van. Yeah. So I wanted to have a slice that was $0.95 at the time. So in the 90s going to the track, the Warner Brothers track and be like, what's going on, guys?
00:34:55:19 - 00:35:15:15
Unknown
Favorite look, you know what's so great about this and hearing, especially when the piano stops, the pianist gets off the way is like, that's not like that's very modern. Yeah. As much as the I mean, putting myself back into the 90s, but it's also a kind of time. It's like very connected with I'm thinking like Sonny Rollins and his piano.
00:35:15:15 - 00:35:37:03
Unknown
This trio's totally at the vanguard. Totally. Or anywhere there's something about that room. And I mean, shout out to James Farber, to Paul Booth, who like who? You know, James Farr was the engineer on this, Matt Pearson who produced it. And like, Josh for the vision on this, but it's got that, like, fresh feeling. But it also kind of could be like 1959, in the vanguard in a way.
00:35:37:03 - 00:36:02:08
Unknown
You know, that's the advantage of the Vanguard is that it is a timeless sounding studio, essentially. Yeah. Like it sounds like the Village Vanguard. Yeah. And yeah, it's hard to differentiate between this and something that happened ten years before this, 20 years before. 20 years after. Yeah. You know what I mean. It all sounds like that drive. And of course, you can hear the difference in the recording technologies, but it's very, very similar.
00:36:02:09 - 00:36:31:15
Unknown
Yeah. To other live recordings even from the 50s and 60s. And I might be speaking out of turn here because I don't want, I don't remember, but. Well, the record after. So I think this was analog, I think this was recorded on like the half inch things. Oh, wow. Or three quarters inch or whatever. The reason I don't totally remember what was in that truck was because I know the record we did after this, the, freedom in the groove was definitely because I remember I was like, I remember, you know, testing edits and stuff, like whether that we were going to go in.
00:36:31:15 - 00:36:45:17
Unknown
He was with, with the razor blade, you know, on the, on the. So I'm, I'm assuming this would have been too. So I mean that contributes I think to that because a lot of that early digital sound was a little bit I mean, this was well, I mean, a lot of people don't know that we record this podcast also totally analog to to this tape.
00:36:45:17 - 00:37:02:03
Unknown
Yeah. This is an art Kayla back there with razor blades. Yeah. We're just pressing buttons. We're just surfing the net. We're not actually triggering anything. Yeah, yeah. No it's all it's all on tape. Yeah. All right, I well, I got something. I'll give it to you afterwards. Only don't let me forget to talk about Japan, because that's a key to this record.
00:37:02:05 - 00:37:26:05
Unknown
Okay. Yeah. Japan. The next track, I want to listen to is an Irving Berlin tune called remember. And I don't want to listen to your solo because it's something later in the category. Oh, yeah, I love this tune. And this is one of my favorite tracks on the whole album.
00:37:31:04 - 00:37:36:21
Unknown
And.
00:37:36:23 - 00:37:47:13
Unknown
Then.
00:37:47:15 - 00:37:52:08
Unknown
This part. I'm a little busy in the background there. Like.
00:37:52:10 - 00:37:59:12
Unknown
Everything that.
00:37:59:13 - 00:38:21:06
Unknown
Chris. Such a great. Oh, playing off the solos. Chris. Tasteful. Yeah. Yeah. Can we talk a little bit about Chris Thomas and Brian Blade? Yeah. Known them forever. Yeah. Teenagers practically. I mean, you've known Chris Thomas, and since we were 12 years old, you were 12 years old. Yeah. We've been playing music together since we were 12. Because you guys grew up in the same neighborhood.
00:38:21:10 - 00:38:49:06
Unknown
Yeah, yeah. And, what is it about Chris Thomas? Well, like, what is that thing? Well, he's just, you know, he's an incredible bassist. And. Oh, just another bass, Kevin. Okay. Guy. That's a great. Josh is a master of the solo. Great. Oh my gosh. And that was kind of a well-placed one. Okay, yeah. No, Chris is just like, he's he's such it like, you hear it on this kind of playing especially.
00:38:49:08 - 00:39:09:10
Unknown
He's all ears. Yeah. And you know, I know a lot of other great bass players that are all yours or mostly yours, but I think Chris is kind of off the charts, so. And then he's such a great player. His sound is so great. It's so him. And then because he's able to listen to several things at the same time, as you have to be able to do for all jazz musicians.
00:39:09:10 - 00:39:32:00
Unknown
But he's just doing that are very high level. So it enables him to be able to do like, you heard that the way that Josh started that solo, Chris immediately played something that could have been very obtrusive, but it was almost like became a counter melody, a counter idea that was very subtle and interesting, but rewards. If you listen to this over and over again, you'd be like, like, I haven't listened to this a lot, but that would already be something that's like, oh, next time I'm going to check that out.
00:39:32:00 - 00:39:53:09
Unknown
And that's another way to kind of another prism to, to, to to view this music with. And so he's always got all that stuff happening. It always feels good. The basic stuff is there. Yeah. But then there's all these cool little subtleties that is really highly attuned. The ear leads you to. I mean, as you're saying that about Christopher Thomas, you could, I could, I could just plug in Brian Blade to that as well.
00:39:53:09 - 00:40:15:16
Unknown
Absolutely. All those same things are true of Brian, but Brian Blade, the ears are off the charts. Yes. Everything and the choices and the decisions. Yeah. Taste of what he's doing. Like you mentioned his tuning, his sound. Yes. He's been copied so much, I know, for the last 30 years, like. Right. And for good reason because it's just this incredibly earthy, organic.
00:40:15:18 - 00:40:35:11
Unknown
He can play like, you know, really fire New York style straight ahead stuff. And you can play, you know, country music with Emmylou Harris or. Right, you know, incredible pop music with Norah Jones, a soft acoustic things going on and everything in between singing. Yeah, because. Because he always has that, his sound from the like. And yes, that is the tuning.
00:40:35:11 - 00:40:49:22
Unknown
It's the size of. He had a really little bass drum at this time. I don't know if he's still playing on one that small. I want to say 16. That was a huge and tell me that I remember drummers here in Saint Louis. Oh, cats were throwing away their big bass drums, 15 14 inch bass drum like four times conversion bass drum.
00:40:49:23 - 00:41:08:12
Unknown
Totally. Blade was playing such small bass drums. Yeah. But it's more like even like we would go to jams as, like we were playing a lot even like when we were we, we toured so heavy this year. That's why I talk about Japan and, like, we would go to jam. We were just going out to play and like, blade, just sitting down on a random 22 inch bass drum still sounded like that.
00:41:08:12 - 00:41:23:01
Unknown
Yeah, still sounded like that. So, I mean, yes, it's it's, you know, you get into a perfectly crafted situation like this where he's got his drums and it's important. I mean, like, he still travels with his drums more than any drummer I know. Yeah. Like, you know, and it's a pain in the ass. But he'll do it. He'll carry all this.
00:41:23:05 - 00:41:47:01
Unknown
Well, it's easier when you got an eight, 16 inch bass drum. I guess that's good, right? Yeah. Incredible taste. And yeah, two things. Drum kits and denim shirts. Denim shirts. He was he was so early on that, but yeah. So right before we did this record, like I think it was actually we ended the week before because I know, I remember we went straight to New York, you know, on that Sunday or Monday, maybe even the Vanguard started on Tuesday.
00:41:47:06 - 00:42:06:15
Unknown
We did a three week tour in Japan, which was really the first, tour and introduction or iteration of this quartet. So that would have been in whatever, the beginning of March, end of February. And it was a it was like every night, I think we had one day off a week and we were playing at the Blue Note clubs in three different city.
00:42:06:15 - 00:42:23:00
Unknown
It was a whole different set up back then. It wasn't like this one night, two nights, but we played in Tokyo and Fukuoka and Osaka and it was a double bill with Benny Green Trio with Christian McBride and Kenny Washington Cash on drums. So we'd each play like half the set and then break and then half, so we'd hear them every night.
00:42:23:00 - 00:42:42:18
Unknown
We were hanging, we were going out to jam sessions, and playing all this music like. So that was all the lead up and then went right to New York, flew in and then started the next. And I did this and it was very much like, that's the way I think to prepare for a live record. Now, I don't know if I'd want to do this now at my advanced age, coming off a Japan tour.
00:42:42:23 - 00:43:01:14
Unknown
Yes. Resetting your clock at the village. Yeah. And maybe there was a couple of days. I don't remember, but I don't remember being really tired at the way, but but the main thing, I mean, the tour actually could have been anywhere but the fact that we were playing every night in a club. Yeah. You know, and it was like, you know, seven nights in Tokyo and then seven night, you know, so it was very extended.
00:43:01:19 - 00:43:15:03
Unknown
And we were also playing for Benny Green and Christian McBride. Like, I'm thinking, and me and Benny are like hanging, but I'm listening to him play every night and I'm like, damn, I got to bring it because I got to play the next set right after him and he's playing after me. And so it was a really special time.
00:43:15:05 - 00:43:31:16
Unknown
And hanging with Chris Thomas and Chris McBride, two of my best friends for forever and Blade and and Jack, I mean, everything a luxury to that just doesn't happen anymore. I know, like, I feel so bad for these young musicians that don't get to have big, long stretches to work stuff out. Yeah. I mean, I mean, you can do it.
00:43:31:16 - 00:43:45:07
Unknown
You can put together a tour, but like you said, it was different. You would get these like week long, two week long engagements. Sometimes they places. Yeah. You know what I mean. And you get to like it's just sets and reps sets and reps work it again and again in front of a live audience. And that makes a huge difference.
00:43:45:07 - 00:44:00:20
Unknown
Yeah I think it was really smart of Josh to like or whoever figured this out, like to get that because we'd all played together. Like we could have just come into the Vanguard. Yeah, like we had all played with Jack. I mean, blade had been playing with Josh for several years. We and Chris and Brian had been playing together like I've been playing with Josh, like right up to that point with Roy.
00:44:00:20 - 00:44:16:21
Unknown
I mean, like, there was plenty. We didn't need to play together for rapport, but we needed to become a band. Yeah. And I think Josh understood that. And we just played the stuff and a bunch and led right into that. So a lot of people were kind of like, oh my God, you've got this brand new band and you all just roll up into the Vanguard and made this incredible record.
00:44:16:21 - 00:44:39:21
Unknown
But that, that's the little secret behind it. Well, this was released as a double CD, so it's kind of dopey old lost in the streaming era. Were these double CD, sometimes triple, sometimes quadruple CD releases of things, and this was a double CD and it has one of the greatest one. Two punch is the last track of the first disc and the first track of the second disc.
00:44:39:23 - 00:44:59:22
Unknown
Last track. The first disc is Saint Thomas and it's followed by the first track of the second is Herbs and Roots, maybe the two greatest one two live tracks ever next to each other. I mean, you can make an argument for it. They're both. Do we need to talk about Donny Hathaway live at the troubadour, Sonny Rollins live at the.
00:44:59:22 - 00:45:18:00
Unknown
I can name about 30,000 these records, but I know you haven't. Listen to this, man. This is really good. They're both about 12.5 minutes long. Okay, but we're going to listen to a good chunk of Saint Thomas. It starts with a legendary intro by Joshua Redman, and then has a legendary piano solo by our very own Peter Martin.
00:45:18:00 - 00:45:41:19
Unknown
Here. This is Sonny Rollins composition, Saint Thomas.
00:46:03:05 - 00:46:25:00
Unknown
Hey.
00:46:25:01 - 00:46:31:12
Unknown
That's pretty good time. He's playing there, actually.
00:46:31:14 - 00:46:58:15
Unknown
Would you do this every night on Saint Thomas? Yeah. I mean, it was. It was very different. Like, this was not a. You know, he sometimes played short, sometimes long. I mean, he would do a lot of this stuff because it's years that it's good and it works.
00:46:58:17 - 00:47:01:19
Unknown
For.
00:47:01:21 - 00:47:22:20
Unknown
I think sometimes we just starting to though it doesn't. Come.
00:47:22:22 - 00:47:46:04
Unknown
You know, there's a lot of. There's a lot of Joe Henderson influence here, too. I it's very it's easier just to see the Sonny Rollins on Josh. Yeah. It's interesting. The way he hears the bottom of the register, the horn and jumps up and down while the groove is going. Very Joe's key mistake. Yeah.
00:47:46:06 - 00:48:06:07
Unknown
But. You and Josh would hear these things. A lot of people think that's a gimmick. Like he's hearing that stuff because it's not all perfect. Yeah, you know what I mean? He's not like, I'm only going to play it when I know, like he's going for something. And sometimes it's like it's to me it's thrilling, you know what I mean?
00:48:06:07 - 00:48:26:21
Unknown
As opposed to, like, yeah, like that's not easy to do. I'll play saxophone. But you. I had no idea this was so far. The.
00:48:26:23 - 00:48:43:08
Unknown
No. No. For.
00:48:43:10 - 00:48:46:08
Unknown
The.
00:48:46:10 - 00:48:52:06
Unknown
Bang bang bang. Not.
00:48:52:08 - 00:49:15:04
Unknown
For, It's. This is like, a different way of playing free. Which Josh has always excelled at. Playing free and on a couple of tracks in the more traditional, like free, like free jazz. But this is a kind of free jazz, too, I think, even though it's like harmonically it's very down the middle with terms of the two, but like rhythmically in the form and like stretches, that's in everything else.
00:49:15:06 - 00:49:25:13
Unknown
Yeah, the melody stretching and the melody. Yeah, little fragments and stuff. But,
00:49:25:15 - 00:49:48:03
Unknown
And like, he has such a great understanding of, like, what's thrilling and interesting about the instrument. Yeah. It's like a trumpet player that loves to go up high. It's not just a gimmick if it's musical, like people love that, you know? Hey, because it's like, how does he do that? Well.
00:49:48:23 - 00:50:05:04
Unknown
Oh, yeah. Okay. Hey.
00:50:05:06 - 00:50:12:11
Unknown
Hey.
00:50:12:13 - 00:50:27:00
Unknown
And I guess we'll just play another song after this. There's still seven minutes after this fact. After. I guess it worked out pretty.
00:50:27:01 - 00:50:57:12
Unknown
Oh, okay. Yeah, I know back.
00:50:57:14 - 00:51:11:00
Unknown
Hey.
00:51:11:02 - 00:51:30:14
Unknown
Guys really got Peter Martin. I hate to get it, but I'm definitely hearing, like, some influence from this kind of stuff. Josh plays in the intro. Yeah, you know, like, kind of going a lot of the time, and then.
00:51:30:16 - 00:52:12:21
Unknown
I think it's got a little bit of a frantic feel. I hopefully it's effective as a party. Yeah. But it's not like a cool tiki torch party, like, you know, it's chill. It's kind of like, come on, man. But I think Josh established that on the intro. You know, I.
00:52:12:23 - 00:52:31:20
Unknown
When in doubt, just be shit. Oh, it. I remember I always be like. If you could swing, I can do that. It's so cool.
00:52:31:22 - 00:52:39:11
Unknown
That's you, I think. I think that was Josh, I think I was Josh.
00:52:39:13 - 00:52:55:13
Unknown
I wasn't very focused on this year. I was curious.
00:52:55:15 - 00:53:01:13
Unknown
Oh.
00:53:01:15 - 00:53:08:04
Unknown
I'm.
00:53:08:22 - 00:53:33:11
Unknown
Thoughts? It's cool. I mean, it's cool. I mean, to be honest, like, Yeah. It's fine. Whatever. No, I just don't. I'm not. I'm always surprised people like, I love your song of that, because for me, like, it's kind of hard playing over this tune even when I occasionally do it. Now it's just see, right? It's a deceptively difficult tune to make some good, and I never really felt like I remember I used to joke with like blade and with with Chris.
00:53:33:13 - 00:53:49:10
Unknown
It was like it was like, wait, do we know how to play this is Calypso or are we swinging or whatever and play? We're just like that, right? It's cool. Kind of a New Orleans, but it's like, you know. Yeah, we didn't talk about it a lot, but it definitely was not. You know, I think you're always trying to get out of the shadow of the way on a tune like this.
00:53:49:10 - 00:54:05:20
Unknown
And so associated with the composer. Right. And the way that he played is I think, Colossus. Yeah. And I mean, Josh did did a great job with that extended intro and just his whole vibe about the tune of like, like you say, make it a party, opening it up a lot of nods to that version, but also just like, let's see where we take it.
00:54:06:00 - 00:54:21:17
Unknown
But I do remember always being relieved when it got to the swing, and we wouldn't always do it. Like there wasn't necessarily a trigger for that. We wouldn't even always go to it and sometimes I would trigger it. I can't remember, like it would be triggered by how we were playing. Yeah, but it wasn't like I'm giving a signal, like it would just go there or it wouldn't.
00:54:21:18 - 00:54:40:11
Unknown
Yeah. So, you know, I think that's the thing that kind of there's so many like, mountaintops that Josh already went to before that. And then the melody, it's kind of like it's always like, okay, what do we do now? And so we're still in the groove. So the one thing we saw in our back pocket is like, well, we can go to the swing because we haven't gone there so effective to it's and it's almost effective.
00:54:40:11 - 00:54:56:13
Unknown
Yeah. And it's almost like a pulling back in a way because it's not it's like it's a little bit more, but it's not as much of a part. It's more of like, let's go uptown now for the for the rest of the party. But it's fun to hear this. It was a good time. And I remember, like, there's little things I hear in there, like blade, like the way we've always played together.
00:54:56:13 - 00:55:11:02
Unknown
I remember this at the time and I don't think we ever. I know we never talked about it, but there was a lot of like trust there. So there's times where like, I could really go for something and he would come in like he hit that one one right on it, which probably helped me because that's very not much like blade like.
00:55:11:02 - 00:55:25:14
Unknown
And then I played over the bar light. Yeah. And then I think the next time, like I pushed right to the one and then he played like so there was a lot of just trust that you have when you play with somebody every night for, for a couple of years and leading up to this. So that's, that was a real luxury.
00:55:26:16 - 00:55:41:09
Unknown
To be in a bunch of great tracks on this second half of this double album, just in time, is incredible. Is that the first one on the. Oh, no, that's the no, we gotta I want to get into the categories, which is gonna take us to herbs. And so I want to shout out, Brian Blade for the composition of Mount Zion.
00:55:41:11 - 00:56:06:10
Unknown
Oh, yeah. Not credited on Wikipedia, you know, Wikipedia. Not 100% accurate. No, about 81%. But this is a this is a very different thing on the record. It's very cool. Yeah. So I'm glad they put it on there. Yeah. They had a much, you know foreshadowing to what blade was going to get into with this wonderful fellowship and what is still continues to this day.
00:56:08:14 - 00:56:27:21
Unknown
I mean, it's super great. Yeah. But I want to take it to the category. Peter, my desert island track. Yes, is the first track of that second disc. It is Herbs and Roots. I think it's the best composition on the album. I think it's I mean, I still think about it all. Why don't you just bring me on the desert island?
00:56:27:21 - 00:56:34:00
Unknown
Then I can sing all this stuff to you. Excellent. I.
00:56:34:01 - 00:56:54:22
Unknown
I assume y'all are picking up a bass. Yeah, we're walking up, you know, trying to get by. People walking up there. Super awkward. Great opening track for set.
00:56:55:00 - 00:57:04:12
Unknown
Oh, yeah.
00:57:04:13 - 00:57:28:11
Unknown
So funny man sitting here with you. Listen to this. I literally learned this when I was, like, six years old and like, oh, your voice like, oh, yeah. It's crazy. I'm glad you kept going further. Yeah, we could have been if teenagers could not actually hang on this.
00:57:28:13 - 00:57:46:00
Unknown
Did I keep the bassline going while. Because I could do that, but I remember being, like to record it, let me know. Oh, yeah. Yeah. Yeah. And I have a band.
00:57:46:02 - 00:57:58:08
Unknown
Josh. Great composer. Yeah. Oh, yeah. If he recognizes that, he should be like so. Yeah, I'm a.
00:57:58:10 - 00:58:06:08
Unknown
Humble. Oh.
00:58:06:10 - 00:58:32:07
Unknown
His stuff is simple and catchy and has little quirks and twist to it. Well, great tune. It really goes. Should we talked about how he's as a player treats that saxophone as rhythmically as any tenor saxophone. It's. Yeah. Like a drummer. Yeah. And if that helps with composition because he's. Yeah. Like the rhythm of that head, the way that he starts it a little bit earlier time and incorporates those hits, that'll always work for sure.
00:58:32:07 - 00:58:50:11
Unknown
And this kind of like he's very well that bassline. He wrote that like he's not one of those like, okay, I might have come up with something cool. Yeah. I mean sometimes we were change things or whatever, but he always is. My recollection would have all the important elements, like he spent time like put that together. It was very little.
00:58:50:13 - 00:59:02:20
Unknown
I mean, there's plenty of like stuff to hear and play over and he really. But right off the bat. Yeah, but you know but I know but the important elements of it.
00:59:02:22 - 00:59:15:11
Unknown
The. And the great thing about this line is, you know, the release is coming at some point. It or maybe we stay on.
00:59:15:22 - 00:59:20:05
Unknown
What?
00:59:20:07 - 00:59:26:12
Unknown
I get a 90 minute.
00:59:26:13 - 00:59:31:00
Unknown
Drive. Lay in here, man.
00:59:31:02 - 00:59:45:18
Unknown
Hey, man, I'm doing it for me, man.
00:59:45:20 - 01:00:00:14
Unknown
Okay, perfect. Thank.
01:00:00:16 - 01:00:20:01
Unknown
I love it, too, because we're, you know, like 50 minutes into the album at this point when you're streaming it and it's like, all of a sudden we're going to throw down, you know, the most throwdown song on the this is the this is the first on the second CD. Okay. Yeah. What do you got for, for your desert island if you I mean, I would be none.
01:00:20:03 - 01:00:36:12
Unknown
I mean, I don't want I mean, it's hard, man. I would bring food, fruit and vegetables instead. I just want to say in front of our audience here that I appreciate you even agreeing to do this, because it's tough to listen to yourself in front of, especially in front of other people. Yeah. And I don't want to make it like, I mean, I like this.
01:00:36:17 - 01:00:52:10
Unknown
This is good. It's good. It's just it's so, like, I have a lot of emote like it. This takes me back to that, like, more than I would think. And it's not that I. It was a very happy time for me. And I like the way I'm playing, actually more than I thought. But there's also an element of like, oh, have I gotten better since then?
01:00:52:12 - 01:01:07:11
Unknown
I'm a little bit, but not as much as I could. You know what I mean? Oh, it's a little bit like you've definitely grown. Yeah, but what's fun about you is like, that's me. Yeah, like I haven't told, like, there's so much stuff on there. I still play. And when I was a little younger would hear that that would frustrate me because I'm like, oh, I should have developed.
01:01:07:11 - 01:01:21:01
Unknown
But I was like, you know what? And that's, that's that's me. It's all that's how everybody is. This is 24 year old you. That's. Yeah. So the one that I came up with now, full disclosure, I did not listen to this was more just my recollection of all these tunes. Check a jug, which is not the first track.
01:01:21:01 - 01:01:32:06
Unknown
First track. That's okay. That's that's if you want to remember that. That's pretty much as far as I usually get on this. When I played, I was like, oh yeah, that was fun time. I didn't make all this in some track, but I mean, that would be something that if I listen to every day, I'd be like, it's cool.
01:01:32:06 - 01:01:51:02
Unknown
I like the way everybody's playing on that. But just in time, I could have done that. I like that too much time is great on this. For my apex moment. It's actually one of your solos, and it's kind of I zagged here when I could have zigged, but it's your solo on, remember This?
01:01:51:04 - 01:02:20:19
Unknown
Oh. Oh two feel. I like to.
01:02:20:21 - 01:02:25:11
Unknown
Yeah.
01:02:25:13 - 01:02:43:02
Unknown
It just reminds me of how you actually a little bit. How you played it. Yeah, it was a little bit different than the other solos. So. Yeah, I do remember, like, we were not afraid to just, like, play this stuff like, this is. There's a Hank Mobley record, which I think is where Josh heard this playing this.
01:02:43:08 - 01:03:08:12
Unknown
And it's very I mean, like, we're not playing just like on them, but it's not that different. Like, we weren't afraid that during that period just play. Yeah. And we had enough other kind of stuff on it. So we're playing a standard like there's no crazy rhythms or anything on this.
01:03:08:14 - 01:03:25:17
Unknown
Is there a little bit of rhythm on the floor? I think that would have been a 90. Right here in here. Yeah. I didn't know since I just.
01:03:25:19 - 01:03:52:07
Unknown
Played just catches everything, but in such an interesting way. It's never like. It's very subtle that it's like, oh, I feel so good to play free. Oh, here is, like, off the charts with each other's minds sensitive to dynamics. I also love to, throughout this whole record, like you've mentioned, how Josh is vocalizing. Yeah. The solo. Yeah.
01:03:52:09 - 01:04:00:11
Unknown
Throws in like a whoa yeah. For there.
01:04:00:12 - 01:04:16:10
Unknown
Yeah I think this is a better song, Saint Thomas. It's great. I think this is my favorite solo on the whole album. What about you? If you had to pick an apex that I probably never heard. That's all. Since then, apex moment, I like blades. I just listened to a rap before this yesterday. Good. The blade,
01:04:16:12 - 01:04:30:18
Unknown
And Redman trading on Saint Thomas. Yeah, that was great. Let's try to check that out a little bit. Just go like 17 minutes into the track. I think they start.
01:04:30:20 - 01:04:35:14
Unknown
Because blades.
01:04:35:16 - 01:04:45:12
Unknown
Is long trades. Is that a whole chorus. Yeah.
01:04:45:14 - 01:04:55:12
Unknown
Blakey. Which you don't think about the blade. You know. Totally. Blake.
01:04:55:14 - 01:05:06:00
Unknown
That damn.
01:05:06:02 - 01:05:19:20
Unknown
Rapper. I said different.
01:05:19:22 - 01:05:26:01
Unknown
Hey. So good job. Always Blakey influence on that side.
01:05:26:03 - 01:05:54:07
Unknown
Because you always think of Elvin. You know, is definitely there to, like, percolating. I don't know.
01:05:54:09 - 01:06:00:13
Unknown
It's good patience out.
01:06:00:15 - 01:06:06:13
Unknown
Here. You pulled it back. Just like I to go back up.
01:06:06:15 - 01:06:15:08
Unknown
Oh.
01:06:15:10 - 01:06:25:13
Unknown
Yeah. Oh.
01:06:25:15 - 01:06:47:02
Unknown
That's great. Whenever I hear Brian Blade especially live when he's playing to a room, I feel like he's just. Not only is he, of course, this incredible jazz drummer, but he's. He's almost like he's the greatest orchestral percussionist that's set down in the drum kit. Like, he makes it sound like he's the entire percussion section in an orchestra somehow.
01:06:47:02 - 01:07:08:10
Unknown
Like he's Tiffany's and all the sparkly stuff. And I don't know if it's just the combination of his touch, his taste, his dynamics, but there's something about him that feels very grandiose. He plays like all of the solos. He just knows how to get your attention with with dynamics, with the timbre of the drums, and more than any other drummer that I can think of.
01:07:08:10 - 01:07:38:02
Unknown
I mean, you mentioned Elvin is a direct influence, but yeah, it's to me it's like that. Plus, I agree, I agree. It's like, yeah, that's a great way to put an orchestral, you know, he's such a orchestrator. He's the orchestrator at the drums, which we always think about like the drums are part of the orchestration, but when you extend it out, the percussion like there's from the low to the top, from the symbols, the high hat, but his bass drum and low time interaction, like, there's so much of like, almost like a constant drone effect in that Blakey style.
01:07:38:03 - 01:07:56:08
Unknown
Yeah, with all of it. It's amazing. It's amazing. And really, it's very much like the way a great pianist takes advantage of the entire range at the right times. And I think on that solo, it's, it's it's all it's all out there. Bespoke Spotify playlist title. Peter, you got anything good for this one? Well, I like my Mark Martin.
01:07:56:10 - 01:08:13:23
Unknown
My Martin. I like my martinis and my live jazz albums. Dry. Good, I like that. Then that's referencing, of course, the Village Vanguard dry sound. Yeah. And shout out James Farber. I think he did an incredible job on this. It was so fun working with him during this whole period. Farber. But it was also, yeah, it's very dry.
01:08:13:23 - 01:08:31:04
Unknown
Although hearing that piano there, there might have been I think there was some reverb put out or whatever, but I think, you know, he did a great job of capturing how it feels, how it's I've spent so many hours that's been so many hours. I just really have I, you know, playing there over the years, certainly not nearly as much as some people.
01:08:31:06 - 01:08:49:06
Unknown
But, it just takes you there. And it's such an interesting room because pretty much wherever you. I'm having sat all over and I've spent way more time up at the piano or by the piano, but there's pretty much the sound in the field, just a different volume level where you are and what you're hearing more of. But there's that clarity, there's that dryness, there's that.
01:08:49:06 - 01:09:09:05
Unknown
It's the same thing where people like, yeah, clapping or whatever, everything, that presence, you know, you're omnipresent with the music and, what that does to you while you're playing is a very special things in terms of focusing in and how that energy of the room, the history, but also, more importantly, I think the energy of the people that are in there, the musicians on stage, all of us, all the humans in the same room.
01:09:09:07 - 01:09:28:14
Unknown
So that's I like my martinis and my live jazz albums dry. I have a couple. The boring one I have is Village Vanguard Classics. We've gone straight down the middle of that one that's straight up you. You're going to get a strikeout or a homerun. I've got a fun one too. I've got one called fluke with and that's just referencing my Joshua Redman impression.
01:09:28:16 - 01:09:46:03
Unknown
So it's a playlist called Floop Whip, right. And it just is everything that sounds like that, including a lot of Joshua Redman. Interesting. Well, I was just thinking, so I at first I was like, oh, you could only have Joshua Redman on that place. No, but Josh Redman and every saxophone as they came up, that's what they was after.
01:09:46:03 - 01:10:08:13
Unknown
Incredibly true. Yeah. Melissa Aldana yeah. Everybody's so influenced by. So up next, what are some other albums that pair well with this I have a couple of other Village Vanguard albums I have. Oh good. You mentioned Benny Green. I have testify in, oh, 92, Carl Allen and, Christian McBride. Christian McBride, of course. And then I have Art of the trio, volume two, Brad Mehldau, trio with Larry Grenadier.
01:10:08:15 - 01:10:24:22
Unknown
That's a good piece. Yeah, well, that was at the both live at the Village Vanguard. Awesome. So I had I was thinking more along the lines of just like early 90s jazz that I love listening to, Mood Swing by McBride. I love that record. I listen to that record so much more than this record. Because that's where I learned all that.
01:10:24:22 - 01:10:40:03
Unknown
Like when I first when he first called me to join the band, that was that was out. Yeah. I was like, I'm gonna memorize all this music and I'm listening to it. That was like, the most I ever listened to. Mehldau and McBride. Oh, this is great record. And then Christian McBride's Get Into it, which I believe was his first record on Verve and, Mood Swing, of course.
01:10:40:03 - 01:11:00:15
Unknown
And this live the Vanguard, Warner Brothers. But like the two big labels, well, three Blue Note, Warner Verve, all with their own kind of sounds because of the engineers and production teams. Yeah, but I think McBride's getting to it. One of the great, kind of early 90s verve or any kind of jazz record. So that would be a fun little walk down memory lane in that.
01:11:00:15 - 01:11:15:16
Unknown
Up next, do you have any quibble bits? You know, yes. I put me a little bit of that one or no, but I do know that I could go through a list of things. It's really not that important to people because I do think I played well. I mean, it sounds good, but it's I that's part of the thing.
01:11:15:16 - 01:11:28:17
Unknown
When you hear it's like, oh, why did I play that? Why didn't I catch that? Because I'm listening in a different way. So I'm not super objective, but that's it. I mean, maybe now listening to it, not even again, because like I said, I would listen to a lot, but maybe the piano's a little bit out of balance a little bit.
01:11:28:17 - 01:11:43:07
Unknown
Yeah it is, that's what I that's how it kind of sounds in the Vanguard. It doesn't I don't know, I can usually hear the piano pretty well better than that. And that's my only quibble, is it sounds like the piano is maybe in a different room. Yeah. Or it wasn't the certainly wouldn't be the first Vanguard record. That's not.
01:11:43:07 - 01:11:57:09
Unknown
No, it's not, but I would have loved to have you a little bit more present in the mix and the piano tuning, which I know there's not a lot you can do. Well, I was definitely playing hard. I can definitely play. I wasn't down low because I wasn't. In fact, that probably would have been detrimental to to the piano too.
01:11:57:10 - 01:12:12:00
Unknown
But yeah, we should have had the unless because I don't think they were doing it should have been tuned like every set because of how hard we were hitting. Yeah. Snare monitor. What do you got? I'm gonna go with a five. I'm not going to do that every week from now on. Right in the middle. Does anyone like the song about.
01:12:12:05 - 01:12:28:00
Unknown
You know what it is? I like the the name, the monitor. Well, because it used to be snob meter, which was fun, but it's not like snot meter or something. Yeah, it's Bill Martin. Willie Martin, my father. Really? Martin. Junior. Charlotte, North Carolina. I don't know why I said that. He hasn't been there in 70 years. I don't think.
01:12:28:02 - 01:12:45:21
Unknown
Oh, yes, 89, probably for you city. But, this noble motor named by my father, renamed, as it lost its luster. All right, one more, I got five. The reason being is it's. This is a record people talk about a lot, so that makes it not snobby, but it's also a record with two CDs with 11 minutes songs.
01:12:45:23 - 01:12:59:06
Unknown
That makes it very snobby. So now we're we're at the stage of the snow monitor where you have to. I didn't say anything about it on Linda or Ethan Iverson. That was good. But you're at the stage where you have to comment that you don't know what it means, and you nail it every time you've been nailing it, because I think that's about right.
01:12:59:06 - 01:13:15:18
Unknown
I have three I could have put four here as well, because I feel the same way. I feel like it's slightly snobby because it's a live album with a bunch of long tracks, but really catchy heads really, you know, incredible swing and solos. I feel like it's a three. But you got it, man. You nailed the snowball.
01:13:15:20 - 01:13:30:20
Unknown
There's no question. You just want me to do five because it'd be like, let's move on. After you totally understand it. I feel like. So even Ethan Iverson is mad on this record and online are mad on this by saying five, right? Kind of. Yeah, yeah. Who is this record for? Can we make it a little bit of a side?
01:13:30:20 - 01:13:52:05
Unknown
I think it's first set for music. 17 year old Adam Madison. Hi, Rich. I think that's exactly I mean, think about that. There were a lot of 17 year old 100 harnesses at that time. Like I said, every jazz nerd I knew in high school was super into this album. And yeah, probably if we can see the comments of the people who are going to love this in on YouTube, on Spotify, it's gonna be very similar demographic.
01:13:52:09 - 01:14:08:12
Unknown
Yeah. And actually, you know, what's fun for me now is like hearing these great young players, like, we were just together at the good night. Good luck. Yeah. And, the wonderful pianist that was playing Joe Block, Joe Black, incredible shout out Joe Black, who sounded great on that. He kind of mentioned, you know, really enjoying this record.
01:14:08:15 - 01:14:35:00
Unknown
It's fun to see the younger musicians connect. So the 17 year old's like, that could be at any time. It's not just in 1995 exactly. It's just for you. But there's a special thing like we like it's like when something's happening at that same time. Yeah. Because we were all. You probably listened to Herbie. Oh, I know you're listening to McCoy side is you what it is with this album, as I think when you're a young musician and you're just starting out, I feel like you hear something like this and you hear, like, the interaction that's happening between you all and the crowd going crazy.
01:14:35:00 - 01:14:56:20
Unknown
Yeah. And these incredibly long built up solos and you're like, oh my gosh, this is why I play this music. This is why this is what me and my friends do in our basements together. And I didn't know you could do this at the Village Vanguard. Right? Right. I mean, I didn't know that you could just, like, build these things that feel this good and play these killing tunes and, like, take it to these places and that, you know, audiences are going to like, woo!
01:14:56:21 - 01:15:16:02
Unknown
Yeah. You know. Yeah, it's it's very aspirational. This sound. You're like, man, we could do this like this. Just playing Saint Thomas. It sounds unbelievable right. We've got that in the fake book right here. I got the chance. I'm gonna take the five minute intro on this and then everybody's like, maybe. Yeah, yeah, but it does. It makes it seem like maybe in 7 or 8 years that could be me, because that is it's good to just.
01:15:16:02 - 01:15:34:09
Unknown
Yeah. You know, you and Blade and Chris Thomas, you guys just feel great as a rhythm section. Joshua Redman, we've already established writes these incredible songs that yeah, he's a great composer. They're rhythmically fun, interesting, but simple harmony. That's kind of easy to play there. Yeah. This is playable, you know. Absolutely. All right. Is it better than kind of blue?
01:15:34:14 - 01:15:51:17
Unknown
Hell no. I put a hell no. I actually wrote the word hell. Accouterments. I have a six. Oh, I put a six to. Okay, great. Yeah. I don't think it's, album covers. Okay. It's not great. You know what's interesting? I remember there was, like, a print out of this. We were on the road somewhere, and Josh was like, man, how do you guys.
01:15:51:17 - 01:16:05:14
Unknown
What do you guys think of this is one of the things. And we were all like, I thought we were going to. Maybe I'll be on stage at the Vanguard at the playing, you know? Yeah, yeah. Because there's not we're not on the cover. You're in the inside. We're on the inside. It's kind of a weird picture of us.
01:16:06:10 - 01:16:20:21
Unknown
But I remember thinking, like, I think for the time it was very like. I understand why they did it. Yeah. And I mean, shout out to Josh for, like, really pushing for this to be a double CD because the record company definitely was like, let's just pick the one. I remember that really. We're going double. We got to charge twice as much.
01:16:20:21 - 01:16:33:13
Unknown
We're going to do, half as many people are going to buy it, you know. Oh no, you couldn't charge twice as much. That was the other thing. That's the other thing. Yeah. But yeah, I think it's just like, okay, so leave us a comment. By the way, we have a couple of comments here. We like to read some of our comments.
01:16:33:13 - 01:16:48:02
Unknown
This is from Spotify. This is from our Chick Corea episode a couple weeks ago. James Ellison says, I've just now been on such a binge with this album, so I was super stoked to see you guys do this. We hear this a lot about people who are into a certain album. Yeah, talk about it. Garvey says.
01:16:48:02 - 01:17:03:11
Unknown
You've inspired me to listen to this album again. That's what it's all about, Garvey. We're talking about the band. It's not Gabi, Gabi, Gabi, Marcus White says dope. Love how y'all love music. Like real musicians. We certainly do Marcus White thing. That's not what Marcus said. You read it wrong. So I say it again the way you just did it.
01:17:03:11 - 01:20:02:12
Unknown
Dope. Love how y'all love music. What he said was dope. Love how y'all love music. Like real musicians. There's no comma. Yeah. Implied comma. Okay, till next time. You'll hear.
01:20:02:13 - 01:20:17:03
Unknown
Me.
01:20:17:05 - 01:21:57:11
Unknown
Oh.
