You'll Hear It: Full Album Deep Dives with Jazz Musicians - 7 Classic Intros

Episode Date: April 8, 2021

First impressions are everything, and today Peter and Adam list their favorite openings to seven different tunes.Links from this episode:Get the free PDF from this episode with this linkCheck out all of the tunes mentioned in this episode with our Spotify playlistTake a look at the Sony headphones mentioned in this episode by clicking herePrefer your podcasts in video form? Watch the YouTube version of this episode hereInterested in more music advice? Go here to browse our catalog of jazz lessons and courses available for purchase. And be sure to check out our All Access Pass - every course from Open Studio on every instrument.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Facebook | Twitter | Instagram

Hey, Peter. Hey, Adam. How important are intros? Hold on a second. I'm reading the introduction to this episode right now. Classic. Blah, blah, blah, blah. Oh, very important.

I'm Adam Manus. And I'm Peter Martin. And you're listening to the You'll Hear Podcast. Music advice, floating towards you via the airways and the pod funnel. Floating towards you. Yeah. Funnaling at you. Fuddling.

Reluctantly. That's right. No, gracefully. gracefully funneling towards the I was going to say through the airways but no one's getting this through the air well through the Wi-Fi tumbling near you via the Bluetooth Wi-Fi man Bluetooth sucks on a side note but doesn't it it's just it's glitchy and it's got latency sorry what blue tape my name is Peter how you doing man Bluetooth I don't we're talking about intro as you just go in full bore on I want to introduce you to a concept that's that's how it fits with today that Bluetooth why does Bluetooth suck because it's it's got latency which for musicians is no good No Bueno. That is no bueno. Yeah, yeah.

And I don't know. And the sound quality is not good. I don't like it when they come out with technology that's kind of going backwards. Like, so if you think about, and I don't know, maybe I don't have the latest Bluetooth. I mean, I got the AirPods because they're convenient if you want to make a phone call. But if you're going to listen to some music, I could get out, go to my dad's house and get some of his headphones. Yeah. Some costs.

Yeah. Yeah. Yeah. Those are probably 400 bucks now that I think about it. Yeah, I just going to say, yeah, they're going to sound great. No, but I'm saying like just the core. ported technology sounds so much better. Are we musicians or are we animals?

No, I agree. So, you know, I have my whole stereo setup at home with my receiver and everything. I have some of these. You know, some of the old Sony's. Yeah. Studio cans. Oh, I thought you were just pointing to your ears. You're like, I got some of these.

I know how to hear, but I got some of those too. No, I got the old, I don't know what are these? These are the MDR 7506s. Oh my gosh. You know, man, I've been buying these since the late 80s. Well, you hit me to this. I had no idea about them. They're fairly affordable for how good they are.

You can grab them for like 80 bucks, maybe even 100. They sound killing. We will link below in this episode show notes where you can pick up a pair because we have some good sourcing on that. Shout out to Sony. You know what I'm saying? You know what I'm saying? A quality product. That's right, right.

Man, I remember speaking of Sony having some headphones years ago, I don't know if you remember these. The Boodoo Kans. It sounds what? The Boodoo Kahn. Isn't that a Star Trek movie? It may be. But the Boodoo Khan was some excellent headphones they made for a while. And it was named after like a stadium or some kind of venue in Tokyo.

Wow. The Boodoo Khan. The Boodoo Khan. Like the Hague. Like the Hague. Yes. The Boodoo Khan. Yeah, exactly. So what are we talking about today?

You mentioned intros in the intro and so that kind of, you got me a little frazzled there because it was like dopeo time. Yeah, yeah. Well, today we're talking about seven classic intros. So check it out. There's a PDF linked here in the description of the podcast app. There's a PDF here in the description of YouTube if you're watching this on YouTube. And so you can follow along here with. our seven classic intros.

Here was the idea on this, Peter. Yes. I was thinking about intros. I wanted to do some kind of episode intros. We get asked and emailed about intros all the time. So I was thinking about, like, well, we've done stuff on how to create your own intros and all that stuff. And I was like, well, why don't we just talk about seven, like, go-to great intros?

And I was thinking, what makes a great intro? You could play any of these intros that we have here today. You can go anywhere in the world on any jam session stage that were there's jazz musicians involved. Yes. Play any of these intros. and everybody's going to know what's about to happen. There's no question what the tune is you're about to play. This is how, it's not the only way you would intro this tune.

No. But it is like, if you do this, everybody's like, oh, that's all the things you are. There's no question, right? There's no, there's, there's, there, the intro is almost a part of the tune, at least the most sort of famous versions of these tunes. In some cases, they are actually a part of the tune. Well, I guess that's why you have labeled this, the seven classic intros. Hence the word, class.

Classic. Yeah. And this is classic. Classic. So this is Bebop Edition because I did have some intros queued up from sort of the mid-60s, from the 70s, even some from more modern times. And I was like, well, there's so many. I had like 15. Did you have a Steely Dan intro or Stevie Wonder?

Or perhaps a Shadee. Yes. There were some Stevie Wonder intro. But, you know, we can maybe do a 70s version of intros. We can maybe do a cool jazz. I don't know. We could do all kinds of things. We could just do muckoo.

Cool jazz. What is that? I don't know. But we could do like, or big band, like iconic big band intros. Whatever. I love the hairy iconic big band. That's such, that is the best group ever. Wow.

That's a cool. With the, with the screens and the music. That's called the callback folks. That's called callback. Yeah. Okay. Cool. So should we jump right in?

I can throw up the first one if we're ready. If I'm not giving anything away here. Yeah. Again, check out the PDF. You can download that in the description here of the, the app or you can just enjoy listening to the intros because that's really what we're going to do we're going to listen to them we're going to kind of talk about them and maybe break down like what makes them what they are like why are why are there an intro because there's different kinds of

intros that we have are we going to critique them are we going to criticize them are we going to find ways to improve upon them buddy these are timeless they can't improve upon masterpieces they're classic you got it written right there so this is our first iconic bebop intro here is from a knight and tinnita written by Dizzy Gillespie, this is Charlie Parker playing it. Charlie who? You ever heard of him? Charlie Parker. So this is here a night in Tunisia, of course, with that iconic.

Tunisia. Tunisia. Tunisia. Tunisia. Tunis. This is that iconic baseline intro. Remind me of my aunt Eunice. And that's pretty much it. That's it. Quick and to the point. Some of these get right into it, and this is one. So what's going on here? What's up with this intro? So this is a way you can actually design your own intro. they're basically taking you have the tune itself the baseline, that little riff that's happening

and the horns underneath the melody and they just decide to sort of break it down to its parts before they add it all together to its sum. So they start with the baseline, then they add the little riff that's in the middle or first they add the drums, then they add the riff with the horns

and now the melody's in and the whole thing's complete. I mean this is not something that is uncommon in any form of music from from bebop to country to hip hop this is how intros are made yeah absolutely and I mean I think this one we're gonna see this some other places but not always the continuation into the melody of the intro that makes us a little bit unique right so that it's not I mean we always

talk about and I think we'll see with classic intros with great intros there's always a connection there's always something it's never just a totally disconnected, disjointed part. But this one, I think more than anything, it just flows right into it. It's additive, as you mentioned, you know, start with the bass line, then the drums, and then the horns,

and then dizzy, is that, that's a dizzy, right? I think that's Miles. Is that Miles? It might be. I thought this was the dis. It might be, yeah. But, you know, then you've got that melody on top while that continues,

which is really cool. And it's great stuff. Now, you have in here, because, you know, our listeners occasionally will make note of, an errant note of ours. I don't know if you ever noticed that. Is there an errant note here? No, I don't know

because I, you've got, you're going down to that D flat. Is that right? Yeah, so I, let's hear this again. I'm going to make sure. I thought it was. Well, let's listen. Let's listen. I think it's the triad. Yeah, you're right. You know, sometimes it's. It definitely is. Yeah. Let's see. Adam Manus. We call him Big Years Manus.

Let's play along with it. Yeah, I think this is right. I checked it. Okay, but then what about the pickup note to the second bar. Oh, sorry. I'm hearing it, at least in this version, I'm hearing it under. Can you pause it right after the... It's, I think actually... You're right. I think the band is not... I think there's both. There's both. Nice. The guitar is definitely under. Yeah. It's a harmony. It's a harmony. Yeah. So I would say either's fair game. That's right. If on the original recording, take your choice. Yeah, take your choice. So, bo-to-be-b-b-b-b-b-b-b-b-b-b-b-b-n. Nice. I mean, don't phrase it like that.

Well, whenever I look at the notes written like this, I just get very serious about it. Now, so can we talk about the be, the be, deep, because that's such a genius. I love it. Syncopation. So you guys, do big, ding, ding, yeah.

Exactly. And that's really the clave is what you're talking about. Clavis are very, a lot of people think it's only in Afro-Cuban music and whatever. But there's a clave is just a repeated, syncopated rhythmic pattern that repeats, that's kind of like the underlying skeleton, if you will, of a repeated phrase. And so here, you've got a great setup because you've got do-bo-do-bop.

Like a lot of people think of this as like one, two, three, four. But the line is really boob-bo-do-bop. Like, it's all leading to that end of two. Absolutely. So then you're playing off that with the boob-ba. Then you've got the end-of-one. So you set, yeah. You're setting up the listener for the end of two, and then you hit him with that end of one.

Totally. Bam. Totally. And, you know, even if you are not playing the solo piano, but you're still going to play this tune. And let's say you're playing piano in a quartet situation. Yeah. The bass player starts the tune. Go ahead, Peter.

Give me a bass line here. Like, now if you know this intro, right? If you're familiar with it, you can add a little bit before the horn player comes in. You know what I mean? So knowing these intros, I think, is really crucial. Don't sleep on the intros to these classic tunes. Because otherwise you'll wake up during the head. That's right.

Confused. But also, you know, one of the whole. points of this episode is that you can step on stage anywhere and you don't have to say anything. You can just go and the band is going to know what you're calling. Right. I mean, they should. That's right. Yeah.

So what if somebody sits down and says? You say, no, I don't know what that is. I don't know what that is. I don't know what that is. That's the wrong issue. What are you playing? No, actually, so even that baseline, you know, I mean, I did some diving into this today and there's tons of different versions of this.

Okay, good because I was like, man, am I doing it wrong here? And just a caveat on this, too. We're not saying that these are the only intros that you should use on these tunes? No, we are not. Peter, we are not getting dog magna. I'm not, but Adam is. No, I am not. You'll hear it. I am not saying that. What I'm saying, what I'm saying, he is not not not saying it. No, what I'm saying is, you'll hear it. What I'm saying is, is, these are just sort of, I think, the most well-known intros of these tunes. They're good to know. They're good to know. That's all you know. Now you know. Now you know. But if anything, these could give you ideas of how to

jump off of this intro, create your own intros using sort of, you know, this is your jumping off point. That's right. That's right. Conversation starters. Right. And I think the important thing if you do something else is like, do to do to get good to go that's do. That's do get to but do to get to do. Like finding those, that's really that inner clobbe of that line and finding where that rhythm is so that as you construct something else or put together some like riffing with your right hand or whatever if you're pianist's guitarist, that you know the inner pattern. Because, you you know, once you feel that you don't have to worry about like one and a two and a three and all that kind of stuff,

you kind of start to feel that repeated pattern. It starts to make sense. Agreed. Agreed. Let's go to our next one. So we'll stick with some Charlie Parker here and we'll play some yard bird sweet. Now, this is an intro that is not, you don't hear a lot when people call this at a jam session. But I wish.

But I bet. But I'm saying. Again, phrasing, Peter, phrasing. Well, I'm just reading it like on the page, buddy. Let's check it out. A little more swinging. Yeah. Come on.

How about that feel? What I love about this intro, there's so much to like about it. They don't like take a beat or two beats or two bars to start swinging. They're just like, one, two, you better be ready. Yeah. Well, yeah. I mean, you really better be ready to swing. But also, you know, so it's kind of based around this G pedal here that's happening in the bass.

Yeah. But let's listen to it again. Just listen to the bass and listen to how. that tension of the pedal when it gets released, when they finally start playing, and the bass player walks through the changes, how good that feels to get off of that G-Py. And never leaving a quarter-note. Yeah, all quarter notes. Check it out.

You know what I mean? And when you get to the change, what? Yeah. A lot of people don't know this, but Charlie Parker was an early afflictor of stank-face. What we now know as... Here's a causation. Yeah, it used to be called Charlie Parker's disease. That's right.

Let's call it steak face. So also that, so that's that open G on the bass. Then he goes up and hits that harmonic. How many times we heard bass players do that on the G-Soo? They love that G. They love that. But it sounds good. But the rhythmic clarity and the swing.

And you know what? Let's just say this gentleman is playing on top of the beat. Can we say that? It's leaning forward. It's leaning forward. It's leaning forward in a great way. But very appropriate with on the peck. and because of what the vibe is.

So we're in it, you know, it's introducing the feel and the vibe. And they had to make these records short anyway. Yeah. So the intro can't be, you don't got a minute to set up the vibe. You got to set up the minute. So it's like right on top. And then it kind of settles in a little bit. So that's sort of part like right as he starts walking the, um, the actual line, you know, getting and leaving from just the G and the melody starts.

It pulls back way it's not behind the beat. Let's talk about that. But it pulls back a little bit. So I think that that's really like an overt part of what the intro is on. this man so what I love about what the pianist is doing here and I don't know how much of this was really planned or if they just said you know G pedal up front it's hard to know right yeah but so the tune is in C yeah and the piano starts in C but what the pianist is really setting up not only they're setting up the

harmony by going between C and D flat yeah over that G pedal but look at what they're doing rhythmically dunk dunk dunk down out and what happens after that and they're setting up that and right i mean they really are don't go go gong go go go go go don't yeah and yep and i would say too at the end like bar four and bar eight of this when you're coming back i know it's not as accented as those up beat syncopations, but playing back to the on the beat. So you've got one, two, three, four. So that last, doodoo the deep, bone.

And then the next one being up, that sets up that syncopation. Because we always look at syncopation as like setting up a pattern and then breaking it. It can't all be the same thing or else it's not really syncopation. And then the same thing, but do do, do, do, do. So that one ends on three, two. And then you got stup bang. Yeah. It's all about the rhythmic setup.

And I'm not sure how much of that was actually planned, like I said, ahead of time, or how much of it's just intuition. Yeah. I'm just like, you know, we know what the tune is. I'm going to, as a pianist, you know, like, I can set it up so that we have the feel of what this tune is going to be. You know what I mean? Intuition. Intuition. I'm just saying.

Let's hear it again. I don't know what that means. Think about it. I will. Okay, let's listen one more time. Here's your art bird suite. Here's the intro. When it goes there.

That's a really strong statement there on that last one. one, two, three, four. But did, do, do, da, do. Yeah, yeah. That's some brilliant stuff. Yeah, yeah. Agreed. Probably was not thought, planned out.

Just vibed, right? Just vibe. Just, because it's not, you know. Yeah. He was in tuition to know that was going to sound good. Again, we're listening to seven classic intros, Bebop edition. We're keeping it.

We're keeping it rail up in her. We're trying. We're trying. So this is one that we, this tune is when we talked about last week in our dusty podcast. So all about finding the dusty. Not to be confused with our B-Bop classics episode. That was in our dusty real books. That was dusty real book.

The dusty real book. Yeah, yeah. Trying to find the dustiest changes we possibly could. And all the things you are was one of them. And one of the not dusty versions that we listened to was the version we're about to listen to now. Well, and just before you say that, I would, I mean, play that. I would just say that, you know, we're checking in on our bonus episodes that we're releasing every week too because we got a little blowback on the dusty episode. We're going to talk about that later on the bonus episode.

I mean. But that's available now for people listening. I love it. Because I'm going to the future. I love it. I love it. You know, I love the blowback. You know what I'm saying?

So this is all the things you are, Jerome Kern. Jerry Kern. Jerry. What's up, Jerry? J.K. And this is definitely one. You play this. There's no doubt about what's going on.

Spidey ball. Yeah. This is as a classic as it gets. So if you don't know this one, now is you do. Now's your chance. Check it out. So that's all the things you are.

So it's actually a similar concept to what just happened in Yardberg. where the Yardt Suite was that G pedal with the C and the D flat, that half-step movement over the tonic. Yes. And this is a half-step movement, but over the five chord. Yeah. So this is D-flat 7-9 or maybe altered and to the 5, C-7. So it's just, but there's no pedal.

So it's just that flat six down to the five. And you know what I love about this is once you know this and have heard it or even once you get to the melody and know that it starts on F minor, it makes. it's got a lot of harmonic logic to it because the D flat 7 is just like a substitute it's like a 251 right G13 to C7

Sharp 9 to F minor but when you're just hearing it for the first time you have no idea yeah you're like whoa it's like what's going on like so it's got kind of a mysterious sound because what starts on a sharp 9 and it goes down you're like what is this Jacob Collier yeah but then it's like so it gives that

great tension and release really based not only around certainly the rhythm, the same kind of thing where like our other examples where you've got a syncopation and then it goes to non-syncopate it, but also just that harmonic resolution that's built into it, which is great. And then a cool melodic baseline. So that's another thing we're seeing a pattern of

on some of these is on the intro, the baseline doing the heavy lifting for any kind of melodic or motivic development. Give the bass player some, you know, up front. It's always good, always good. Of course, they're like, why is this all I get? What's happening? Yeah, yeah.

So next up, now, you know, we are definitely not just vamping out with these, with this next intro. One of the best intros in all of. This is a little controversial, though. I'm just saying. Why? What are you talking about. Wait, what's next? Joy Spring?

Yeah. What's so common? Is this B-B-Bob? Is it? Joyspring? I'm asking. Clifford Brown? Asking for a friend.

He's no friend of yours. Let me, I'll assure you. I don't know. I mean, maybe, I don't know. I don't know. Oh, don't get non-confident now. Come on. I mean, I'm just asking.

No, that's what we were talking about earlier is people saying that Clifford Brown is a bebop. Maybe technically not. I don't know. I always considered him in the Max Roach records. Those are classic debop. I say yes. Please hit us up in the YouTube comments.

Hard bop? I don't even know what that is. I don't know. Also, no one cares. Neo Solbop. Nobody cares. Neo-Cranbop. It's Clifford.

It's Clifford Brown's music. That's what it is. That's right. Absolutely beautiful. It's Joy Spring. This is one of the greatest intros ever. Check it out. Greatest Bbop intros ever.

You like that, right? Bita, bop, but, he kind of did the way I was phrasing it. It's kind of straight on those last anthems. What are you talking about? Oh, he did. Well, that's kind of a very like, ha, ha, ha, ha, ha. Exactly, yeah, yeah.

Now we go to the main bebop tune. I tried to, so this is just my transcription from this morning. I'm not sure how accurate the voicings are. Someone will correct me, but that seemed right to me at the time. That's right. Yeah. I think so. This is Richie Powell, I believe.

I think it is Richie Powell, yeah. That's right. Something like that. Definitely the top notes, right. The quality is right. Isn't that great? Just set up your tune there? Yeah.

Man, that's so killing. And then, you know, this one's kind of a fun, this will be for another episode when we talk about altros. Because this, Clifford Browns love the intro outro kind of bookends, but different bookends, not the same bookends. because on all the things you are, don't they on that version go back to the, at the end

for the end vamp maybe? Let's see. They do. Yeah. This is the end. So that's like a more of a straight book hand. This one, they reference this,

but it's something like... It's part of the outro too, right? Which is those... They go down to that D flat. These changes. Yeah. Now we've got to do iconic outro.

I know. So let's check out the intro again And we'll check out the head out too Max Roach's precision drumming Such a great too You know what's so cool I think it's This is the head out now

Head out now Sharp 11 So I believe this is Harold Land This is not Sunny Rollins yet I think this is Clifford Brown And Harold Land phrasing so beautifully together But what I love out of coming out

There's a lot of stuff Even back in the intro The vibe that they come in is so different than the way those eighth-note line is played. Not only is it not as straight. It's just such a more relaxed. Not more relaxed. It's just different,

which I think is great because an intro can be very evocative of what's to come, but it can also have a nice little contrast to it, which is what I think it is in this case. And I think it just sets it up so beautifully. Yeah, gorgeous. But, you know, I love Clipper Brown, and I think he's bebop, so, you know, to each his own.

That's just something. So, sue me. Next is Bud Powell, bouncing with Bud. Okay, let me pull it up. Pull it up, man. Bouncing with Bud. So this is not just for the kids out there. This is not a drug reference, bouncing with Bud.

This is about Bud Powell. This is not the other kind of bud. Is that correct? Wow. Yeah, that's correct. Okay, so we want to be clear. Because, you know, there's a lot of. Nobody was thinking that, Peter.

Everybody was thinking of. No one was thinking of it. This is a simple one, but classic. Yep. What's wrong with just doing the one and the half step up? Come on, now. But you know what? There's a little bit of, not complexity, but there's another part to it that's not here in the chart.

Not that it should have been, but it's important. Bado da, bang, do that. Those little hits. Yeah, let's hear those again. That little counter, rhythmic counter melody. That's a good point. Yes. I should have put that on the chart.

No, no, I wasn't saying that. That's important. It's crashed. It's crash. Also the bass line. Check out what the bass player is doing. He's playing complicated. at AF actually, isn't he?

Got to ogle. What was going on? Is he lost? Is he bouncing with Bud? He's bouncing with some Bud. Actually, it's got in. What a cool turn. Bebop.

That's how you know it's Bbop. So good. Simple, yet effective. Again, this is our second. Not that baseline. Not that baseline. Base line's effective, not simple. Was that like a quarter note triplet thing? I think so.

I think it used like dung and then the end pin slipped out and he had to grab it back. It happens. I'd never noticed that before. Isn't that interesting? It happens. It happens. Big shout out to Sony, MDR 7506s. So next up.

Yep. Okay. Oh, sorry. I got behind on my. This is a good one. You're going to like this one. Oh, I love this one. I've studied this very closely.

So I might be looking at your transcription with an eagle eye. Please do. So this is round midnight. Genius of Modern Music, 1947. Early version of Round Midnight, check it out. I mean, come on.

Yeah, so great. So, oh, yeah, so this is the yellow record, volume one, right? It's volume one. Yeah, no, on Blue Note. I believe so. Genius of Modic, yeah, yeah.

So this version, and of course, this tune, the intro kind of evolved over the years, but the basic foundation, the harmonic framework was always the same. Like that pretty much stayed the same. But you know, Monk loved to change up a little detail.

of it and stuff like that. Yeah, I listen to a bunch of different versions, solo piano versions, quartad versions, big band versions with Monk. And he did it differently almost every time. Yeah, you know, but you're right. It seemed like he just had a set of a changes and an idea for this theme,

the, uh, Duk-d-d-da-do-ca-c-c-c-a-c-c-c-a- Yeah. And then he did it in these various ways. This was the earliest one I could find, and maybe someone, I know someone will hit me to earlier one. Um, but I love this one too, because the interplay between the horns and the piano.

Yeah. But I think you will, it's, I only found one or two where he didn't play an intro at all. Very rarely did he not do the intro. So if you're doing this tune, learn the intro. It's actually really beautiful. It's so important. And the outro, too. We'll save that for our next episode.

Got to do an outro. So beautiful. Yeah, yeah, yeah. But I think that, so one thing that stay consistent is, and it's always good to break down, especially these slightly more complex intros because this is like, like, like, this is almost like a verse kind of in a way to the tune. but is what he was doing. So, you know, that's where we're going. But he's always got that half diminish.

And I know some of the later ones he delays, but he always goes. Yeah. You know, so that sharp 11 kind of vibe. Yeah. Oh, man. But that's kind of the skeleton that you want to know. Yeah. Yeah, don't sleep on the intro around midnight.

On your jam sessions. Even if it's around midnight. Even if it's around midnight. Yeah. You know what? I don't like that. playing this tune on jam sessions. I'm not going to lie.

I get a little dogmatic because people play it wrong. And I don't want to be that guy, but I do. First of all, if you want a jam set, somebody says round midnight, I guess you could, as a pianist, you could just start on the intro. But are you really going to expect people to come in? They should. Yeah. No, they're going to be like, what?

Around midnight, if you started this intro with that figure? A lot of bass players don't know it. They better know it. They should know it. Well, maybe after this episode, they'll know it. But then, what I don't like is you get a lot of this. That's wrong. That's wrong. I mean, Miles Davis did it, so I guess it's right, but... It's right for the Miles version. But if you're going to... Hey, listen to this, though. If you're going to play the Miles version, you better play the Miles intro.

Exactly. Exactly. That's what I mean. Like, set it up. Yeah. But that goes back to our... We covered this last week. Yeah. With the dusty real book. Yeah, we can get really dusty. You know who can even get dustier, though. Dusty Springfield. We established that last week, too. Rick Springfield. Rick Springfield. Dusty Springfield. All right. Let's go on. This is a... 7. It's our final intro. This is another Monk tune, and it's another intro that when you play this

intro, everybody knows what you're about to do. Question. Why is Monk? There's no dispute if Monk as Bebop, but there's this big dispute if Clifford Brown is Bebop. I think there is dispute of Monk as Bebop. Oh, come on. He's one of the architects of Bebop. I know. We'll find out here. If you think he's one of the architects, hit that like button. Okay.

Yeah. Come on. And subscribe. Let's check out. This is, I mean, you. Another simple intro, but there's actually, this is not as simple as it looks. No. This is from Genius too, isn't it? This is Art Blakey. Oh, that's the Art Blakey.

Yeah. I love this one because of that horn hit. Yeah, exactly. Let's hear it again. Kind of fourthy boasting for Munk. So check it out there. Really, what's great about this is the rhythmic themes that are happening. Oh, da-da-da-da-da-da-da-da-da-da-da-da-do.

Oh, sorry. Yeah, exactly. Yeah, phrased exactly like Mung. But that little turn there and how he did. displaces it, you know, on and off the beat, again, a little bit over the bar line thing happening there and that big hit at the end, which I just kind of made that chord up. Something like that. Yeah. But it is kind of like an E flat 9 or B flat minor 6 situation.

Well, and that's the whole thing. Like you've got the rhythmic contours of this. And there's, I look at this as there's two main areas that are unexpected and kind of throw you off. And look, Monk loved to do that. He loved to like pull the rug out. from under you of just the right place, but I always have like some really cool, pretty melodies that are memorable

to kind of hold the whole thing together. A lot of symmetry in his music, I think. Yeah. But the main thing is you've got, you're starting on that and of four going into one, two, and you know, he did this faster sometimes. One, two,

D go. Do, de, baby, boom, like those are very, when you look at the music and you know it, it's kind of basic looking.

But if you're to the listener, or it's like you're starting off like, whoa, because it's not boo do, bo de, bo de, it's, well, so like you're already. A little bit, yeah, like, you're already, it's like, bam. And you don't even know it until you hear the groove established, which happens pretty quick.

But then also the fact that it's so like, this sounds like it's an E-flat blues. Yeah, yeah, yeah, yeah. You know, that's where it sounds like it's going, right? So the fact that, exactly. There you go, there you. But I mean, but then. But then.

But then. I mean, it's like, whoa, and it's a whole step down. So it's not like it's the five or even like on all the things you are, where it's like an alternate two, five, one. And then so it kind of does resolve in a way that makes sense once you get your bearings. This kind of pushes you into your bearings. And plus it's very, it's like evocative of a bluesy thing, but it's dominant, but it's really just a major pentatonic.

Well, I mean, do you think it was because the bridge goes to this E flat? Yeah. So it's a little foreshadowing. It's a little foreshadowing. Absolutely. And you can also, by the way, you can end the tune with this. A lot of people end the tune with this intro as well. Right, right. Like tops and tails.

Why not? Why not? Why not? Okay. Cool. Thanks, everybody. Those are our seven, what is it? Seven classic intros.

Classic intros. Bebop. Bebop edition. Let us know if you want to hear some other editions. We can do avant-garde edition. Classic intro. That's a classic because you don't know when the intro starts and stops. Cool.

For sure. We could do classic smooth jazz intros. Go ahead. Yeah. Oh, what's up, girl? You know it. Actually, classic smooth jazz would have to be like... Oh, that's the good smooth jazz.

That'd have to be a classic, right? Mr. Magic, Mr. Magic. Yeah, actually, we should do that, classic smooth jazz intros. It would be fun. We could do classical intros. Classic classical intros. That would be weird. That's a great intro.

Is the intro or is at the beginning of the tune? That's a great intro. I think it's an intro. That's setting up the tune, right? Yeah. Sounds so good on the roads. No it doesn't. We could do classic ballot intros.

We have a couple of those here. What are you talking about? Oh, that's right. Like round midnight you mean? Yeah, come on. No, but this was great. This is good. I appreciate it.

We are brought to you today, as we often are, by a little organization called Open Studio. I like it. We are hosted by Open Studio, physically hosted in the studio, and on the interwebs. True. If you go to OpenStudioJazz.com,

we have a lot of exciting things. I think none more exciting currently than something that we just launched officially to the public. It just left beta. Did you know that? What are you talking about? Open Studio Pro.

I've heard of it. Yeah. You are the architect. Yeah, yeah. I love some Open Studio Pro. We got some Open Studio Pro folks listening live now here as we're recording this.

because, you know, they're the best. They are the best. And, yeah, so if you go to open studio jazz.com slash pro, you can learn about this program. I can tell you more about who it's not for. This is not for people that are just dabbling their toes. And these are people that are ready to go to the next level. They're at all different levels.

It's not about like you have to be Herbie Hancock. But you have to be committed mainly to the community. That's, I think, the most exciting thing I'm seeing there with Open Studio Pro. Of course, you are, you know, leading folks up daily every weekday live, which is super exciting. You don't get that anywhere else except Open Studio Pro. No, it's a real community, and you can come in live.

You can listen or watch the Open Studio Pro daily guided practice sessions after the fact. There's PDFs, there's ear training classes. Is lurking allowed? Is lurking allowed? There's rhythm classes. There's transcribing club, which we just had today. We're transcribing some Peter Martin. I don't know if you know this.

Yuck. Someone requested to transcribe some comping. So we're transcribing you comping behind Ruben Rogers solo on Tree Stay on your rhythm section Fundamentals course. Yeah, because it has some video so we can see sort of your hand shapes. Nice. So just getting better at, trying to get better at music. Yeah.

That's all we're doing together. And we're, and like what I love about it, and I don't know if this is a selling point or not, but I'm learning as well. Like, it's like basically like I am, I am an advanced student trying to learn and grow and we're doing it together, you know, and we can talk about it and guide each other. And it really is a great community, man. Yeah. So I want to join.

Yeah. Yeah. I think you're already a member. I'm going to sign up. I'm going to sign up. You're not only the president. Cool. So check that out at open studio jazz.com.

And I don't know. Until next week, are we ready to say that? Yeah, you'll hear it. You'll hear it. You'll hear it. Okay.