You'll Hear It: Full Album Deep Dives with Jazz Musicians - Waltz for Debby – Bill Evans Trio

Episode Date: August 24, 2026

Waltz for Debby is the sound that all "boring coffeehouse jazz" tries to imitate, but none can replicate. Featuring Bill Evans on piano, Scott LaFaro on bass and Paul Motian on drums, this 1962 live album has become the template for every AI jazz playlist. And yet, it stands apart as one of the greatest jazz piano trio albums of all time. Pianists Adam Maness and Peter Martin listen to the full album, track-by-track, describing what they hear in the music that lends this album its undeniable humanity.-------------------------------Learn to play tracks from You'll Hear It. Join the You'll Hear It Players Club: https://yhi.link/players-club-------------------------------Learn to talk like a jazz musician. Download the Liner Notes FREE today: https://yhi.link/linernotes-4-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/-------------------------------📞 Send us a message: https://youllhearit.com/00:00 Bill Evans, Waltz for Debby03:20 My Foolish Heart09:20 Waltz for Debby16:40 Detour Ahead18:53 My Romance23:55 Some Other Time27:09 Milestones30:31 Categories34:03 Mailbag

I'm Adam Maness. And I'm Peter Martin. And you're listening to the You'll Hearer podcast. Music explored. Jazz explored even? Sometimes we circle back. That's right. Brought you today by Open Studio.

Go to Open Studio. Go to Open Studio Jazz.com for your jazz lessons. I brought that back, Peter, because we're bringing it back to a little bit of our roots here. Yes. A little bit of a straight-up, straight-ahead jazz trio album by the name of Waltz for Debbie. Yes. Do not adjust your dials, you know. We are jazz musicians.

In case you're new on the you'll hear bandwagon, first of all, where have you been? What have you been listening to? What are you doing? That's a great Rihanna record. We should get off of this 11 stuff and go... Umbrella, Ella, Ella. That one? Okay.

But this record, I think, it somehow hasn't quite made it onto the Mount Rushmore of crossover for people that like... You know the kind of people that have just a couple of jazz albums? They're very classy people, but they're not big into jazz, but they would, of course, have kind of... kind of blue.

This is on the cusp, though. Yeah, and I think actually it's in more collections than we think for that. Probably. This is such a great combination of jazz piano trio nerddom for sure.

But also very accessible, pleasant sounding, dare I even say, and this is not an insult. Boring Coffee House Jazz. This is maybe the greatest boring coffee house jazz record of all time.

Before we get into the album, though, I just want to let everybody know, we're going to do, in the next couple weeks here, a mailbag episode. Yes. we want to hear from you. You can go to you'll hear it.com and you can leave us a voice message.

Speak pipe. Remember those? You can callbacks. You could also send us an email. Mailbag at you'll hear it.com is the address. Yeah, you can send a question. You can send a video question. You could send an audio question if you're sophisticated. Or you can just type in your question. Don't send it by the mail though. Because we know the regular USPS. Not going to get it. We don't know if it's going to get here. We definitely won't get it. This is such a great album. And it's an amazing story too. This is one of the last albums in this run by this great trio of Bill Evans's Scott LaFaro and Paul Motion. And this was recorded June 25th, 1961, at the famed Village Vanguard Club. Yeah, 7th Avenue South, West Village, Greenwich Village, New York City.

Yeah, not controversial to say this is probably the greatest jazz club in the world. Yeah. Right? I think that's pretty much universally... I wouldn't argue with you. I don't think anybody would. And I say that it was recorded Sunday, June 25th, 1961,

because actually two albums were recorded this day. Sunday at the Village Vanguard, which is not this album. No. And Walt's for Debbie. So this is a live... It's the same Sunday, though. Same Sunday.

Yeah. Same day. Those two now, like, classic albums were recorded live. So this is actually a live album, which you almost wouldn't know by the cover and the title. Right.

And there's even parts, and we're going to get into that as we listen to it. I think it's such a sonically arresting, stunning album, really. I mean, I think this album is... I'm just going to go ahead and throw this out there. I think this is one of the best sounding jazz records ever recorded live or otherwise.

I couldn't agree more. You know? I couldn't agree more. Okay, so I'm not as controversial as I thought. So let's check out the first track. This is the stunningly beautiful, the unbelievably gorgeous. And by the way... One of the great starts to an album, too.

You know you and I are both a sucker for the ballad start. Yes. Which takes guts to do. Sue us. We're introspective romantic gentlemen. Yeah, you typically when you're putting together a set list for an album, you think, oh, let's hit him with something bouncy, something catchy. But people like Bill Evans, Miles Davis, Brad and Meldow even.

They love to tear your heart out first. This is my foolish heart. That first symbol swell, yeah, you know. And the second. What a great Paul motion choice to delay the snare drum time. Yeah. The swirl that comes in. But Bill Evans gives them a space to make that decision.

There's lots of space. And it's a good decision. It's a good decision. This is like... Jazz Piano Trio Breathwork, you know. It is. All of them. And again, a bold choice for an opening track.

Yes. I couldn't imagine this record not starting here. Scott LaFarro is, and he was very young on this. Right, he was 0.25. So stunningly patient and sparse, you know, notes at the right place. Sounds like an OG. Yeah, I mean, we should, we should mention here that, Scott LaFarro would die in a car accident 11 days after this recording.

So he was 25 years old, and this would be the last recording he would make. And who knows what would have happened? Because you mentioned the patience. Yeah. His soloing on this album and actually his whole career, but especially with the Bill Evans trio, was like some of the most prodigious bass soloing ever. Yeah. And it's a big what-if in the music.

It's like Clifford Brown and a few other folks that we've lost way to. early where it's like, what would have happened? Yeah. What would it happen? Can we go back and just listen? I know we've got a great six tracks. I'm so like on the vibe on this, but can we listen the beginning? Because this is kind of just the very first couple of seconds. This is a little bit of

we've had a couple records. This is a stunningly beautiful start, I think. Such a vibe. But it's a little bit of a sloppy start, right? Oh, I love a soft to start. Yeah, which as well as this recording, as well behaved and quiet as the audience is, you kind of feel the audience but you don't really hear them like some like,

you know, like at the Pershing in Chicago with a mod like that, that crowd was loud, the Black Hawk. Yeah, you hear a couple little like clearing of throats, but not. Right, but it's very classic cows. Dishes clanging like at the Black Hawk. And especially knowing how close everyone's sitting. Yeah, that first.

It's a little sloppy, right? I love that. It's not all super, but that's so, that sets of the tone for how they're going to play the rest of the set, actually. Well, so this atmosphere that you were mentioning like the bad coffee house jazz, the AI jazz. This is what that is kind of programmed on.

It's shady is program. You know? And it's a real shame because it'll never get to the sort of like the graininess that is on this trio at all times. Yeah, because it kind of takes what it perceives maybe as the idiosacyncratic elements of this. And it's like, oh, that's part of it. Like with not hitting that one.

And then it'll do it at weird times, you know. It's like three people walking into a room. They're not, you don't just walk in a line together. That's weird. You kind of like, you each have your own personality. Yeah. So it's not about bum, bum, like, it's sort of boom, boom. Yeah.

Oh, man, it's great. I mean, what's the adjective that describes this trio? Conversational. That's what everybody always says. It's a conversational style of the trio where each member has equal weight to contribute to it. And just like a conversation, I mean, we never talk over each other. Everybody knows that. I was going to say, they don't converse like we do.

They listen to each other. Who are you, by the way? Yeah. But it's true. like there's going to be you know not perfection it's not like a scripted you know what i mean like where it's like a perfect album you ever see bad shakespeare no you ever see bad shakespeare where it's like everybody is so perfect with it that it doesn't feel like it's actually happening right now it's like really good acting where it feels like you're sitting in on a private conversation that's what this trio feels and it's very informal but because the quality level is so high i think that makes it even more

exciting and not jarring that it's not perfect. It's like the individual, you know, high level of just executing on their instrument. I mean, Bill Evans, piano, I mean, it's, you know, his touch, Scott LaFaro, Paul Motion, with, like, because the playing is so great, they can be a little bit more informal. It's not like, we have to line right up because we're not, there's a subtle, casual confidence that comes across individually, but even more so, one plus one plus one equals 300, you know. New math. That's great jazz musician math.

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 at podcast and teach you how to play them from scratch. And you're playing along with recordings of these great songs. No matter if you used to play years ago, but you 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. Next track is the title track, and this is... It's the hit, baby.

It's the hit. This was composed by Bill Evans for Bill Evans' niece. Wait, Miles Davidson composed this one, too? No, Miles Davidson did not compose this one. You know, have you seen the... There's a trailer for a Bill Evans movie coming out, right around now, actually. And there's a great...

scene where he's telling in the movie where he's telling his niece, I wrote a tune for you. Right. And it was his niece Debbie. And this is called Walt's for Debbie. Again, that, perfect. A lot of Bruebeck influence on this, right? For sure. The phrase, is it in time?

Is it Roboto? Is it loose? Huh. And Bill Evans is known for this style where he's, he's shadowing, everything he's doing with his right hand with these chords in his left. Not this exact, like, motion, but he sort of has this implied left hand. You can hear all that great bass.

And the harmonic colors are coming from French Impressionists, WC. Yeah. Now we're going to ditch three, four time. Woo! Into four-forward. And I love that little segue. They don't go right into the time accurately after it until Paul Motion comes in.

But that's a great little connector from the three-four. Like, they're kind of like, And again, it's that quiet confidence to be like, oh, we're going to get there, it's good. We're implying the swing. Now they're all up in it. I've always felt like this is the melody that, like, this is the composition that a lot of jazz musicians wish and think they could have composed. Oh, yeah. You know what I mean?

It's like, oh, damn, why did I think of that? I mean, I wish Bill would have composed more tunes that sound like this. Honestly, this is, I think, his greatest composition. He's got a lot, a lot of great ones. So he's starting to do that shadow thing. Yeah. with his left hand. So expressive.

Oh, it was chromatic. Scott LaFarro's doing here. I mean, he's like a counterpoint. Yes. Yeah. And even like doing those triplets coming up. Yeah. Now he's billing it.

Now he's billing it, right? I love the composition of this tune too because like the sort of middle section of each uses the same secondary dominant in fourth patterns but uses different root movements where it starts once from the seventh of that A to the third of the D

to the seventh of the G to the third of the C and the second time it's like the third of the A to the seventh of the D like it flips the bass movement and if you're in a counterpoint nerdy stuff

it's so cool yes it's so cool yeah nerd this is a great bass solo here I love the way they just like at first you know like is this a base solo

it's just eases this way answer. Well, because he was playing up there. Yeah, I know. Yeah, that's how he used itself in. And Bill Evans and Palmotion are, like, it sounds like, oh, they're dropping. Like, they're coming down and they're playing, especially up for this, a lot for bass solo, and it works. That conversational.

Just to note here that Bill Evans is playing rooted voicing. The only time it's fully legal in all states. Really, the only time he ever did it. Right. Right. That's true. It's not a... Sick.

Yeah. Yeah, and I think that, like, this, even going to the bass solo, this sound, and I think, I'd like maybe it would be a good time for us to start kind of exploring sonically

how this was captured as a live record. Yeah. Before we get off, Waltz for Devi, you mentioned that it was a hit and that it was very influential. A lot of different versions of this.

This is Bill with Cannonball. Have you ever heard this version? Yeah, yeah. Great version. I'm going to skip a hand on a little. Cannonball's Riverside record. It's an incredible version of the song Right around this time

You ever heard this version? A little later, a few years later. Is this Natalie Cole singing it perhaps? What's going on? You'll recognize it as soon as soon as it. I'll hear it. Johnny Harman? Oh, I've never heard this.

But you know it's him. Come on, man. So good. Yeah, these lyrics are actually decent. Who are the lyrics? I'm blanking on who the lyrics are by, but they're beautiful. Yeah.

And I've got, play one more and then I've got a version that you're not familiar with that's an actual edible version, but we'll talk about that a second. This is from the Bill Evans' Waltz, sorry, the Bill Evans Tony Bennett album's Tony Bennett album. Oh, yeah, this is great.

Incredible, incredible track. Oh, Bill. Yeah. Yeah, Tony Bennett kills this album. Yeah. We should actually do this album. Oh, it's a great album. It's unbelievable.

Great cover. One of the most iconic great covers, the beards. Gene Lees wrote the lyric So the other version I was going to tell you about That I used to enjoy Little Debbie, a little bit Debbie snacks Do you remember those?

Next up we've got Detour ahead Which is Shoutout Hostess Which is a tune by Lou Carter Yeah Herb Ellis and Johnny Freego Oh this is such a great song

I first Billy Holiday singing this Incredible The lyrics to this are incredible This you can hear some clanking Yes Yes you're in a live setting on this one

I think Bill Evans' lyricism of his lines, even when he's playing quarterly, it's kind of like that's a big influence on all of us, you know? Back phrasing. Yes. Or phrasing. Yeah. Right, which gives it that song.

And I think for your casual listener, it's so such a great thing to enjoy. It's just kind of like, even if you don't know about art you go to the art museum, I'm like, damn, that's a beautiful painting. Why? I don't know. It looks nice. It sounds nice.

Yes, it does sound nice. Yeah, you mentioned the lyrics. The lyrics are stunning. Yeah, there's a great Billy Holiday version. There's also this version that I like. Oh, yes. Change the road to love should be so easy. Can't you see the detour ahead?

Great tune. Great tune. Next up, this became a standard because of this album. This was a standard back in the day, but I think when people think of my romance, they think of this particular version. The voice leading is so incredible. Have you ever heard of that?

There's a great book by, it's an old book that my high school band director gave me called The Harmony of Bill Evans by Jack Riley. It's a very, like, intellectual book on Bill's harmony and his melody writing. Yeah. But, you know, his process for learning a tune would be to just first, like,

learn it on the piano in four-part chorale voicing with the melody. and like he's improvising a hymn essentially with very, very simple changes and then build his voicings upon that. Yeah. If you do that, it's so funny. It's like when you do the counterpoint

Fuchs book or whatever, Fuchs book. You sound like Hayden. Like you do that, you kind of sound like Bill Evans. That's right. You probably don't swing like Bill Evans or have his technique or anything, but you're going to, the voicing start. But you're going to, the voicing start.

The voicing start compound. My Romance is incredible. And, you know, we mentioned Scott LaFaro before Peter, and I just want to take time. So this is when the bass and the drums come in on My Romance. Check this out. No piano here. We put the piano out.

Isn't that crazy? It's shockingly busy when you hear it, like, Scholaro. That's why he was such a master of, like, putting that, listening as he's playing, right? He's fitting that in. Like, there shouldn't be room for all that. It works so well. It does, though.

man this bass and drums I can tell you from being on that stage for many sets of the Villasman I and the audience bass and drums

this is exactly what it sounds like on the stage that's why I'm saying today tonight it's going to sound like this yes but I mean just like this this is and there's been some incredible live at the vanguard recordings and a lot of people think

it's an easy place to record well it's a you can screw it up you've got a good one yeah there's there's a lot of you know, it attracts great engineers and great groups, but to be able to capture that, now some people, it's too dry.

Let's be honest. Some people hear this and they're just like, eh, it's bland, you know, but... That's perfect. Yeah, maybe nobody says that. Nobody says, yeah. The shape of the room is a wedge triangle shape.

Yeah. And it's got low ceilings, and there's a subway just to the right and below it that sometimes rumble through. And the stage is elevated slightly on one side, but then near the drums,

there's a ramp that goes, There's a little side. There's seating over there by the drums. That's what I'm saying. And this sounded like from the piano. Over by the drums is a different sound. Like this sounds like a stage sound. I know.

I told you once I got to see Paul Motion's trio there. Yeah. And for some reason it wasn't very crowded on like a Monday or Tuesday night or something. Sat right in front of his kick drum. It was unbelievable. Wow. It sounded just like that. It actually sounds just like that.

Paul Motion from an Armenian family. Oh. Philadelphia. Hey. Yeah. There you go. Here's, you were on at one point, the Marianne McParlin show on NPR.

And so was Bill Evans. It's something you and Bill Evans, not only have you guys recorded albums. Both own pianos. But this is Bill talking about Scott LaFaro. It's funny, you went into, it seemed like you went into a whole other phase when Eddie came along because,

because after you had Scotty. Yeah. You know, like that was kind of, well, like you went right along, but that must have been a terrible loss at that point. It certainly was. And something. things you think are maybe once in a lifetime.

And I thought, certainly, there's no way to compare, you know, anybody else with Scott. It was a once-in-a-lifetime thing. That's true. But I have had Marvel's experiences with other bass players, with Eddie, certainly. Yeah, he's talking about Eddie Gomez and you can just tell in his voice. Yeah. Even this decade later, you know, when he did this interview, that how much Scott LaFaro meant to him.

This next track, the fifth track, is kind of sound familiar at some other time. But if you like New York City New York City, yeah, hell of a town. Right. If you like, peace, piece,

another Bill Evans composition. Two spellings. Going to sound familiar. If you like Flamenco sketches. That's right. Miles Davis, this is going to sound familiar.

Mm. Bill loved that intro. He did. He loved that major seventh of that. Letter Bernstein love that flat seventh. Yeah. Yeah.

Gorgeous. Yeah. Just gorgeous. Yeah. Oh, so good. So do we have on here, I should know this, but that's why I show up to the pod sometimes to learn from you. And then we get to learn sometimes from the comments.

I know they did like matinees and I think three sets. And I think it was like a four set or five set, maybe even day. Because they used to run a lot of sets. I think it was four sets. Four sets. I could be wrong, but I think it was four. Like maybe two in the afternoon and two at night or three. It might have been three at night in.

I want to say it was four, but I could be wrong. Someone knows about that. This, I never really knew this. I probably read it on the liner notes, but it was part of the joys of coming up and listening to this music in like the early 80s, mid-80s when I was like getting into jazz. And I remember having this record, the LP.

And whatever you read on the back is kind of what you read or you're listening, but your imagination runs wild. Because we don't have Wikipedia and all these different things. No, we did not. But I always felt like, because I know they did a lot of sets, like four or five, I mean, actually the first time I played the ringer, we did three sets, like a matinee, two, and sometimes three, three, you know, nine, 11, and one,

What you know about that. And I know because they've got two albums from this one day. Can you imagine people going to see Stumphing at 1 a.m. anymore? I know. Even in New York, they don't do that anymore. I know. It's crazy. But it always felt like this was taken from a number of different sets. You know what I mean?

I guess it's all the ballads and all the things. And I always thought it was placed together in such an interesting and intelligent way as an album. It doesn't feel like one set. It feels like one endless kind of lazy afternoon at the Vanguard or something. You're right. This is definitely like, they were like, let's make a rainy day album. Let's take all of the songs that make us feel like... Right.

You know? Sad boy. A little sad boy. But always with that optimism, like with his voices, with the lyricism. It's such a vibe. Hey, everyone, taking a break real quick. We throw around a lot of music theory terms here in the show. If you're Googling things like, what is a triad?

Hold on. I'm Googling. What is a triad? What is a Lidian chord? How do you spell Lidian? You know how to play that, bro. Good news. We have all the answers for.

you in the liner notes. You'll find the liner notes companion guide with clear simple explanations of the contents we explore in this episode in the episode description. Download the liner notes for this episode for free for the day. Except for Peter. Yes. Our last track. Okay. Exactly. That's what got me thinking about it. Unlike. Milestones is the last track on this album and it is a burner. Yep. Lifts you up. I love the take on this so much. It's so unique from any other version of Milestones. I No. It's very theatrical. It is. Very theatrical.

Especially for just a piano trio. I transcribed a bit of Bill's solo when I was in Ladd from this one. Actually from a couple of these on this album. The bass, though. Yeah. And Bill playing everything long with the big chords. And... It's like a Broadway shout chorus or something, you know.

Motion is like, giving the motion. age of seven crunchy ass chords that's very like moving it to Herbie Hancock yeah very herbie-ish yeah and then with him kind of swinging out here

but without Lafar being straight into the walking bass gives it this ethereal kind of and motions in there already you know and I think that allows Bill solo to evolve

in a way you know he's still holding back there. Oh, I see why you transcribe this. Yeah. Isn't it embarrassing when you listen to some of your first transcriptions? You're like, oh, I still do a lot of that stuff. Yeah, man, that's a beautiful thing.

I think it's going up a diminished scale, honestly. I think he just went up half step above, didn't it? Oh, like going up G minor and that? Yeah. A.5 minor. And that diatonic chord movie, that's so Bill, right? Very influential. Woo!

Yeah, I think this is another thing. If we were to isolate the bass, you'd be shocked at how much he's playing. It's never obtrusive, though. The left-hand melody. Man, there's a lot of freedom in the way they're playing, too, as a trio. That's what it's all about. Yeah, it's not like solo starts.

It's like you're easing your way. It's a vibe. Man, this is fun. Let's do some categories. Okay. How about some Scatigories? Scategories. Let's play a game. Okay. Desert Island track or Apex Moment.

What do you got here? Well, I think it's kind of one of the same. Detour Ahead is definitely my Desert Island track. But this whole record, I mean, obviously, we always say this. You can't go wrong. I feel like the entry point of detour ahead is just always so stunning.

The patience, like the apex is actually at the beginning, like right when they come in. So I'm a little bit cheating, but how about you? My Desert Island Track is definitely waltz for Debbie. I think it's the best track on this album. Are you okay? You're out there on this album? that limb. You're going out on that limb. Are you sure you're okay? I told you. How many times are

I going to tell you? I'm a pop guy. I like the popular stuff. You know, it's interesting? Waltz for Debbie has never been like the be all, the bees knees, the be all end all for me of Bill Evans or otherwise. I think it's great. Yeah. It's not, you know, I mean. All right. Okay. Sorry. But my apex moment is, is Bill Evans solo, the start of the solo. Bum, boom, boom of milestones. Bavit up. Oh, yeah, yeah. Those like, pedals. CGC kind of thing. I love that so much. That's great. Quibble bits. What do you got?

You know what? I don't really have any for this record. I would say Do you have any hot takes? Well, okay, I'll fold a little bit of a quibble bit. And I debated earlier, and I decided I wasn't going to say it. But then I didn't, I want to be, you know, I want to be honest and just say, I do, as much as I love the sound on this, I do feel like it's a slightly thin piano sound. But it's so accurate for that room of other records I've heard from around this time. This was not the apex moment for Steinway's at the Village Vangar. I do know that for whatever reason.

Like when you listen, I think that there's perfection on the drums. I think in terms of how it's recorded, the sound of the instruments, the tuning, what Paul motions. I think Scott LaFarro's bass. It's one of the greatest recorded basses. And I think the piano is great, but it's got a little bit of, like, thin. I hate to even say tinny, just little things around the edges that I feel is not quite perfect for a piano sound. Bill's just killing it so much, you know, it's not a problem to save it.

Am I off base on that, though? Maybe. Okay. My quibble is that, and I know this was like the intention of it. Yeah. One more burner. I could have gone, right. Maybe one more.

Maybe book-ended. Yeah, something. I love the way it starts though. I do. I know. That's the thing. And that sets the tone. It's kind of perfect how it is.

And it's a short record. It's just six tracks. Yeah. Accoutrements, I'm going to put a seven here. I'll go eight. I'll go eight. Like the cover's cool, but it's about all there is. Is it better than kind of blue?

No, but it's got some similarities. No, it's not, but you're right. This will be interesting. This is five. Snobometer is back on five. It's back on five. I'm going six. It's a little snobbier than that.

I mean, it's the least snobby of Bill Evans' records. And Bill Evans may be one of the least snobby jazz musician, right? Maybe. You know what's a snobby Bill Evans record? It's a great one, live at Montreau, with the castle on the front. That is snobby. Low on accoutrements, although high on, I love that. Live in Argentina, even snobier.

Oh my God, look at him. He snobbing it up. Up next, I'm going to put Standards Volume 1. Keith Jarrett, we talked about that, how it's like this obvious influence. But I think if you listen to this album and then you listen to Standards Volume 1, you're having a good Sunday afternoon. You are. I'm going to go crazy on this one.

You're going to be shocked. Up next, Bill Evans live at the Village Vanguard. Same day. The dumbest bull you ever have. Recording on the same day, it's obvious. I mean, on Spotify, he's going to play it next anyways, unless you stop it. Man, this is awesome. Okay, you know what we have here?

This is going to be fun. We talked about at the beginning about how people can send in a question or this mailbag at you'll hear it.com That's absolutely correct. Right, you can write your question, you can send a video,

because we're doing a mailbag episode coming up soon. Yeah, you can go to you'll hearit.com and leave us a voice message or you can send your email to us at mailbag at you'll hear it.com. Yeah, and we also are still collecting ratings and reviews

and we always love to read these and this one, I'm going to read this one here. We don't have a name on it though. So I think though it may be your mother or my mother. So if it sounds like Mrs. Maness or Mrs. Martin, both avid listeners.

Or as we call them, mom and mom. Absolutely wonderful. I love this pod and am overwhelmed as a new listener. I don't know this couldn't be them. They're not new listeners. Not even listening for a decade. At the deep reservoir, incredible topics you cover in many years

of episodes. I can't say enough about how much you're doing for the jazz and music in general, community with open studio. That was a hanging participle. Thank you so much. And please keep this train going. Choo! I know this wasn't my mom because she didn't mention to stop cussing, which my mom definitely would have said.

Yeah. Well, we have another one for that, but we're not going to read it. Until next time. You'll hear it.