There's no such thing as dumb questions, just dumb answers.
Which was, I forget.
And was like, "Hey, are you the guy from the podcast?"
Was it an NBA coach?
We get a lot of, and I mean a lot of requests for albums from all of you.
I'm gonna say BTT. Now, don't come for me internet.
There's something people should know, which is that
I'm Adam Maness.
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 openstudiojazz.com for all-
Yes
... your jazz listening needs. That was your rustling of papers.
No, no. Go ahead and introduce what we're doing today, because I have a, for our
audio listeners, you'll be able to hear this, and if you're on YouTube, you'll be
able to see this, because this is our, what kind of episode?
It's our mailbag episode. We are taking... That's a paper airplane.
You made that for, like, five seconds. Did not fly great.
We do have your letters here with us.
I'm related to the Wrong brothers, not the Wright brothers.
That's solid.
Do I need that page? I'll hold that. Okay.
You don't need any of these, buddy. So we've got your voicemails.
Yeah.
AKA SpeakPipes.
Yes.
Thank you, everybody. We got a lot of great SpeakPipes, and-
Shout-out to the SpeakPipe Corporation of America.
Thanks to Big Voicemail for making that happen. We also have your emails.
We have a lot of great questions to get through, Peter.
Yeah.
This is really, we're here for the listener for this episode.
We are. We are.
We're here to acknowledge our dear listener-
Right
... to answer their burning questions and take some suggestions.
And we ran out of content, so this is what we're doing. There's that, too.
It's a win-win-win. Okay, so the first thing we're going to do, Peter-
Yes
... is a little bit, we're going to get started here with a little rapid fire
segment. So we'll go one each, and we'll just alternate between.
Should I mix them up?
Yeah, just give them a shuffle.
As you can see, I'm not-
I'm gonna do these randomly.
Yeah. What do you listen to when jogging or working out?
Oh, that's a great question.
From Jill.
I was actually
just working out the other day, and I was listening to "Black Messiah" by D'Angelo.
Oh.
This was after we recorded the album.
I haven't listened to that D'Angelo since we've been-
I know. It's a great-
It's a great-
It's also really good workout music because, I mean, I don't do a lot of cardio.
I don't know if you can tell, but I do a lot of weightlifting.
And it's great because there's some hype music on there that kind of gets you
pumped up, but then also you can, as you're waiting for your next set, you can be
like, "Man, this is deep."
That was a good flex, by the way. I don't do a lot of cardio.
I don't have time with all my weightlifting.
It's not working. None of it's working.
When I'm running-
Yeah
... I don't know if you noticed, I do a lot of running, not a lot of weightlifting
I know. Yeah.
I don't listen to anything. I listen to nature, the birds, or cars and motorcycles,
part of nature. I don't know.
It's kind of a soundtrack.
That's right.
Yeah.
No, I used to listen to music. I used to listen to podcasts, and I stopped, I mean,
five, no, longer, six, seven years ago. And it's been such a great thing.
But I hear music, you know what I mean?
Yeah.
Sometimes there's something I've been listening to, and I think we all need some
time, some solitude, if that's in nature, if that's not, if that's meditating or
whatever, that if we're musicians or love music, I think it always seeps in, and
that's a good thing, right?
Yeah.
We're able to hear things, right?
Yeah. I have a funny listening to music at the gym story because I had my
headphones on. Shout out, Sony. And I was listening to some music, and a "You'll
Hear It" listener-
Mm
... a fan of the show, approached me at the gym and was like, "Hey, are you the guy
from the podcast?"
Was it an NBA coach?
No, it was not.
Don't say the name, but okay, go ahead.
It was not, but it could've been. No, it was a very nice guy.
Yeah.
And he was like, "Hey, I'm a fan of the show." He's like, "I've got to know, what
are you listening to right now?"
Ooh.
And I think he even said, "I'm listening to Ornette Coleman."
Oh. A little judgy.
Yeah. And I was listening to
whisper singer-songwriter Phoebe Bridgers.
Oh, is that a yeah?
And the look on his face. No, yeah, she's amazing.
But it's not anything like we would play at the show.
Right.
And it's also a very weird thing to listen to while you're working out because it's
very quiet singer-songwriter music.
Oh, yeah. It's not pumping out music.
No, but I really love this album, and the look on his face was disgusted.
So we might've lost that fan. I'm sorry about that.
Wait, were you listening to this singer-songwriter while you lifted 1.5 pounds with
your...?
I know. I was actually going 450 on the leg press at the time.
Oh, nice. Nice. That's awesome.
But it wasn't fitting the vibe, but it was great. Okay.
That's right. That's right.
Okay. What age did you start playing the piano? From James Mitchell.
I started, I believe, at three or four.
I think it was three, but there has been some dispute from my parents on that.
I started violin actually first a little bit.
Yeah.
But yeah, I think by the time I was four.
I was kind of playing around some when I was younger because my sister played, my
older sister.
Yeah.
Shout out to Nancy. So-
And we're talking about lessons, like formal lessons?
I think I started lessons at four-
Okay
... with a friend of my parents. But both my parents are musicians, and they
actually both played piano pretty well.
Yeah.
My dad plays really well, so I think they were showing me some things.
But I was-
Oh, cool
... at the keyboard, shall we say.
That's great.
Yeah.
I didn't start actually playing piano, taking lessons till I was 10.
Mm-hmm.
But I'd started with my dad, who plays guitar and really loves
music. He
had an acoustic guitar. He had a 12-string acoustic, and he had, at one point, a
beautiful white-on-white Fender Stratocaster.
Mm.
And most weekends he would get out the guitar and the amplifier, and we would play
John Denver songs-
Mm
... and Beach Boys songs, and I would sing a lot with him.
Mm.
"Take Me Home, Country Roads" and Del Shannon's "Runaway." We would do all this
stuff, and I remember when we got the Strat, he would play some Dick Dale and stuff
like that. It sounded so cool.
Mm.
And when I was five, I got a little air organ from my aunt that had chord buttons
on the left and then a keyboard on the right.
Yeah.
And I remember messing around with the major, minor chords and then picking out
Beach Boys melodies with the right side of the keyboard-
Yeah
... before I had any piano lessons.
And I still think about that because that's still kind of a lot of what I do today.
Right.
It's like the chords go here.
Chords and melody.
Yeah, it's like, that makes a lot of sense.
And then I had Casio keyboards, and I played my dad's guitars a little bit when I
was between the ages of five and 10.
And I asked my parents for guitar lessons when I was 10.
Mm.
And they said, "Your hands are probably too small for guitar, so let's do piano
lessons."
Okay.
But I later learned it's just because my mom worked with a really good piano
teacher,
and she gave us a good deal.
Okay.
So my mom was like, "Piano for you."
And you as a dad now know you do exactly what they do.
Good deals and bartering.
Hey-
It's called good parenting
... I know someone. That's what you do.
That's right.
Yeah, yeah. For real.
Actually, now that I'm remembering, my first piano teacher, or one of my first piano teachers, when we
were still living in Florida, was part of a barter: my mom was teaching her kid violin.
Yeah.
Because my mom was a violin teacher, so-
Tell me about it
... nothing wrong with the barter system.
Nothing wrong with it.
This country was built on the barter system.
It really was.
No, it was built on the stealing system. But anyway.
But anyway.
All right, so we going to the next one?
Let's keep talking about the-
Let's talk about politics
... importance of... Yeah.
What were Adam and Peter's entry points into jazz-
Great question
... from Robert Stewart via SpeakPipe.
Cool.
And just a note here that Robert's intro was "Charlie Brown Christmas," and that
led to KOB.
Oh, that's excellent.
Yeah.
Yeah.
So what was your entry point?
I think the first music that I remember hearing that was jazz was honestly "Mr.
Rogers."
Yeah.
Johnny Costa Trio.
Yep.
Who, by the way, Johnny Costa Trio slamming-
Slamming
... on that show.
Yeah.
Everything was done live.
Yeah.
All the intros were bespoke. But I didn't know what it was.
I just feel like that was the music to Mr.
Rogers, and it was captivating-
Yeah
... which was really incredible. But for me, it was my dad's record collection.
I
mean, I remember when he got a four-disc CD set of Stan Getz playing bossa nova.
Mm.
And that was probably the first thing I listened to on my own.
I kind of stole it from him-
Wow
... because I was like, "This sounds cool."
That's dad's music.
Yeah.
Yeah, for sure. It was like stealing his cigar or pipe when he went there or
something, right?
Yeah. Yeah, exactly, which I also did.
No, but as well as jazz-adjacent stuff, like he was always playing Steely Dan's
"Aja"-
Yeah
... and stuff like that. And then it wasn't until later when I started
in jazz band in middle school where someone was like, "Check out Bill Evans, check
out Oscar Peterson stuff."
Nice. Nice.
Yeah.
Yeah. For me, actually, it was exactly the same thing.
I think the earliest was "Mr. Rogers" show, for sure.
That was hearing actual great acoustic jazz and just,
I mean, I think if you are of a certain age and you're listening to that, that is
your entry point, whether you know it or-
Shout out PBS, by the way. Chuck Eastman on this theme from "Sesame Street."
Right.
I was going to
say
Classic jazz, like the five-album box set, which is everything from Kid Ory and
Louis Armstrong all the way up to Ornette Coleman was the end because it was from
the early '70s or something.
Yeah.
And then also Herbie Hancock's "Rockit." That was kind of a direct push in because
I think I was 12 years old when that record came out.
Mm.
I was really into early hip hop and even some stuff earlier than that and just
different pop stuff or whatever. And then that record was huge, and it was an MTV
video. I remember my dad saying when he heard, because I had that record, he's
like, "Oh, Herbie Hancock." He's like, "Oh, he played with Miles Davis." I was
like, "What are you-- No." I was like, "No, this is Herbie Hancock from MTV." He's
like, "Yeah, I know who he is."
Interesting.
Yeah.
Next up-
Is this the lightning round? Do we call it that?
This is, well, yeah.
Wow.
We call it the tsunami round. This is from Dylan Stukins.
This is, "If you each had to choose one standalone chord-
Yes
... what would it be?"
Man, I think it'd be a big fat triad.
Really?
Yeah.
Interesting.
Yeah.
A major triad?
Well, I'm keeping it open so that I have some options, but yeah, I was thinking
open. Yeah, because he's not saying choose it for what.
Because we were just talking about trying to play more simple stuff.
Yeah.
That's a simple chord, right?
That's a very simple chord.
How about you?
I'm going to go with sus chord.
Ooh.
If I had to choose one, I like the ambiguity.
It could be a sus triad, it could be a sus seven chord.
It is nice, the amb-- Yeah.
But you can make some stuff out of that.
That's true. Yeah, it floats.
Yeah.
It can be pensive. It can be-- Yeah, that's a great one. Is it my turn?
It's your turn.
Okay. If each of you were-- Ooh, this is a three-parter from Dylan Taylor. Okay?
Okay.
"If each of you were to play a show where it's all track-by-track covers, which
album would you select?" So I'm going to let you go first, and then I'll give you
the second part after you answer that.
Okay, well, this is a question I've thought about a lot.
Yeah.
Because I like to put on shows, and I'm currently actually working on a holiday
show that you're hopefully going to be a part of.
Yeah, well, it's supposed to be a secret.
Don't-
It's not going to be a secret.
Well.
By the time this comes out, it will have been out.
Okay.
We're going to do track for track, Peter, on the 442s' Holiday Spectacular,
December 7th, if you're in St. Louis, by the way.
Yep.
We're going to do the Charlie Brown Christmas album
all the way through.
Yeah, it's going to be awesome.
I'm going to sing on that.
It's going to be great.
Can I sing on that part?
You can sing. That's the plan, is for you to sing through the whole thing.
But yeah, that is a good one. I've also contemplated doing with an orchestra track
for track, "Kid A," obviously.
Yeah.
It's one of my all-time favorites.
I just think it would be really fun to explore each one of those tracks and arrange
it.
Yep.
I could also, at the drop of a hat at this point, pull out "Bitches Brew" because
I've done that-
Yeah
... four years in a row here, jazz St. Louis.
The entire thing.
The entire thing.
Yeah.
Yeah.
Part two, would it change if you had unlimited rehearsal time?
Yeah, if I had unlimited rehearsal time, "Kid A."
Right.
On a dime, "Bitches Brew."
Okay, and then three, or if you had to perform tonight.
"Bitches Brew."
Right.
Yeah, exactly.
That was good. You answered all your ones.
What about you?
So if I were to play a show where it's all track-- Well, you know what's
interesting? I was thinking about it because I just saw the announcement about
Stevie Wonder doing a tour.
I know.
Yeah.
Are we going?
In a couple months. We need to go.
Stevie, do you need to promote something?
"Searching for Stevie," we're going to call it.
Do you want to be on the show?
How do we get there?
Rent an RV.
"Searching for Stevie." I remember when we were searching for Herbie.
You're like, "Why don't we just call his publicist?
Wouldn't that be easier?" I'm like, "No, we're going to drive out to LA and do
these interviews."
It does.
No, I think "Songs in the Key of Life," because I saw Stevie doing this, and so
it's on my mind partly.
You'd have to have unlimited rehearsal time.
It's a double album.
Yeah, go on.
But, probably half those songs I know already and have played.
Yeah.
And maybe even more than half. But I think that that would be-- Yeah, so would it
change if you had unlimited rehearsal time? Yeah, that would still be it.
But if I had to perform tonight, it would not be that because I wouldn't be able to
get that together. I think to perform tonight would be "Kind of Blue."
Perfect.
I've never done all that, but I feel like, yeah.
You could do that. You could almost call those tunes.
Right.
Really a good one to do is "Songbird."
Oh, that's a good one.
Can you hear "Songbird?" That'd be a great track for track. You know what I mean?
Is that the "Kind of Blue" of the '90s? We don't know.
It might be. Yeah. Okay, next up, this is from Loz. One name, Loz. L-O-Z.
"Are there beginner/intermediate friendly solos by the greats to transcribe?
Or is struggling with very difficult solos unavoidable?" That's a good question,
Loz. So we have a couple that we like to point people to here.
Yeah.
Obviously, a Wynton Kelly solo on "Freddie Freeloader"-
Yeah
... is, I think, very approachable.
But that's the piano solo on that second track from "Kind of Blue."
Yep.
I also like to recommend, we just had Jeff Keezer here, and Jeffrey once texted me,
he
was working with a student who was trying to get an easy solo as their first
transcription. And I always recommend a little bit of Red Garland's "What Is This
Thing Called Love?"
Mm.
I think especially for an intermediate player.
From the trio?
From the trio. It's the white cover with red, and it's got-
Yeah.
It's a great track, and it's a great solo, and it's just like he's literally like,
"Here are the chord tones, and here are the surrounds." And it's so logical and
beautiful, and it's easy to kind of hear your way through it.
Yeah. I would throw in there for beginner.
I always feel like beginner, true beginner, that's hard.
It's tough.
Or maybe more intermediate. But
approachable, yeah, maybe even at the beginner level.
Thelonious Monk, which it sounds counterintuitive, all his stuff is maybe hard.
But I think that there's a simplicity.
There's a kind of an inner logic to it that can make it very approachable.
But on "Bag's Groove," Miles Davis' "Bag's Groove" on Prestige-
It's a great one
... the green one. Yeah. Monk's solo. And the solo's sort of progressive.
Philly Joe Jones is on that as well? Is that right?
It's actually Percy Heath.
Percy Heath. That's right.
Yeah. And maybe, I'm not sure who's on drums. It might be Philly Joe.
I don't think it's Philly Joe. Monk's solo, and also Miles's solo on that.
That's a great call.
Those are great.
We talked about those two solos before. That's a great call.
Those are great.
I also think you could get away with just picking a horn player who's very melodic,
someone like Chet Baker.
Yeah. For sure.
His solo on "There Will Never Be Another You," I know vocalists transcribe that
solo a lot-
Yeah
... because it's so easy to sing. I think someone like Ben Webster-
Yep
... you could probably transcribe some of his stuff pretty-- It's easy to hear.
It's not going to be too flashy like trying to transcribe 'Trane or something.
Yeah.
A good in-
What's wrong with 'Trane?
Nothing wrong with 'Trane, but for a beginner, it might be a little challenging.
Yeah, exactly.
Okay, we got one more.
Good, we got one more. Here we go. Boom, boom, boom.
Maybe stuff for the listeners.
A little Johnny-
Call that-
A little Johnny Carson for the... Yeah.
Oh, we can't do that anymore.
Can't do those jokes.
"Does classical training help with technique and touch for jazz musician across
instruments?" From Anonymous. Of course, it's Anonymous, because that's a dumb
question.
No, it's not. That's a good question.
There's no such thing as dumb questions, just dumb answers.
Which we're about to give. I think it couldn't hurt.
You have some classical training.
Yeah.
I have very little, but the more I think about
bringing some of those teachings into my jazz playing, the better I tend to sound
and the more even and prettier a sound I produce.
Now that I'm looking at this, I shouldn't have said dumb question, because first I
was like, "Of course, it helps." But I actually think that the way that this is
phrased is a very nuanced thing. "Does classical training help with technique and
touch?" So I was immediately thinking about the technique and touch.
So it's like, does classical technique help with technique and touch for jazz
musicians across instruments? And I think it's a little bit of a mixed bag because
classical training is not just about technique.
We think about that, and I think it probably is the most useful part of the
training for a jazz musician because it's sort of the foundation of general piano
technique, because the instrument kind of came up as primarily a classical-- It
comes from harpsichord and pianoforte, Baroque, and classical, whatever.
But I think that there's parts of the classical training that are not necessarily
hurtful to being a jazz musician, but they're not helpful.
They're more at best sort of in the middle, and that's sort of more of the mental
framework and mentality that the classical training puts on you.
And so I think that separating that out, I think that the classical technique is
the thing that's potentially more helpful.
I agree.
Yeah.
I agree.
And look, vice versa, there's certain elements of jazz training that I think are
very helpful for being a classical musician, but not all of them.
And that's why they're different. That's what's great about it.
What's up, everybody? Adam here, and if you're digging all the great music that we
listen to on the "You'll Hear It" podcast, and you're feeling the itch to dust off
that instrument in the corner to learn some of these songs, we've got you covered.
In my new ongoing course, The Players Club, I take songs right from the "You'll
Hear It" podcast and teach you how to play them from scratch, and you're playing
along with recordings of these great songs.
Whether you used to play years ago and want to get back into it, or
you're starting from scratch, we're going to get you playing some of the greatest
music ever made. Join us at The Players Club.
Click the link in the show notes to learn more. Now back to the show.
So that's the end of the lightning round.
We do have-
It's a lightsaber
... we have some SpeakPipes, some actual voicemails we're going to listen to here
a little bit.
Yeah.
And actually, Peter, we've got a little trivia round at the end-
Ooh
... that I'm really excited about.
But before we do that, we get a lot of, and I mean a lot of, requests for albums
from all of you. So many we couldn't possibly actually do all of them on a weekly
radio show.
Well, we couldn't do them for the rest of our lives.
And we couldn't. But there's also something-
What are you doing the rest of your life?
There's something people should know, which is that we do have kind of a criterion
for everything we listen to, which is that at least one of us has to really-
Spell it
... be able to spell criterion.
Criterion.
Criterion Collection. No, but we both have to really, really love it.
And so there's just a lot of albums that I'm sure are great albums that we know are
like classic-
Wait, at least one of us has to really love it.
That's true.
You said both of us have to.
Oh, sorry, one of us at least.
Yeah.
Not both of us.
Right.
But at least one of us has to.
I'm looking at you, Radiohead.
Yeah, exactly. But we get some good stuff out of it whenever.
Yeah.
So I didn't know Shirley Horn's "Here's to Life," it's one of my favorite
recordings of all time now.
Yeah. Yeah.
Because you love it and I discovered it. But that can be really fruitful.
But what we haven't had, and we've tried this before, is to listen to albums and
react to albums that neither one of us really know. It's not that...
We're not a reaction show, so it's not like-
We're not. Well, I think too is we fall a little bit into the trap, and thankfully
because we love you, dear listener, we haven't subjected you to having to listen to
this. It just didn't make... It's on the cutting room floor, as we say in the
business.
Yeah. Yeah
Is when we attempt an album that one or probably both of us feel like we
should love.
Totally. Yeah. Like we should-
Not that we've ever-
If everybody loves it, we should love it.
Yeah. Yeah.
But it just hasn't produced great results for us.
Yeah. And it's not that we don't think it's...
It's just for whatever reason, it hasn't been resonant-
Yeah
... for us. But yes, the ones that are highly resonant for one or the other I think
have been some of the most interesting discoveries in sharing.
Yeah.
Because that's what it's about. Sharing is caring.
So here are some albums that, or some tracks from some albums, that you've
requested. Most of these you've requested multiple times.
Yeah.
And so we definitely should... They're definitely worth a listen, but maybe not.
And some of these actually might eventually turn into an episode, depending on how
long this show runs for. Some of these are from really, really great albums.
Like the first one is from the band Dire Straits.
Oh.
This is "Sultans of Swing," and this is one of...
If you're ever going to test a hi-fi system, Peter, this is a good one.
It's about a jazz musician, too.
Oh.
The sound is-
Get a chill out in the dark It's raining in the park meantime
Sound of the river You stop and you hold everything
A band is blowing
You ever heard this?
No. I don't think so. Have you?
Oh, yeah. Okay. Did you not go to Springdale Community Pool in 1989?
I drove by it. I was not a member, so I-
On 141 and Fenton near Arnold? No? Okay.
Is this from '89?
This is from, I think, '84 or '85.
Oh, no. I didn't get out there until later.
Yeah.
The CDs need to be delivered.
Competition in another place.
And that guitar sound is so cool.
They're blowing that sound
His is clean and-
So way on down south
Here's the... You might recognize this last part
Way down south London town
It does sound familiar.
Yeah.
Oh, I just realized this is one of those episodes of like, "Peter's never heard
that? What the... How are you..." One of the comments was like, "How are you
considered yourself a professional musician and you've never heard that?" What was
that about?
I think it goes...
We all have a hole in the... I was like, "I love that comment, actually.
I just wanted to know."
Manassas.
Oh.
So Dire Straits, incredible band, obviously. Classic rock.
Yeah.
One of the greatest sounding albums ever, and "Sultans of Swing," I think probably
the most popular song off that album. What first thoughts, Peter?
What do you think?
It's cool. Now I'm remembering Dire Straits.
I definitely remember some of their stuff.
It was just never something that was my jam.
Yeah.
But it was always kind of around, for sure.
I remember in the '80s and I don't know.
It's like why do we gravitate towards something...
There's always choice in music, right?
I think for me, and that's why sometimes people are surprised when I haven't heard
certain things, and I'm sure I've maybe played some.
I get so tunnel vision on certain things-
Yeah
... during certain periods.
You're a very focused person.
Yeah. My biggest fault is that I'm very charitable and very focused.
Also very loving and very giving.
And humble. Let's not forget humble.
And humble. And very tall. Very tall and skinny.
But no, I think that it's just, I don't know.
There's certain things, and it's not like how are we drawn into something?
I think we've talked about before, like the nostalgia and the connection.
Obviously it's very high quality and-
Yeah
... great stuff happening, but what is it that makes something resonate?
Once we get past the period of like, "Oh, I'm supposed to like this," and we've all
had that-
For sure
... we've talked about that.
For sure.
What about for you?
Dire Straits is not one of my bands.
Yeah.
You know what I mean? I get it. I think it's beautiful.
I think the production is gorgeous. I don't quite get the songwriting.
It just doesn't hit me in a way that's ever really resonated.
So if you were to put-
And it's probably because my parents aren't Dire Straits people.
Ooh.
Which it would've been like, I wouldn't know the age if my parents were into this,
I probably would've been into this.
Right. So if you were to put Radiohead as S tier, what tier would you put this?
I'm going to box you in there.
I'd say B tier. Now don't come for me.
Okay. B tier.
I just don't know-
Are they like The Dan? No, they're like The Dan Heads, are they? They could be.
Steely Dan heads. We glazed-
I mean, we are Steely Dan heads.
We glazed Steely Dan so hard and it wasn't hard enough for The Dan Heads.
They really... Okay, this next one is very exciting.
So this is from Quincy Jones's 1978 "Sounds...and Stuff Like
That!!" This is the title track, "Stuff Like That," featuring Ashford & Simpson
and Chaka Khan.
Yeah.
I don't know this album.
Oh, yeah, this is good.
But I'm getting into this album now. Great rec.
This is a great sonic record. Dude, now this is taking me back to
'78.
Huh.
Walk in the door We were adding up
back-to-back
Woo.
I don't know this at all. I don't think I've ever heard this.
And yet I will be listening to this album.
Yeah.
This was Quincy's record?
Apparently.
Yeah, that's right. Man, Quincy was such a
chameleon, but such a master.
What makes you feel like doing stuff like that?
What makes you feel like doing stuff like that?
That.
Yeah.
Before
my eyes
Rhodes chorus.
Wondering about paradise She think and she feel
She a dream
That might be some Harvey Mason.
Could be Harvey Mason.
Could be, yeah.
Still trying to stop
I was checking out this whole album earlier today, Peter. It's really, really cool.
Yeah.
Stuff like that
There's, um-
Do- do stuff like that
Yeah, I would've guessed that this was Ashford & Simpson.
It's interesting, Quincy, the way
he put people in the room.
It's catching
There's a version of "Tell Me a Bedtime Story" on here that's incredible.
There's a version of Stevie Wonder's "Superwoman" with Patti Austin.
Nice.
Incredible.
Yeah.
All right. Thank you for that rec. Incredible rec.
Okay, next up, this is an album that I know really, really well.
It's one of my favorite albums. It's Nick Drake's "Northern Sky." I don't know if
you would know this one, Peter.
Okay, I see where this is going.
I think you would really like it. This is like
something Brian Eno could have covered.
Yeah.
It's in that vein. I think you'd like this.
The English singer-songwriter from the early '70s, passed away when he was very
young. I think this is '71. Oh, wow.
I could have been a sailor
I could have been a cook
So many great little details in the songwriting.
I could have been a lover I could have been a crook
I think I've heard this before.
Definitely.
A lot of commercials.
Yeah. I could have been a signpost Could have been a clock
As simple as a cat Who's steady as a rock
Could be
your and mine.
Isn't that great?
Beautiful.
I would be, I should be, but I doubt
I could've been.
But what are these things for us?
It's a list song, essentially.
Yeah.
"I could've been, a Cadillac or a Cadillac."
Yeah.
In English. Absolutely brilliant.
He passed away very young and then had a resurgence in the early 2000s, late
'90s, early 2000s, and now there's a whole crop of
singer-songwriters who were influenced by that resurgence that happened.
Yeah.
There's a lot of people that sound like this now.
Oh, that's great.
And it's really cool, and that's one of probably a dozen
amazing songs that he's written.
I got it on the list, for sure.
Yeah. Very cool. Okay, the next one, this is also an album that I know really well,
but I just got into this in the last couple of years.
And this is-
When are we doing the list of songs that I know really well that you're blissfully
ignorant about?
We have one coming up.
Okay.
And actually, the Quincy, we'll count that.
But, this is Talk Talk, "Spirit of Eden." I chose this one off the list of
requests because it's been requested multiple times.
Okay.
And I think you're actually going to like the production on this quite a bit.
This is "The Rainbow" from Spirit of Eden.
The piano hit here is so perfect every time.
Vibe.
Was that overdrive harmonic?
Yeah.
Nice.
Oh yeah. The world's turned upside down.
More English musicians. I feel like we're getting a lot of requests from-
Yeah
... the Isle of Great Britain.
Which I was at yesterday. I was on the isle, in fact, yesterday.
I was actually staying close to Pigeon Wig Lane.
You're kidding.
I love the names over there.
And they think they're normal. They're like, "Oh, going down to Pigeon Wig." I was
like, "I love this."
Oh, all these amazing choices.
When was this from?
I believe this is from either 1990 or '91.
Okay.
The whole album is like this.
That's great.
Vibey.
Spacey.
Spacey.
Yeah.
It's a great listen.
Awesome. All right.
Okay.
This next one goes out to one, I know this album a little bit, I know you've heard
this album a little bit, but I don't know if this is one of our albums.
Yeah.
So it might not ever make an episode. It's "Here's Lee Morgan" by Lee Morgan.
Art Blakey, Wynton Kelly.
I just saw something about this album today.
Clifford Jordan, Paul Chambers.
How it was one of the 10 greatest jazz albums of all time.
Maybe we should do a whole episode.
Oh,
yeah. I feel like I have a big "Here's Lee Morgan" hole in my musical education.
It's interesting. Do you know why?
I don't know.
So this record, I didn't hear until later.
I think that the time,
Lee Morgan, in general, was a hole for me because I was so influenced by Wynton
Marsalis in the '80s, when I first was listening to records.
Even though, he's a trumpeter, obviously.
Yeah.
And he'd talk about Miles, he'd talk about Freddie, he'd talk about Clifford Brown,
talk about Fats Navarro, Louis Armstrong, all these great...
And maybe I just missed it, but I don't think Wynton's ever been anti-Lee Morgan at
all, but that wasn't one of his guys.
Yep.
And so that kind of happened to me, and then when I heard these records later on, I
was like, "Oh my God, Lee Morgan is awesome." But it missed that sweet spot.
I know.
And this is a killer. Same with me.
Here's Lee Morgan. I feel like I went Clifford Brown to Freddie Hubbard somehow.
Yeah.
And I somehow didn't get... Of course, I know all the big ones, but I got a big
hole.
Yeah.
I'm in it. Yeah.
And because, look, he was on a lot of the same, Art Blakey.
Was he right after Freddie or was he right before?
Right before, I think.
Okay, right before. But I always felt like, man, Freddie's just such a presence.
Yeah.
The way he would play those tunes and stuff, but Lee Morgan's the one.
Yeah. Well, that's all we got. Thank you for all the requests.
That's a great record. Now I'll remember it. It's a cool record.
Liz, let's put it on the list.
Yeah.
We're going to do one. Great stuff, everybody.
And we left a lot off, but yeah, those are just great examples of we could probably
do some. Maybe we'll do some Nick Drake at some point.
Yeah.
And we could definitely do some Lee Morgan at some point.
That'd be fun.
We've done some Quincy, but we should do some more.
Yeah.
Cool. So keep those coming. Those are fun to look at.
Yes.
Okay. So now, Peter, we've got some more in-depth questions.
Oh, we're going deep here.
We're going deep, and we actually have the SpeakPipes here cued up.
Oh.
So this first one is-
Hey, Cadence
... this one is from Matt.
"Hey, guys. I've heard you on the podcast talk about alternate takes on albums and
how sometimes when they're back to back, it interrupts the flow of an album."
Yes.
"But I am curious, do you guys have any favorite alternate takes of any tunes that
are out there? Maybe even some that are better than the ones that the original
album used instead? I once heard Miles Davis' first quintet do an alternate
take of 'Round Midnight on a compilation album called 'Miles Plays for Lovers,' and
I swear I like that one better than the one that made the record.
So I was curious if you had any of your favorites out there.
Thank you."
Great question, Matt.
Yeah.
What do you think, Peter? You have any favorites?
Well, maybe because we were just talking about Freddie Hubbard, that came to mind.
What's the Herbie tune?
Is it "Oliloqui Valley?"
Oh, yeah.
Yeah.
Yeah, that's a good one.
On the alternative take on that Freddie solo.
On the main one, it's so great, but the alternative one.
Freddie was a great alternate take guy, because he's just firing on all of them.
So I think for me, the greatest alternate takes are the ones that I heard later
that are really good, as good.
Yeah.
They were complete takes, but you're so used to the one version.
"One Finger Snap" is like that, too, another Freddie.
Another one.
But if you've heard the main version for so long, then you're like, it's such an
epiphany-
Yeah
... that another version. I was like, "What?
They did it again, and they changed it up."
With the "One Finger Snap" one, too, is you're like, "Wait, that's not the melody."
That's right.
"That was just a solo." Yeah, I know.
Yeah, I think Freddie's kind of the master of the multiple take.
The first one that came to mind, I don't know if I like this take better, but
we'll call this the redeeming alternate take.
"Giant Steps," take five.
"Giant Steps," take five.
This is after the main take?
So Adam has
a little bit of a childish, quizzical look on his face now.
I'm trying to figure out
why. This one's not as good. I can already tell.
I said it's redeeming.
Let's look.
I said it's redeeming.
Now, that's good.
Slower.
Now it's a little faster.
No, this is one that doesn't have a piano solo at all.
Oh, got you.
So there's no Tommy Flanagan opportunities to take down Tommy Flanagan, which
always bugged me with Giant Steps.
Right. I'm just seeing if this is probably going to take too long to do this, so
just make sure I was-
This is the "Oliloqui Valley" melody?
Yeah.
Yep.
Is that how you say that?
"Oliloqui Valley?" I believe so.
Oh, Tony, come on.
Okay, and so then here's the alternate take.
This must be a later take, because Ron's a little more aggressive, right?
These alternate takes are fun-
Yeah
... to do this kind of comparison.
It's a vibe one, right?
But we were talking about it in the CD era, especially with reissues-
Yeah
... they would put them all in a row on the album.
Right.
Oh.
Yeah.
That is good.
It's like you kind of just get into the thought pattern of what am I going to do
with these different breaks and stuff, and Freddie was just like, it was just
endless.
That was really good.
Sorry, I diverged.
Okay, next question.
I regressed.
Thank you, Matt, for the question.
This is from-
I fell back.
This is from Joe.
Hey, Adam and Peter. This is Joe in Columbus, Indiana.
I'm a double bassist-
Mm
... a composer, and a music educator, and I appreciate that you
guys are covering the Radiohead albums, but I have a quibble bit.
I think you guys are missing some important connections that they have to
the 20th century and 21st century avant-garde classical
tradition.
Mm.
Specifically, people like Steve Reich, Terry Riley, Penderecki,
Olivier Messiaen-
Messiaen for sure
... two who have had-
It's pronounced Olivier D, by the way, not Olivier Messiaen
... important influence on Johnny and Tom. So that's my quibble bit.
I think that that deserves mention.
That's a good point, Joe.
That being said, I have really appreciated and enjoyed the episodes.
An episode that I would love to hear would be both of you talking about
recent jazz albums-
Ooh
... important releases that you guys love and are listening to on repeat,
as well as maybe some that are
touted in the press and widely recognized, but you just don't like it very much for
whatever reason.
Good question.
I think that would be interesting. Thanks for what you guys do.
Well, first of all, as far as being touted in the press, I don't pay attention to
the press. I am the press.
Damn. Mic drop.
Also not true.
Two things can be true at once. No, that's great.
So,
quibble bit appreciated, although that's more on you.
That is on me.
Because you had the-
The Messiaen thing makes a lot of sense.
Right.
Yeah.
You made a Messiaen of that.
I did make a Messiaen of that.
As far as recent stuff, I'm just looking in my Apple Music at stuff I've been
playing. Okay, can I play something?
Please do.
Is this royalty-free? We don't know. Are we going to get sued?
Possibly.
Check this out. You might not have heard this.
Sounds like Jay-Z, the intro to, what is that?
I like this.
You may recognize the voice when it comes on.
It sounds really good.
Sounds kind of Glasper-esque, doesn't it?
It does.
It's Robert-
The story begins-
It's Robert Glasper
... a long time ago. In a galaxy-
Yeah, Gretchen
... far, far away.
Gretchen Parlato. I think it's on her record.
A princess-
Yeah, Gretchen's amazing
... of the rebel alliance.
This is great. "Rainbow."
Been listening to that. Well, this is relatively recently.
This is
Sullivan Fortner. Big fan, obviously. This is not from his newest record.
Walter Smith III, great Donald Brown song from Southern Nights.
Southern Nights. Killer.
Yeah. Another thing I've really been listening to a bunch of
Oh, I know who that is.
Hutch.
Yeah. Jakob Bro,
Joe Sanders on bass. Greg's new record-
Gregory Hutchinson. The great Gregory Hutchinson.
Yeah. "Kind of Now."
That's a great album.
The Pulse of Miles Davis.
Yeah.
It's really killing.
I got it, yeah.
Greg's amazing. Also this one with all the Miles stuff. I really like this.
I wasn't familiar with Butcher Brown, but this is Butcher Brown, the band.
I want to say they're from Virginia. I could be wrong with that.
But with Nicholas Payton-
Mm
... playing the, what's the little instrument with the... The kalimba?
Is that kalimba?
Thumb piano?
Ba-ba-bum-ba-da-da, kalimba.
No.
Yeah, thumb piano. And I think he's playing keys too.
He's playing trumpet. It's like some reimagining of Miles Davis.
What else have I been listening to? I'll play a little bit of this as a basis.
I really like Hannah Marks.
Little Brooklyn vibe. Room 157.
Great bass.
Hannah Marks?
Hannah Marks.
Hannah Marks.
I don't know that. That's great.
Yeah, she was in one of the cohorts of the Betty Carter Jazz Ahead, the great
program
in DC. That's when she first came to our attention.
She kept killing it up in New York with her own band, led from the bass.
That's great. I got something we both can chime in on.
Okay, good. I know you don't want-
I'll throw it to you. So I have some picks that I've been listening to jazz-wise.
Yeah.
Little
Brad Mehldau, is that how you pronounce it?
Mehldau.
Mehldau. This is his album with all Elliott Smith covers.
This is his cover of "Between the Bars."
Mm.
Absolutely gorgeous.
This is an album, because I love Elliott Smith's music.
Yeah.
Brad Mehldau and Elliott Smith. They were actually on a TV show together-
Johnny Carson
... 1999. No, it was Jon Brion's show.
Oh.
It was like the whole Largo scene out there.
Yeah.
So you can see on YouTube, a show where they're on together.
That's cool.
Crazy. But when I listened to this album for the first time, I like hands in the
air like, I can't believe he pulled it off. It's called Ride into the Sun.
Yeah.
It's incredible. Also listening to this, speaking of Sullivan Fortner.
One, two.
Cécile McLorin Salvant.
One more thing. One, two.
Woo.
Is there an album snap?
Yeah.
I spend a lot of time thinking about doing things instead of doing them.
Huh.
I spend a lot of time thinking about saying things instead of saying them.
Out loud, out loud, out loud.
Ooh.
I spend a lot of time ruminating,
reminiscing about the past, fantasizing about-
I mean-
... the future. Thinking about anything, anything, anything, anything,
anything but now. Thinking about anything, anything-
The way Sullivan plays-
... anything, anything-
... but the way Cecil sings
...
but now.
The way they interact,
man.
I think 50 years from now, we're going to look back at this and be like, "This was
really special. This partnership they had."
It was. And I almost hesitate to say this-
I mean, I won't be here
... but no, what it reminds me of is a little bit of Ella Fitzgerald and Oscar
Peterson. I don't want to put that crown on their heads because that's heavy, but
you know what it is? It's like Sullivan, right now he's playing a lot, but even
behind, he can push-
I spend a lot of time-
And play so much-
... thinking about saying things-
... and harmonically-
...
instead of saying them
... rhythmically.
Light touch, though.
Yes.
Very light touch.
Big ears.
Yeah.
Out loud, out loud, out loud.
This is great. Yeah, I'm loving all the stuff they're doing.
She's got a great new record too-
Yeah
... with some incredible string arrangements that are a lot of fun. Anyway.
I think, yeah, that partnership is great.
Another one is a band called-
I stole that one from you
... a band called FATHERS with Nate Smith.
Kiefer from the show-
Yes. Oh, this is a great record
... CARRTOONS and Kenny Beats.
It's on the Blue Note record label. It's great.
If you like
this kind of vibe, you're going to love it.
It was released on Blue Note in 1986, apparently.
Kiefer coming out with his own album on Blue Note in a couple weeks here, so be on
the lookout
Nate Smith.
Nate Smith, yeah.
CARRTOONS, Kiefer, and Kenny Beats, all good tracks.
Yep. Nice.
And then one more. I just want to shout out
Sam Fribush and Corey Fonville-
Oh, yeah
... and Alan Good Parker. This is
from an upcoming release, it'd probably be out by the time this show comes out,
called Blue Collar Jazz.
Oh my God.
Organ trio.
Charlie Hunter's got to have a cameo on this, right?
But Fonville-
Charlie Hunter is in it? Wait, let me jump in.
I got to jump in
But man, everything from these guys that's come out in the last couple of years,
I'm just loving so much.
It makes me want to move to the Carolinas.
Hell yeah.
I want to move out there to the East Coast.
Get some sauceless barbecue going.
Near the Atlantic.
Barbecue has no sauce. Straight on.
That's Slap from the upcoming Blue Collar Jazz.
Okay, next question, and one of our final SpeakPipes here.
A.
Hi.
No name given.
Question for the mailbag. So I'm a 28-year-old pianist, and even though I'm a
generation younger than Adam-
What?
... we have exactly the same taste. Brad Mehldau's my favorite pianist.
Radiohead's my favorite band.
Okay.
Paul Thomas Anderson is my favorite filmmaker.
Great.
And I put Jon Brion in there too, as a producer that I really love.
And I'm kind of obsessed with the crossover between these artists, especially
because I kind of think, I don't know if this makes sense, but I kind of think of
PTA as sort of the Mehldau of film or-
Yeah
... Radiohead as the PTA of rock. And-
You speak his language.
It's fascinating because Jon Brion scored Magnolia and Punch-Drunk Love for PTA,
then Jonny Greenwood of Radiohead-
Yeah
... took over. Brad Mehldau has famously recorded a lot of Radiohead tunes, and
then in his
memoir, PTA gave a blurb in praise of it.
Jon Brion obviously produced Largo and
Highway Rider for Mehldau. And basically, my question is, do you think that
artists across disciplines who are kind of kindred spirits are drawn to each other?
And if so, have either of you been drawn to another type of artist that you
found to be a kindred spirit?
Mm.
Thank you. Big fan of the show.
Well, thank you for the question. It's a great question.
I would actually put this not in terms of artistic kindred spirits, which they are,
all of those people you mentioned are, but the connection was, especially at the
time that all this was happening, is Los Angeles, California.
Right.
And it's a scene around Largo, around that sort of part of the entertainment
industry. I would say there are similar scenes with similar aesthetic values
that are shared with scenes like around
Robert Glasper and Terrace Martin-
Yeah
... and
that whole Blue Note LA, Blue Note New York scene.
Yep.
I would say there's a Philadelphia scene-
Yeah
... where there's a similar aesthetic value that's shared amongst those artists.
I think in St. Louis,
is it happening for us? It's happening right now for us.
Yeah.
That's why we're here making this show and why Open Studio exists is, in a lot of
ways, because of people in St. Louis who have shared aesthetic values.
Yeah.
So I think in that regard, it is geographical.
It's people hanging out with each other and being like, "You like that?" We talk
about Soulquarians and that whole thing-
Yeah
... when we were talking about D'Angelo, but that's just-
Proximity
... proximity of people-
Yeah
... in the same space working on the same kind of thing.
Yeah, and I mean, that's been fun because we've started to develop some of that
here
with you and Bob and Kaleb, Brian Owens, and even I did a
gig with Keyon Harrold recently, and he's younger than me,
so we didn't come up at the same time from St.
Louis, but then you realize how many musical references that are kind of-
Shared
... shared to this region still-
Yeah
... even as the music has become more homogenized around the world.
But you still have those reference points.
It's like, "Okay, yeah, that's how we do it here"-
Mm-hmm
... which is really interesting. But I do think that for me, the time that I've had
that the most was the early 90s in New Orleans-
Mm
... when I was living there, and it was such a formative stage.
And I think if you look at the ages,
and I don't know exactly. I mean, Brad, I've known because we're, I think within a
few days of the same age. Literally within a week, I think, were
our birthdays. And I remember when I first met him, we were, I don't know, maybe
18, 19 on the early gigs. So I've known him a long time, but in terms of...
And I remember when he moved out to LA, but his connection with other folks via
Largo and that whole scene. I think that this often happens at a younger age,
right?
Yeah.
20s, maybe early 30s. It's not to say that the window closes, but for you to make
those kind of calls. You can come back and revisit them, and that's what happens
for me with the New Orleans crew from-
For sure
... the early 90s, Chris Thomas, Brian Blade, Victor Goines, Nicholas Payton, that
whole crew,
it was so great to be around them. And then some interaction with all the older
musicians, they kind of helped us along. It's a very special thing.
I think you're right. I think an age thing is true because I think remembering back
to when I was younger,
you're hanging out late at night with a bunch of people in clubs or at someone's
house or whatever.
Right.
And even to the sort of cross-discipline thing-
Yeah
... there's a poet there.
Right.
But you're still talking about your favorite John Coltrane album, or your favorite
novels, or your favorite films. Or there's a filmmaker there and-
That's the cool thing
... you're all 20 years old and nobody's done much of anything, or you've done a
little bit, but not a lot. You know what I mean?
And you have values together that you're kind of like-
And that's the cool thing about LA or New York.
I've never had a lot of that, where it's different genres and-
Yeah, me neither
... artistic endeavors.
In New York it was happening a lot more-
Yeah
... obviously, because people go there to do all that stuff.
Yeah.
And then you're young and you're broke, and you're just hanging out on someone's
roof talking about all this stuff and-
Right
... making stuff together.
Yeah.
Yeah. Great question. Very cool.
Yeah.
Okay. Peter, we're going to move on now to a trivia round.
Now, you don't know nothing about this trivia round, but what are-
Know nothing about this.
Shout out to producer Liz, who's put together a fantastic mailbag episode thus far.
Do I have sheets on this, or am I going sans?
You're going sans. You're going sans.
And I have five questions-
Okay
... that are questions from the shows that we've made, from episodes that we've
made.
Well, this is one thing. As soon as I'm finished with something, I'm like Van Gogh.
I put it out of my mind. I'm moving on to the next artistic endeavor.
So I don't know how I'm going to do on this.
These all, by the way, come from
comments on YouTube-
Okay
... about people commenting on an episode we made and-
Well, I never look at the comments
... enlightening us. Now, the first one is one that you actually discovered.
Really?
Why was the ending of D'Angelo's Untitled
cut off?
Do you asking me this?
I'm asking you.
I know this.
I know you do.
They ran out of tape.
They ran out of tape.
Yeah.
They ran out of tape. Now, one thing that from that-
You're starting me on training wheels here. I like it.
From that episode that we did learn in the comments was that it wasn't Questlove
playing live on that track-
No
... as we thought when we recorded it.
Right.
It is Questlove playing, but it was sampled and looped-
Right
... and put into a drum machine.
Right.
Which thankfully-
Maybe by Questlove.
Possibly.
Yeah.
Or Russell Elevado, maybe.
Maybe, yeah.
But we learned that from the comments, so thank you. Keep the comments coming.
So wait-
Believe it or not, we get plenty of comments.
So we can believe everything in the comments, or we can't believe everything.
We still got to do our due diligence.
Okay, this is one that came from the Marvin Gaye What's Going On episode, and we
did not comment on this, but we-
Wait, hold on. If it's coming from the What's Going On episode from That's My Mama,
from That Was Coming to America. Reference. Coming to America.
Bam. Who can you hear during the beginning chatter in Marvin Gaye's What's Going
On?
Well, I know the names, but I know it's members of the Detroit Lions NFL team.
Ding, ding, ding.
Yes.
And Lem Barney, apparently.
Okay.
Okay.
M? Len Barney?
Lem. L-E-M.
Lem. Right. That's right. Lem.
Number three, what is the haunting sound in Radiohead's How to Disappear
Completely? Now, this is one that I got completely wrong.
Who is Radiohead?
This was commented by @dotsgray-y9x.
You don't have to say all that.
I do want to say it, though. I just want to credit it.
I don't know. I don't even know what that is.
It's called an ondes Martenot. It's an early electronic instrument built in the
1920s by cellist and radio operator Maurice Martenot. Martenot, probably.
It's a cross between an organ-
Martenot.
... and a theremin. Martenot. I better Martenot say that wrong.
Martenot.
And it's played by wearing a metal ring attached to a string.
And Jonny-
That's painful.
... plays one. Yeah, I still really don't understand.
Sounds like some kind of French guillotine musical situation.
Okay. Why does Prince's "The Ballad of Dorothy Parker" sound like it's underwater?
Mm.
This was from-
Wow
... Guitar Wizard I.
We were corrected here, or at least enlightened.
You mean how did they do the effect, or why does that song-
Why does that song, "The Ballad of Dorothy Parker" sound like it's underwater?
Do you know that?
I don't know this.
I remember we talked about this, though, didn't we?
I don't know if we... Obviously we didn't have the right answer.
Well, that never stops us.
Doesn't mean we didn't talk about it.
That's probably why we did talk about it.
So apparently it was an accident. The song was recorded through a console that
wasn't completely assembled. As a result, there was no high end.
Oh.
And engineer Susan Rogers said she noticed something was wrong as soon as they
started recording. She expected Prince to cut the recording, but he never did.
They left the recording like that because it reflected the dreamy lyrics.
That's from-
Interesting
... Sign o' the Times.
So Prince, not a perfectionist, as it turns out, when it comes to studio equipment.
Okay, one more.
Yeah.
And you probably know this by now because we did some research.
This is from the "Music of My Mind" episode.
Yep.
Where is TONTO today?
I believe Manitoba, the province of Manitoba, Canada.
So close.
Winnipeg. No, I don't know. Edmonton.
The people where this is from-
Saskatoon?
... they're not going to like Edmonton.
Regina?
Calgary.
Dang. Calgary.
Yeah, I know.
Right.
Sorry, Western Canada.
No, that's not Western Canada.
Calgary?
It's not Vancouver.
Okay.
Sorry. Sorry. Insult added.
Mid-western Canada. Appreciate it.
No, Calgary's the big money city out there.
It's an oil town.
Big oil. Right.
Right. Well, Edmonton Oilers.
Come on. You know what I said first?
Malcolm Cecil had been housing it in a converted-
Cecil. How do you say Malcolm Cecil's name? It is.
Malcolm Cecil had been housing it in a converted barn in Saugerties, New York, but
maintaining it became too difficult.
He sold it to the Calgary Museum for less than what other institutions were
offering, including the Smithsonian, because they satisfied his criterion.
That's a great criterion.
"Regularly and properly maintained," and it is available for public use.
You can go to that museum in Calgary and play-
Wow
... the-
TONTO
... the National Music Centre in Calgary and play TONTO.
That's awesome.
Yeah.
Shout out Calgary.
Shout out Calgary. Okay.
That is Saskatoon, though, isn't it? Calgary?
Alberta. Calgary, Alberta.
You said that already, right?
I don't remember.
Okay.
This is a Canada geography podcast. Much to listen to.
We love Canada.
We have one thing left, Peter, and that is-
Yes. Citizen as well
... Gala.
Oh, yeah.
Recent ratings and reviews. Now, this is the Gala, if you are new to the show, the
gentleman's and lady's agreement, and that is that this podcast is free.
Well, is it, though?
It's not, because what we do is we ask you to please leave a rating review on Apple
Podcast.
Do we say please, or do we insist on it?
We insist on it.
We buy it.
It must be seven stars, by the way.
That's right.
Seven-star review.
And if you can't figure it out, just don't even leave it.
Well, no-
No, still leave it
... leave your maximum.
Maximum seven stars.
Yeah.
Or comment on YouTube.
Or how many stars you give.
Comment on YouTube, comment on Spotify. Did you know you could do that?
Yeah.
Okay, no you didn't.
Yes, I did.
Okay.
I just don't know where to find them.
This is a review. "Most recent format is great.
Love them reviewing albums like Steely Dan's 'Gaucho,' 'Aja,' Joni Mitchell, Fleetwood
Mac 'Rumours.' They give you all the inside baseball music stuff that goes over my
head, but they break it down very nicely.
Super informative, but also an enjoyable duo to listen to, super great chemistry.
You can't teach chemistry, and these two, got to keep them coming.
Thank you so much."
That's what my high school chemistry teacher said after I finished a semester with
her. "You can't teach chemistry."
Next up is from Apple-
Sorry, just fun fact about that when they say they love the new format.
I've noticed you didn't put the other comments when they say, "We don't love the
new format."
No, we don't do that. We're not going to highlight the detractors.
That's right.
The haters, of which there are plenty.
Yeah.
"For all music lovers, five stars.
Recently discovered this show and enjoying it immensely.
The hosts are clearly super knowledgeable, but they share at a level for anyone who
enjoys music. Thank you so much, Brenda and Morgan, for making it."
Was that a backhanded compliment?
A little bit.
"The hosts are clearly super knowledgeable, but..."
Not "and."
And then finally from Wilf Wooller, "Podcasting at its sweet jazzy finest.
These two charming Americans single-handedly, or is that double-handedly, rekindled
the flames of my love for jazz after years of not listening to-" Oh!
"These incredible artists. Love their infectious enthusiasm, in-jokes, fascinating
takes, and harmonic analysis." Thank you, Wilf.
Thank you, Wilf, Brenda, and everybody. That's awesome.
Yeah. Show's over, Peter.
Oh. Why is that a thing?
The mailbox is closed, buddy. The mailbox is closed.
Well, you know what? We nailed it, so till next time.
You'll hear it.
Boom.