You'll Hear It: Full Album Deep Dives with Jazz Musicians - What Do Jazz Pianists Listen to When Nobody’s Watching? (Mailbag Episode)

Episode Date: September 21, 2026

Jazz pianists Adam Maness and Peter Martin dig into the You'll Hear It mailbag, answering your questions and checking out the tunes you always wanted them to hear. Plus, a trivia round inspired by your comments.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/-------------------------------Learn to talk like a jazz musician. Download the Liner Notes FREE today: https://youllhearit.com/newsletter-------------------------------Learn to play tracks from You'll Hear It. Join the You'll Hear It Players Club: https://yhi.link/players-club-------------------------------📞 Send us a message: https://youllhearit.com/------------------------------About You'll Hear It:Jazz pianists Adam Maness and Peter Martin unpack popular albums track-by-track in this weekly listening party. They talk about what their trained ears hear in the music, offering audiences a new window into the records they love. 00:00 The You'll Hear It mailbag episode01:52 What's on your workout playlist?04:27 When did you start playing piano?07:10 What got you into jazz?09:48 If you could choose only one chord ...10:36 One album you'd perform live TONIGHT13:05 The best jazz solos for beginners to transcribe15:36 Does classical training help jazz musicians?18:08 Playing listener requests20:23 Test out a hi-fi system with this24:21 A new favorite album 26:06 Adam loves this 70s singer-songwriter28:12 A vibey, spacey pick30:50 The album they overlooked33:15 Alternate takes better than the originals37:42 What we missed about Radiohead39:33 The jazz we're listening to right now46:20 Why kindred artists find each other51:38 You tell us all the details we missed56:49 GALA

There's all sorts of things dumb questions. Just dumb answers. Which we're about to get. 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 saying beat here. Now, don't come for me, internet. There's something people should know, which is that I'm Adam Anas. And I'm Peter Martin. And you're listening to the you'll hear a podcast.

Music, Explore. Explored. Brought to today by Open Studio. Go to Open Studio. jazz.com for all. Yes. Your jazz listen needs. You've got wrestling papers. Go ahead and introduce what we're doing today because I have a

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. He made that in like five seconds. Did not fly great.

We do have your letters here with us. I'm related to the wrong brothers, not the right brothers. That's solid. Did I need that page? I hope not. You don't need any pages, buddy. So we've got your voicemails, aka speak pipes.

Thank you, everybody. We got a lot of great speak pipes. 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. This is really, we're here for the listener for this episode. We are.

We're here to acknowledge our dear listener and 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, 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, she'll give them a shuffle. As you can see, I'm not... I'll do these randomly.

Yeah. What do you listen to when jogging or working out? That's a great question. From Joe. I was actually just working out the other day and I was listening to Black Messiah. by DeAngelo. Oh.

This was like after we recorded the album. I've been listening to that since we've been. I know. It's a great. It's also a really good workout music because like, I mean, I don't do a lot of cardio. I don't know if you could tell, but I do a lot of weightlifting. And it's great because like there's some hype music on there that kind of gets you pumped up. But then also you can like, 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. I don't know if you notice I do a lot of running Not a lot of weightlifting

I don't listen to anything I listen to nature The birds or cars or cars And motorcycles are part of the nature God's soundtrack That's right No I used to listen to music I used to listen to podcast

And I stopped I mean five longer Six seven years ago And it's been such a great thing But I hear music You know what I mean Like 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? You know, like 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 you'll hear it, listener, 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 have 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 got to know. What are you listening to right now? And I think he even said, like, I'm listening to Ornette Coleman. Like, as like a... A little judgy. Yeah. And I was listening to a whisper singer-songwriter Phoebe Bridgers. Oh, is that a...

The look on his face... No, it's not... She's amazing. But it's not anything like we would play at the show. And it's also a very weird thing to listen to while you're working out, because it's very quiet singer-songwriter. It's not pumping up music. No, but I really love this album,

and the look on his face was, like, disgusting. So we might have lost that fan. I'm sorry about that. Wait, were you listening to this singer-songwriter while you lifted, like, 1.5 pounds with your... No, I was actually going, like, 450 on the leg press at the time. Oh, nice. That's awesome.

It wasn't fitting the vibe, but it was great. Okay, my turn. My turn. 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 I have, it has been some dispute from my parents on the, I started violin actually first a little bit. 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 at Nancy. So you were talking about lessons, like formal lessons? I think I started lessons at four with like a friend of my parents. But both my parents and musicians, and they actually both played piano pretty well. My dad plays really well, so I think they were showing me some things. But I was at the keyboard, shall we say. That's great.

Yeah. I didn't start actually playing piano, like taking lessons until I was 10. But I'd started with my dad who plays guitar and it really loves music. He would bring out the – he had an acoustic guitar. He had a 12-string acoustic, and he had at one point, like a beautiful white-on-white Fender Stratocaster. And most weekends, he would get out the guitar and the amplifier, and we would play John Denver songs and Beach Boy songs and I would sing a lot with him

you know Country Road take me home and you know Del Shannon run away we would do all this stuff and I remember like when he got the strat he would play like some Dick Dale and stuff like that sounded so cool and I got a when I was five I got a little air organ from my aunt

that had like cord buttons on the left and then a keyboard on the right and I remember like messing around with like the major minor chords and then like picking out Beach Boys melodies with the right side of the keyboard 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. Cords go here. Cords melody. I was like, that makes a lot of sense. And then I had like, you know, Cassio keyboards and I played my dad's guitars a little bit when I was between the ages of five and ten. And I asked my parents for guitar lessons

when I was 10. And they said your hands are probably too small for guitar. So let's do piano lessons. But I later learned 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? No, no. That's exactly what you do. Good deals in bartering is called good parenting. I know someone. That's what you're doing. That's right. Yeah, yeah.

Actually, now that I'm remembering my first piano, or one of my first, we were still living in Florida, was a barter with my mom was teaching her kid violin. My mom was a violin teacher. So, nothing wrong with the barter system. Nothing wrong with it. This country was built on. the barter system.

No, it was built on the stealing system. Well, anyway. All right, so we go on to the next one? Let's keep talking about politics. Let's talk about politics. What were Adam and Peter's entry points into jazz?

Great question. From Robert Stewart via speak pipe. 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 mean, I think the first music that I remember here, that was jazz was honestly Mr. Rogers. Johnny Costa Trio who by the way Johnny Costa Trio slamming. Slamming. On that show.

Everything was done live. All the intros were bespoke. But I didn't know what it was. I just, like, that was the music to Mr. Rogers and it was captivating. It was really incredible. But for me, it was my dad's record collection. He had a lot of... I mean, I remember when he got a four-disc CD of like Stan Gets plays Basanova.

And like that was probably the first thing I listened to on my own, like 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, you know, that, as well as, like, jazz-adjacin stuff. Like, he was always playing steely dance, Asia, and stuff like that. And then it wasn't until later when I started, like, in jazz band in middle school, where someone was like, check out Bill Evans, check out Oscar Peterson.

Nice. Nice. Yeah, for me, actually, it was exactly, the same thing. I think the earliest was Mr. Rogers' show for sure that I was hearing actual great acoustic jazz and just you know, that's, I mean, I think that's, if you're

of a certain age and you're listening to that, that is your entry point. Shout out, PBS, by the way, Tuts Tielman on the theme from Sesame Street. Right, I'm gonna say. Sesame Street too and Stevie Wonder on Sesame Street. But also Fred Rogers at the piano was a very good piano. He really was, yeah. So it was that. But then in terms of records, yeah, Also, my dad had some good records.

He had the Smithsonian classic jazz, like the five albums set, box set, which is everything from, like, Kidori and Louis Armstrong all the way up to, like, Ornette Coleman was the end because it was from like the early 70s or something. And then also Herbie Hancock's Rocket. That was kind of a direct push-in because I think I was like 12 years old when that record came out.

I was like really into like 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 like 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, no, I was like, no. This is Herbie Hancock from MTV. And he's like, yeah, I know who you, you know. Interesting. Yeah. Next up. Is this the lightning round?

Do we call it that? This is, well, yeah. It's the tsunami round. This is from Dylan Stukens. 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, I mean, because he's not saying, like, 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 a suss chord. If I had to choose one, I like the ambiguity. It could be a Suss triad.

It could be a Suss 7 chord. It is nice, damn. Yeah. You can make it. You can make some stuff out of that. That's true. Yeah, I mean, it floats. 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? 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, I mean, well, this is a question I've thought about a lot because I like to put on shows.

And I'm currently actually working on a holiday show that you're hopefully going to be playing on. It's supposed to be a secret. Don't, don't... It's not going to be a secret. Well, by the time this comes out, it won't matter. Okay. We're going to do track for track, Peter,

on the 442's Holiday Spectacular. December 7th, if you're in St. Louis, by the way, we're going to do the Charlie Brown Christmas album like 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, I mean, that's the plan. It's for you going to sing through the whole thing. But, yeah, that is a good one. I've also contemplated doing with like an orchestra track for track kid A, obviously. That'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. I could also, at the drop of a hat at this point, pull out Biches Brew because I've done that like four years on a row here at Jazz St. Louis. The entire thing.

The entire thing? Yeah. Part two, would it change if you had unlimited rehearsal time? Yeah, I mean, if I had unlimited rehearsal time, kid A, 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 because I just saw the announcement about Stevie Wonder doing a tour. I know. Are we going to go? Steve, do you need to promote that? Searching for Stevie, we're going to call it. You want to be on the show? How will we get there?

Rent an RV. Searching for Stevie. I remember when we were searching for Herbie, you're like, why we just call us publicist? Wouldn't that be easy? I'm like, no, we're going to drive out to L.A. Does interviews. No, I think songs of the key of life Because I saw Stevie doing this

And so it's on my mind partly You'd have to have unlimited rehearsals Yeah, right But I mean 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 I would 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 mean You could do that You could almost call those tunes Right. It would be a good one to do is Songbird,

Kenny Garrett's songbird. That'd be a great track for track. You know what I mean? Is that the kind of blue in the 90s? We don't know. It might be. Yeah. Okay, next up, this is from Laws.

One name, Laws, 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, Laws. So we have a couple that we like to point people to here. Obviously,

a Witten Kelly solo on Freddie Freelder is I think very approachable but that's the piano solo on that second track from Kind of Blue I also like to recommend we just had Jeffrey Kieser 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 Garlands what is this thing called love I think especially for an intermediate player from the trio you know it's the white cover

with red and it's got what is it? 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 like it's so logical and beautiful and it's easy to kind of hear your way through it. Yeah, yeah. I would throw in there

for begin, I mean I always feel like beginner, true beginner, that's hard but maybe more intermediate but approachable yeah, maybe even at the beginner level. Thelonious Monk, which it sounds counterintuitive, it's like all his stuff is maybe hard but I think that there's a simplicity

there's a there's a kind of an inner logic to it that can make it very approachable but on bags groove Miles Davis bags groove on prestige The green one yeah Monks solo and it's also the solo is sort of progressive

Philly Joe and PC is on that as well Is that right? It's actually Percy Heath Percy Heath Yeah that's right And maybe I'm not sure who's on drums It might be Philly Joe I don't think it's Philly Joe

Monks solo and also Miles is solo on that That's a great call We've talked about those two solos before That's a great call Those are great. I also think you could get away with just picking like a horn player who's very melodic. Like someone like Chet Baker. Yeah.

You know, like his solo on, there will never be another you. I know vocalists transcribe that solo a lot because it's so easy to sing. I think like someone like Ben Webster, you could probably transcribe some of his stuff pretty, like it's easy to hear. It's not going to be too flashy, like trying to transcribe train or something, you know. Yeah. What's wrong with train? Nothing wrong with train, but for a beginner might be a little challenging. Exactly.

Now we got one more. Good. We got one more. Here we go. Boom, boom, boom. Scott, blah, like to do stuff for the listeners. We call that audio flavor. A little Johnny Carson put it up. Yeah, yeah. 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 guess. I think it couldn't hurt. You have some classical training. Yeah. I have very little. But the more I think about using some of those teachings into my jazz playing, the more I tend to sound better, produce a more even prettier sound.

Now that I'm looking at this, I shouldn't have said dumb question because I was first, I was like, of course it helps. But actually, I 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. I mean, it comes from harpsichord and piano forte, Baroque and classical piano, 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, you know, 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 like certain elements of jazz training

that I think are very helpful for being a classical musician, but not all of them, you know, 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 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.

So that's the end of the lightning round. We do have... We have some speak pipes, some actual voicemails we're going to listen to here in a little bit. And actually, Peter Young, we've got a little trivia round at the end 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 once-a-week show. Well, we could have we did this for the rest of our lives. And then we could. But there's also something that people should know, which is that we do have kind of a criteria for everything we listen to is that at least one of us has to really spell it. Be able to spell criteria. 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. Oh, sorry, one of us. At least one of us, not both of us. But at you radio hit. Yeah, exactly.

But, you know, we get some good stuff out of whenever. Like, you know, I didn't know Shirley Horn's here's to life. It's one of my favorite recordings of all time now. Yeah. Like, 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 we neither one of us really know.

It's not that we're not a reaction show. We're not like. Well, I think too, it's like we've fallen 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. Is when we, when we attempt an album that one or probably both of us feel like we should love. Totally. Everybody loves it.

Yeah, yeah. But it's just not, 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 for us. But yes, the ones that are highly resonant for one or the other actually have been some of the most interesting discoveries in sharing. Yeah. Because that's, 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, like, multiple times.

Yeah. And so we definitely should, I mean, they're definitely worth a listen, but maybe not. And some of these actually might eventually turn into an episode, depending on how long the show runs for. Some of these are from really, really great albums. Like the first one is from the band Dyer Straits. Oh. This is Salton's of Swing.

And I mean, 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 position, too. The sound of these... Get a shiver in the dark. It's raining in the park. But meantime... Sound of the river you stop.

Have you ever heard this? No. I don't think so. Have you? Oh, yeah. Did you not go to Springdale Community Pool in 1989? I drove by it. I was not a member.

On 141 in Fenton near Arnold? No, okay. This is from 89? This is from, I think, 84 or 5. Oh, we didn't get out there until late. For the CDs to be delivered? No. And that guitar sound is so cool.

This is clean, man. So, here's the hook. You might have recognized this sort of part. It does sound familiar. Oh, I just realized this is one of those episodes of like, Peter never heard that? What a lot?

One of the comments was like, how are you consider yourself a professional musician and you never heard that? What was that about? I think it goes. We all have. I'm a hole. I was like, I wrote that comment, actually.

I just wanted to know. Manus. Oh. So Dyer Straits, incredible band, obviously. Classic rock. One of the greatest sounding albums ever. And Sultans a Swing, I think probably the most popular song off that album. First thoughts, Peter, what do you think?

I mean, it's cool. Now I'm remembering Dyer Straits. I definitely remember some of their stuff. It was just never something that was like my jam. But it was always kind of around for sure. I remember in the 80s and like, I don't know. It's like, why do we gravitate towards something? I mean, 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. I mean, I'm sure it maybe played somewhere. Like, I get so tunnel vision on certain things during certain periods. You're a very focused person. Yeah. My biggest fault is that I'm very charitable and very focused, you know. I'm also very loving and I'm very giving.

And humble. Don't forget humble. Humble. Very tall. Very tall and skinny. But no, but 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? You know, I think we've talked about before, like the nostalgia and the connection. I mean, obviously it's like very high quality and like great stuff happening.

But like what is it that makes something resonant? Like once we get past the period of like, you know, oh, I'm supposed to like this. And we've all had that. For sure. For sure. What about for you?

Like dire straits is not. one of my bands. You know what I mean? Like, 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, like, resonated. So if you were to put... And it's probably because my parents aren't like Dyrus Straits people, which it would have been like, I would have been of the age if my parents were into this, I probably would have 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'm going to say B-tier. Now, don't come for me, internet. I just don't know what that way. Are they like the Dan-Head?

They're not like the Danheads, are they? It could be. Steely Danheads. I mean, we glazed Steely Dan so hard, and it wasn't hard enough for the Danheads. They really... Okay, this next one is very exciting. So this is from Quincy Jones' 1978. Sounds and Stuff Like That.

This is the title track. Stuff like that featuring Ashford and Simpson and Shaka Khan. I don't know this album. Oh, yeah. This is... But I'm getting into this album now. Great wreck. This is a great sounder record.

Dude, now this is taking me back to 78. Huh. I don't know this at all. I don't think I've ever heard this. And yet, I will be listening to this. Oh, yeah. This was Quincy's record? Apparently.

Yeah, that's right. Man, Quincy was such a chameleon, but such a bastard. Oh, yeah. Roads chorus. That might be some Harvey Mason. Could be Harvey Mason. I was checking out this whole album earlier today, Peter. It's really, really cool.

Yeah. There's, um... Yeah, I would have guessed that this was asked for it. It's interesting. Quincy the way putting people in the room. There's a version of Tell Me a bedtime story on here that's incredible. There's a version of Steve. You wonder, Superwoman with Patty Austin.

Nice. Incredible. Yeah. All right. Thank you for that wreck. Incredible wreck. 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, you know, someone Brad Meld that has covered. Yeah.

It's in that vein. I think you'd like this. The English singer song, writer from the early 70s passed away when he was very young. I think it's 71 or two. Oh, wow. I could have been a sailor. So many great little details

in the songwriting. I've, I think I've heard this before. I've definitely heard of it. Yeah. I could have been a signboos. Could have been a clock. As simple as a cat to study. Isn't that great?

Beautiful. I would be, I should be, but I'd have been one of these things first. It's a list song, essentially. I could have been a kettle, I could have been a rock. He's English? 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. There's a lot of people that sound like this now. That's great.

And it's really cool. And that's one of probably a dozen, amazing songs that he's written. I got them on my list for sure. 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 years.

When are we doing the list of songs that I know? know really well that you're blissfully ignorant. We have one coming up. Okay. And actually the Quincy will count that. But this is Talk Talk's Spirit of Eden. I chose this one off the list of requests

because it's been requested multiple times. 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. That's sick. Overdrive harmonic? Yeah. English musicians.

I feel like we're getting a lot of requests from the Isle of Great Britain. Which I was at yesterday. I was on the aisle, in fact, yesterday. I was actually staying close to Pigeonwick Lane. You're kidding. I love the names over there. And they didn't think they're normal. They're like, oh, close out in Pigeon, Wick.

I was like, I love this. 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.

Vibe. Sparcy. Spacey. Yeah. It's a great listen. Awesome. All right. Okay.

Here's one that... This next one goes up to one, like, I know this album a little bit. I know you've heard this album a little bit, but I don't know if, like, this is one of our albums. So it might not ever make an episode. It's Here's Lee Morgan. By Lee Morgan. Art Blakey, Winton Kelly. I just saw something about this album today.

Clifford. Hall Chambers. How it was one of the 10 greatest jazz albums of all time. Maybe we should do a whole episode. Yeah. I feel like I have a big, Here's Lee Morgan Hole in my musical. Do you know why?

I don't know why. So this record I didn't hear until later. I think that, like, the time, like, Lee Morgan in general was a hole for me because I was so influenced by Winton Marsalis in the 80s. When I first was, like, listen to a record. though like, I mean, he's a trumpeter, obviously. Yeah. And, you know, he'd talk about Miles. He'd talk about Freddie.

He talked about Clifford Brown. Talk about Fats Navarro, Lewis Armstrong, all these great. And like, I don't, and I mean, maybe I just missed it, but I don't think Winton's ever been anti-Lee Morgan at all, but that wasn't like one of his guys. Yep. You know, 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 I, but it missed that sweet spot. I know.

And this is a killing. Same thing for me. I feel like I went like Clifford Brown to Freddie Hubbard somehow. Yeah. And I somehow didn't get it. I mean, of course, like, I know all the big ones, but like I got a big hole. Yeah. I'll admit it.

Yeah. And because, I mean, look, he was on a lot of the same, you know, Art Blakey. Wasn't he right after Freddie or was he right before? Right before, I think. Okay, right before. But I always felt like, man, Freddy's just like such a presence, you know, the way he would play those tunes and stuff. But Lee Morgan's, yeah.

Well, that's all we got. Thank you for all the great requests. That's a great record. I don't remember. Liz, let's put it on the list. Yeah, it's a good one. Great stuff, everybody, and we left a lot off. But, like, yeah, those are just great examples of, like,

we could probably do some, maybe we'll do some Nick Drake at some point. Yeah. 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. Okay. So now, Peter, we've got some more in-depth questions. Oh, we're going deep now. We're going deep, and we actually have the speak pipes here queued up. So this first one is... 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 and 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 placed instead. I once heard Miles Davis's 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.

Yeah. What do you think, Peter? You have any favorites? Well, something maybe because we're just talking about Freddie Hubbard that came to mind. What's the herbie tune? Do do de. Do do dee. Do do dee.

Is it Aliqui Valley? Oh, yeah. Dun, da. Yeah, that's a good one. Freddy's, on the alternative take on that Freddy's solo. I mean, on the main one, it's so great. But the alternative one, Freddie was a great alternate take guy. I mean, because he's just, you know, 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. There was no, I mean, there were complete takes. But you're so used to the one version. One finger snaps like that, too, another Freddy. Another one. But, like, if you've heard the main version for so long, and then you're like, it's such an epiphany. in another version.

I was like, what? They did it again and they changed it up. Well, the one-figer snap one, too, is you're like, wait, that's not the melody? That was just a solo. I know.

So, 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 it's sort of the, we'll call it this the redeeming alternate take. Giant Steps Take Five. Giant Steps Take Five.

This is after the main take? So Adam has a kind of a little bit of a childish quizzical look on his face now. I'm trying to figure out why. This is not as good. I can already tell. I said it's redeeming. I said it's redeeming. Wow, that's good.

Slowly. Now it's a little faster. No, this is one that doesn't have a piano solo. Oh, okay. So there's no Tommy Flanagan opportunities to take down Tommy Flanagan, which always bugged me with giant steps. Right, right. I'm just seeing if this is probably going to be,

take too long to do this. So just make sure I was... This is the Olliloquay Valley, yep. Is that how you say that? Olliloquy? 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 to do this kind of comparison. To get the vibe going, right? But I just, we were talking about it in the CD era, especially with reissues. They would put them all in a on the album. Right.

Oh. That is good. It's like you kind of get into the thought pattern of like, what am I going to do with these different breaks and stuff? And Freddie was just like, he was just endless. That is really good. Sorry, I diverged. Okay, next question. I regressed.

This is, thank you, Matt, for the question. This is from Joe. Hey, Adam and Dieter. This is Joe in Columbus, Indiana. I'm a double bassist, a composer, and. the 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 of Antigard classical tradition, specifically people like Steve Wright, Terry Riley, Hendiretsky, Olivier Messian. to make with you who have had important influence on Johnny and Tom. So that's my quibble bit. I think that that deserves mention. 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, 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. Mike drop. also not true two things can be true at once no that that's great so quibble bit appreciate it although I never

that's more on you that is on me the messian thing makes a lot of sense right you made a messian of that I did make a messy on a as far as recent stuff

I'm just looking like in my Apple music stuff I've been playing okay this is can I play stuff please do is this royalty free we don't know are we gonna get sued

possibly Check this side. You might not have heard this. Sounds like Jay-Z, the intro to What is that? You may recognize the voice when it comes on. Sounds really good.

Sounds kind of Glasper-esque, doesn't it? It does. It's Robert. It's Robert Glassper. Yeah. Okay, great. Gretchen Parlato. I think it's on her record.

Yeah, Gretchen's amazing. This is great, Rainbow. Been listening to that. Been listening to... Well, this is relatively recently. this is Sullivan Fordner, big fan, obviously. This is not from his newest record. Waltz from a great Donald Brown song from Southern Knights.

Southern Knights, killing. Another thing I've really been listening to a bunch of... Oh, I know who that is. Hutch. Yeah. Rob Blake, Joe Sanders on bass. Greg's new record. Gregory Hutchinson, the great.

Gregory Hudson. Kind of now. That's a great album. Pulse of Miles Davis. He'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 that from Virginia. I could be wrong with that. But with Nicholas Payton. Playing the, what's the little instrument with the,

the Calimba? Is that Calimba? Thumbia. Thumb piano? Yeah, thumb piano. And I think he's playing keys too He's playing trumpet Some reimagination of the

Miles Davis What else am I listening to? I'll play a little bit of this as a bassist I really like Hannah Marks Brooklyn vibe Room 157 Great basis Hannah Marks

Hannah Marks I don't know that That's great She was in one of the cohorts of the Betty Carter Jazz Ahead The Great Program that in D.C., that's when she first came out of attention

just 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 like. So I have some picks that I've been listening to jazz-wise.

Yeah. Little, uh... Brad Meldow is how you pronounce it? Brad Meldal. Meldow. This is his album with all Elliott Smith covers. This is his cover of Between the Bars.

Absolutely gorgeous. This is an album because I love Elliot Smith's music. Brad Meldoin' Eliot Smith, they were actually on a TV show together. Johnny Carson, 1999. No, it was John Bryan's show. It was like the whole Largo scene out there. So you can see on YouTube, like 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 Right Into the Sun. That's incredible. Also listening to this, speaking of Selvin Fortner. To Ceil McClein's Love, On.

Overthinking. One, two, do, do, do. Woo. Is her album Snap? Yeah. I spend a lot of time thinking about doing things instead of doing them. I spend a lot of time thinking about saying things instead of saying them. I'm ruminating. Reminishing about the past.

Fantasizing about the future. Thinking about anything, anything, anything. Anything, anything, anything but now. The way Sullivan plays, the way Cecil sings. The way they interact. 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.

And, I mean, I almost hesitate to say this. I won't be here. No, what it reminds me of is a little bit of Elvis Gerald and Oscar Peterson. You know, I don't want to put that crown on their heads because that's heavy. But I mean, like, you know what it is? It's like Sullivan, I mean, right now he's playing a lot. But even behind, like, he can push and play so much. And like harmonically, rhythmically, you know.

Light touch, though. Yes, and big ears. This is great. Yeah, I'm loving all this stuff they're doing. She's got a great new record, too, with some incredible string arrangements that were a lot of fun. Anyway. I think, yeah, that partnership is great. Another one is a band called.

I stole that one for me. you. A band called Fathers with Nate Smith. Kiefer from the show. Oh, this is a great right. Cartoons and Kenny Beets. It's on the Blue Note record label. So great. If you like this kind of vibe, you're going to like.

It was released on Bluenot in 1986, apparently. Kiefer coming out with his own album on Blune in a couple weeks here. So we'll look up for that. Oh, is it? His record? Oh, it's a collective. Nate Smith? Nate Smith?

Yeah, N-Bats. Cartoons on bass and Kenny Beats on a little time. Yeah. Nice. And then one more. I just want to shout out Sam Fryebusch and Corey Fonville and Alan Good Parker. This is Slap. From the upcoming release, I'd probably be out by the time the show comes out called Blue Collar Jazz.

Oregon Trio. Charlie Hunter's got to have a cameo on this, right? But Fondrell is in the wings. Let me jump in. I got it. I got it. But, man, everything from these guys that's come out in the last couple of years. I'm just loving so much.

Like, it makes me want to move to the Carolinas. Hell yeah. Move out there to East Coast. Get some sauceless barbecue going. Near the Atlantic. I have a sauce. Very odd. That's slap from the upcoming blue collar jazz.

Okay. Next question and one of our final speak pipes here. Dang. Hi. No name given. No name given. So I'm a 28-year-old pianist, and even though I'm a generation younger than Adam,

We have exactly the same taste. Brad Maldow is my favorite pianist. Radiohead's my favorite band. Tompsohn is my favorite filmmaker. Great. And I've heard John Bryan in there, too, is 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 Meldow of film or Radiohead as the PTA of rock. and you speak in his language fascinating because like John Bryan scored Magnolia and Punch drunk love for PTA

then Johnny Greenwood of Radiohead took over Brad Meldo has famously recorded a lot of radiohead tunes and then on his memoir PTA gave a blurb and praise of it John Brian obviously produced

Largo and Highway writer for Meldow and basically my question is do you think that artists across disciplines who are kind of 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? 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 like artistic kindred spirits, which they are. All of those people he mentioned are. But the connection was, especially at the time that all this was happening, is Los Angeles, California. 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, you know, Robert Glasper and Terrace Martin and all of, you know, that whole, like, Blue Note, L.A., Blue Note New York scene. I would say, like, there's a Philadelphia scene where there's a similar aesthetic value that's shared amongst those artists. I think in St. Louis,

like, is it happening for us? It's happening right now for us. Like, that's why we're here making the show and why Open Studio exists is, and a lot of reasons because of people in St. Louis who have shared aesthetic values. Yeah. So, I think in that regard, like, it is

geographical. Like, it's people hanging out with each other and being like, you like that. Like, we talk about the whole quarians, and that whole thing when we were talking about DeAngelo, but that's just like... Proximity. proximity of people in the same space working on the same kind of thing. Yeah, and I mean, it's been fun because we've started to develop some of that here with you and Bob and Caleb, Brian Owens. And even like, you know, I did a gig with Keon, Harold recently,

and, you know, he's younger than me, but we, 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, even as the music. has become more homogenized around the world, but you still have those reference points which like, okay, yeah, that's how we do it here, which is really interesting.

But I do think that for me, the time that I've had that the most was like the early 90s in New Orleans, you know, when I was living there and like 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 like, I think within a few days the same age. Like literally within a week, I think we are, our birthdays. And I remember when I first met him, I mean, we were, I don't know, maybe 18, 19 on the early gigs. So, like, I've known him a long time.

But in terms of, and I remember when he moved out to L.A., but his connection with other folks, you know, via Largo and that whole scene, I think that this often happens at a younger age, right? Yeah. Like 20s, maybe early 30s. It's not to say that the window closes, but for you to make those kind of, like, call, you can come back and revisit them.

And that's what happens for me with the New Orleans crew from early 90s, Chris Thomas, Brian Blade, Victor Goans, Nicholas Payton, that whole crew that I was so it was so great to be around them. And then some interaction with all the older musicians that 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, like remembering back to when I was younger, like, you know, you're hanging out late at night with a bunch of people in clubs

or at someone's house or whatever. Right. And even like, you know, to the sort of, of cross-discipline thing. Like 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, right? Or there's a filmmaker there. And like 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 L.A. or New York, there's more.

Like, I've never had a lot of that, like, where it's different genres and... Yeah, me neither. New York was happening a lot more, for sure, obviously, because people go there, to do all that stuff. 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 making stuff together. Great question, very cool.

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... 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? You're going sons. You're going sons, and I have five questions

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 are all, by the way, come from comments on YouTube.

Okay. About people commenting on an episode we made. Oh, I never look at the comments. And enlightening us. Now, the first one is one that you actually discovered. Really? Why was the ending of DeAngelo's Untitled? How does it feel?

Cut off. Did you ask me this? I'm asking me. 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... You started 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 Quest Love playing, but it was sampled and looped and put into like a drum machine. Right. Which, thankfully... Maybe by Quest Love. Possibly. Or Russ Olivado maybe? Maybe. Yeah.

But we learned that from the comments. So, thank you. Keep the comments comment. Believe this. We get plenty of... So we can believe everything in the comments So we can't believe everything. We still got to do our due diligence.

Okay, this is one that came from the What's Going On Marvin Gay episode and we did not comment on this, but we learned about it. 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 Gay's what's going on? Well, I know the names and I know it's members of the Detroit Lions. Ding, ding, ding. Yes.

And Lem Barney, apparently. Okay. Okay. Lenn Barney? L-E-M-L-E-M. L-E-M, right, that's right. Lamb. What is the haunt number three?

What is the haunting sound in radio heads how to disappear completely? Now, this is one that I got completely wrong. Who is Radiohead? This was from commented by at dots gray

dash y-9X. I do want 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 remember that. It's called an Andes Martinat. It's an early electronic instrument built in the 1920s by cellist and radio operator Maurice

Martineau, probably. It's a cross between an organ and a phermin. Martinot. I better Martina not say that wrong. Martinot. And it's played by wearing a metal ring attached to a string. And Johnny Greenwood.

Yeah, I still really don't understand. It sounds like some kind of French guillotine, like musical situation. Okay. Why does Prince's The Ballad of Dorothy Parker sound like? like it's underwater. This was from Guitar Whizzah One, we were corrected here, or at least enlightened.

I mean, like, how did they do the effect, or why does it, why does he choose that? 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. It 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 council that wasn't completely assembled. As a result, there was no high end.

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 the sign of the Times.

So Prince, not a perfectionist, as it turns out, when it comes to studio equipment. Okay, one more. And you probably know this by now because we did some research. This is from the Music of My Mind episode. Where is Tonto today? I believe Manitoba, the state, the province of Manitoba, Canada.

So close. Winnipeg. No, no, no, no. Edmonton. Edmonton. The people where this is from are not... Saskatoon. They're not going to like Edmonton.

Regina? Calgary. Calgary. Yeah, I know. Sorry, Western Canada. No, no, that's the... It's not Western Canada. Calgary?

I mean, it's not Vancouver. Sorry. Sorry! Insult. Midwestern Canada. Appreciate it. No, Calgary's the big money city. out there. It's the oil town.

Big oil. Right. Well, Edmonton oilers. Come on. Is that what I said first? Malcolm Seasel had been housing it in a converted... Sessel. How do you say Malcolm Sessel's name? It is. Marklem Sassel had been housing it in a converted barn

in Saugatee's 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 criteria. It's regularly and properly maintained, and it is a for public use.

You can go to that museum in Calgary and play the Tonto. The National Music Center in Calgary and play the Tonto. That's awesome. Shout out Calgary. Shout out Calgary. Okay. That is Saskatoon, though, isn't it?

Alberta. Calgary, Alberta. You said that already, right? I don't remember. This isn't a Canada geography podcast. Much to Liz's Shigrant. We love Canada. We have one thing left, Peter, and that is... Citizen as well.

Gala. Oh, yeah. Recent reading ratings and reviews. Now, this is the gala, if you are new to the show, the gentlemen's and ladies' 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 Podcasts. Do we say please, or do we insist on it? We insist on it. It must, and 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 a, well, no. No, still leave your maximum.

Maximum 7 stars. Or comment on YouTube. Comment on Spotify. Did you know you can do that? 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 Goucho, Asia, Joni Mitchell, Fleetwood Mac rumors. 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. Can't teach chemistry. Next up is from Apple.

Sorry, just fun fact about that when they say love them, love the new format. I 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. For all music lovers, five stars, recently discovered this show and I'm enjoying it immensely, the hosts are clearly super knowledgeable, but they share a level for anyone who enjoys music.

Thank you so much, Brenda Moore. Was that a backhanded compliment? A little bit. The hosts are clearly super knowledgeable, But. Not and. And then finally from Wilf Wooler, 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. Thank you, Wilf, Brenda, and everybody. That's awesome. Yeah. Show's over, Peter. Oh, the mailbox. Why is that at the end? is closed, buddy. The mailbox is closed. Well, you know what? We nailed it. So until next time,

you'll hear it. Boom.