You'll Hear It: Full Album Deep Dives with Jazz Musicians - 7 GREATEST Jazz Standards

Episode Date: October 14, 2024

It's time to line em up and rank what we think are the 7 Greatest standards. What standards do you think deserve to be on the list?Check out our bespoke playlist Unlock your FREE Open Studio trial to become a better player today.Looking to drop a question? Want to listen to the audio pod? Look no furtherhttps://youllhearit.com/Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open Studio🎹 Head over to our YouTube channel for a better look 👀.Follow us on Instagram

And you're listening to The You'll hear, Like, Explore. Explored, brought to today by Open Studio. Go to Open Studio. Go to Open Studio.js.com. Oh, you jazz lesson needs. Peter, what are we talking about today? This is Emotion and Motion, by the way. By the very own Peter Martin.

Well, many people asking the comments for years now, what is that? That's emotion and motion. Your original composition. It has been the theme. Is anything really original, though? No. But it's as original as it can get. And it has been our theme since the very beginning.

since episode one. It has been the theme. Has it? Yeah. Season one? Season one episode one, episode one. I need the bespoke theme song and we drew that out of a hat

and it happened to be just perfect. It was royalty-free, so that worked on nicely. Royalty-free is always good. Although, sometimes when it gets in the YouTube videos, we get dinged for it. We get black by ourselves. And it's like, you owe Peter Martin 30 cents.

Peter Martin. Bro, this is Peter Martin. What are you talking about? Bro, don't tase me. Bro. Anyway, Pete. I'm happy to be here today. That was fun. Beatrice.

Yeah, that's Sam Rivers Beatrice, which is one of our seven greatest jazz standards of all time, question mark? Seven times two? Yes, we have two separate lists here. I thought it would be fun to compare and contrast our list of the seven greatest jazz standards of all time. Pretty sure that's the tune I, let me just look here. Yep, that's the tune I know the least. Oh. As was evidenced by my approach.

Yeah, no, I thought that, well, luckily, you were up against me, who it seems like, even though I know that tune very well, it sounded. like I knew at the least. Well, I was fitting in, I think, with what you're doing. So it's a fun tune. I haven't played it a lot. It's a great tune. And there's some idiosyncrasies that happen in the recording session.

That's the F minor. That's the F minor. Yeah. Well, or is it? Oh. We'll get into that when we listen to it. Well, I played it F minor every time. So we actually have 14 different tracks here.

And we thought we would talk about, these are almost jazz standards that define us, right? Jazz standards or jazz standards? Jazz standards. So, first of all, we should define that. Yes. Get dogmatic. These are not Great American Song Book Standards. Gas.

These are not gas. These are not gas. Great American Song for standards. These are jazz. No. Just. No. No.

Can't say that. Jazz standards. Can't say anything. These are just jazz standards. These are, meaning that they're not written for a Broadway musical and then adapted by jazz positions later. They're not a Tin Pan Alley song that was played by Miles Davis.

Where is Tin Pan Alley, by the way? It's in New York City, I think. Is it? Possibly Midtown? Sounds sketchy. It does sound sketchy. It's an alley. I bet there's a Starbucks on it now, though.

100%. There's a Starbucks on it. But we need to delineate. So a jazz standard is... Original composition written by a jazz musician. That's correct. An original composition written by a jazz musician that is now a standard in the jazz repertoire.

So I guess the standard part, as opposed to just a jazz composition, would imply and we are propagating, that it might be something that's been adopted by a wider swath of musicians as an accepted part of the... of the uvre of the what you know like that's french so i thought which is that's beautiful french peter um just gorgeous i thought we could count these down oh like seven to one like my seven

you're seven okay mine are in no particular order but that's fine oh i don't know well it's it'll still be fun is your number one what do you mean that's your top jazz standard yeah okay yeah cool do you want to rearrange yours really quickly no i because mine are all you stand by it okay My number seven is my most recent jazz standard. Ooh. Ever heard this on the pod before? Kenny Garrett. Sing a song, a song.

When we did a podcast about this episode, or about this album, an episode about this album, I rekindled my love of this song. Oh, it's great. And so we've been doing it with the trio, the Adam Maness trio, and that's just been a lot of them.

So that makes it a standard. It is now a standard in my book. But I'm having so much fun playing it, This is Sing a Song, a Song, a Song, from Kenny Garrett's songbook album, that I understand that why so many musicians have this in their repertoire. Simple little ditty. Simple but effective. It's just gorgeous. Kenny Kirkland on the piano, Jeff Tane Watts on the drums. Who's on based on this one?

Matt Reeves. Matt Reeves. Thank you. Yeah, that's loud. An amazing track. Hexatonic, perhaps. What's that? One, three, four, five, six. Is hexatonic scale?

Yeah. Look at you. Look at this guy using his newfound theory that he doesn't need. I definitely need it. I can see now why some people play it. I love it. It's easy to learn, but it's got a lot of great lessons in it.

It's a really fun. Easy to learn and easy to love. It's actually not that easy to learn. I mean, it's got, it's easy. It's challenging in some regards, but yeah. Great song. Great song. Little moo.

Yep, little moo action in the bridge. The bridge that only happens once in the whole song. Right. Never so little over. illegal to solo over it. Some great solos by... 47 states. Some great solos by Kenny Garrett and Kenny Kirkman on this.

In fact, two solos by Kenny Garrett on that. Next up is something your number seven is not that easy to play. Oh, we're going back and forth, back and forth. Back and forth. I like your style. Seven. Oh, here's to guess who this is. Key Jericho.

Of course, that's giant steps. Who's the pianist? Mulgrew Miller. Moe Gru Miller. I've been wanting to work in. We don't talk enough about groove as we affectionately new. Moogru Miller, the great. Incredible groove.

I love Mulder, of course, had great bands, great trials, but solo piano, such a master's, just a big influence on our generation of pianists, for sure. That's from the album Mugrew Miller solo. By the way, we do have a bespoke Spotify playlist for this. Producer Caleb's going to put that in the show notes so that you can go to Spotify. By the way, he's going to put a link to it. He's not going to put a link to it. And go follow us over on the Open Studio Spotify channel because we've got a, we've got a

Hons of bespoke playlists over there. Yes. Some legal in some countries, some illegal and others. No, every time we make a playlist for you'll hear it, it goes over there on the Open Studio Spotify channel. So go over to the Open Studio Spotify. I'm nervous because our number one playlist I'm looking at right now is called the real 10 greatest jazz. Oh, and it's a good one. It's a good one. That's a controversial one, though.

Next up for my number six. Yes. Oh. Not controversial. Not controversial. This is as jazz standard as it gets, right? Got to notice. Deservedly so.

Got to notice. Do you have to know it correctly? Apparently not. Many people don't. Just defining the Dorian, right? I listen to... Listen to the bass layer. Listen to that again.

Oh, I know it. What's that? There's a special thing that Retchie Workin does. He might do it on the second time. I know that. I listen. He hits a D from the F to the D. Yeah.

He bounces off the F to a D before he hits the E. Listen to that again. right there. I think that's... This is Footprints, Wayne Shorter, from Footprints. Isn't that great? That's a cool little detail. But the correct change is actually...

D7... D-7... Yeah, I saw it in the Real Bowl. No, that's not how it goes. In the new Real... What is it again? All of them. D-13.

D-flat-13. Strange. Strange. Weird. Weird. From Wayne Shorter's Adams, Apple, sorry is the name of the album. Oh, I see why you like that. I see where you're going with that.

I love that one. Well, coincidentally. here. My number six is Wayne Shorter as well. Great minds think alike, right? I did that. We've lined up here. This is one of my favorite tunes, too. Great jazz standard. Gotta know this. Infanize from Speak

No Evil. Great album cover. That's the jazz standard there, my friend. That is a great jazz standard. That's Wayne Shorter, Herbie Hancock on the piano, Ron Carter on the bass. Veen. Elton Jones on the drums there. Infanized from Speak No Evil

classic album. Yes. So that takes us to number five, Peter. My number five was our intro song. This is from the great Sam Rivers. We can check our changes. We can check our changes. Jackie Bayard on the piano. Jackie Bayard.

Another Ron Carter. Ron Carter shows up on this list quite a bit, which is funny. Not funny, just true. Yeah, what's funny about it? It's just remarkable. I love this song so much. This is a standard. It might be a regional standard because players here in St. Louis play it.

Because of the great Willie Akins. Yeah. But it's one of my favorites. Check this out. Major and a minor? That's the second time. That was, but that D, it sounded like you went to a major before,

into the minor on the D minor. I think so. Maybe that was just a passing thing, though. I think so. On the D minor. On the D minor? Yeah. Where?

On that first course. Wait, see if he does it here. I think that's what I was doing. No, it's coming up right now. This. It's minor. It's just deep. Yeah, yeah.

That's what I was going to point out. first time. Major 7 and major third. Here's the first time. Yeah. One of our Open Studio Pro members, Holger, as we were working on this song, pointed out that isn't that D major

and shouldn't that be a part of the changes? That is the only time in the entire... I was going to say, we'll have to head out. Do they do it? No. And not in the changes. I think that is a Jackie Bayard error because this had never been played before.

This recording section. So Jackie Byer was probably... But he covered it so beautifully. He did this little like... That's right. Yeah. Make it wrong and strong. You're just one chromatic tone away from being right.

That's a great one, man. This is a little bit, this is absolutely a standard. I know it is more of a regional thing, but it's such a... The couple times I played this actually was Nicholas Payton loves this tune. Oh, that's great. So there was a brief moment in New Orleans where I'd love to hear it with this song. A little bit of a regional standard as well. Well, yours is definitely...

Also, that was a big standard back in the 90s, more of those minority. I think it still is. I think it still is. this has become now, we talked about this before, this is a new standard. Everybody, you know this was coming, right? This is Peter, this is your number five. Yeah.

I actually didn't know how much this was played. Yeah. Where yet? Roy Hargrove, Straussberg, Sandini from Earford. Montescommon on the drums, Dan Buller on the bass, Gerald Clayton on the piano. We've been doing this in the trio a little bit, too. It's fun to play.

It's hard to play on the trio. Yeah. Because you're missing, you really miss having a rhythm section behind your melody. Moving around those, those pentatonic. I mean, you can grab it with your left hand. Those pentatonic diets. You've got to be, oh, look at them, use them to correct terms. Come on, man.

You got to be dexterous. Okay, my number four is certainly a standard. This is one of my all-time favorite tunes to play. You know, Peter, you've been doing different versions of some of these, and I've been kind of going right down those. I've been kind of going, thank you. I'm going right down the middle using the original versions. So on this one, I'm going to...

He's calling an audible. He's creating an audible. I'm going to do a different, dare I say, better version of... Whoa. Soar. Miles Davis is Solar. You love this guy. This is my favorite version.

That's your boy. By far. That is your boy. This is, I'll take that. Right of the pod. This is from Art of the Trio Volume 4, live at the Village Vanguard. The gentleman that left the longest comment we've ever had on the Yule Here podcast.

Brad Meldellow did leave us the record-setting longest comment. Please don't try to break that record as this is our favorite record because Brad Meldell commented on one of our YouTube videos, which is amazing. Fun fact. What? Every evening, Mrs. Manis, Adam's wife, we won't divulge her name for privacy reasons. Every evening, Adam has his wife read him that comment as he's in bed to go to sleep to. It's like a lullaby for you.

It's the only thing that calms me enough to get me to sleep. It's like being in... my mother's cradle. Right. And you are in the field position as you accept those words, aren't you? Larry Grenadier on the base here. Always a gutsy move to go with the base solo first.

I love going to be a baseball. When you got Larry Granite here in your back pocket, Larry's not a bad move. I wonder, I think Bob and Rubin had Larry on their podcast, Upright Citizens. Yes. One of our sister podcasts here. Sister podcast.

Right? In the pod family, under the umbrella. Come on, sis, get under the umbrella. That's awesome. Hold on. Hold on. Got it. Hold on, man.

Are we listening to the whole thing? We're going to talk through most of the basics. We've got 14 tunes, dude. All right, I'll skip ahead. You'll be listening to this at bedtime. Don't worry. Can't you wait until then? It's just a great form.

Do you consider this a blues? No. Why not? Because it's not a blues. Well, it's 12 bars. It starts from the one goes to the four. So that's what makes it a blues? Well, I don't know.

Can you play a blues? a blues scale over the whole thing. Yeah. I told you. Okay, maybe not. I don't know. If everything's a blues, then nothing's a blues. I know, but somewhere in the back of my mind, I always think of

Solar as a blues just because... You love this period of Brad Meldow, don't you? What? The late 90s, Brad Meldow when he was absolutely on fire? Yeah. Yes. Why so aggressive? Well, because I'm a human being on the planet of Earth with feelings and emotions and wants and needs. And yes, I love late 90s'

Matt Meldon trio. Talk about late 90s. Talk about, you can barely see a four in there, but yes, it's very late 90s and it was great. And I will have no more slagging off of the BMT, the Brad Meldow trio. So I'll go to my number four. Your number four is from another great pianist from Ellis Marcellus. This is Swing at the Haven. This is something that Peter, you and I have performed together a couple times. Yes, this is the very rare what's going to happen right now. I'm not doing that. The fade in. The fade in. The fade in. You never hear a fade in. You never hear it. It's fun. It makes you a key. It's fun. It makes you

curious, how long was this intro before they started? Something I'm noticing is almost everybody's playing these originals a lot slower than they usually play them. There's so much more. Everybody's so relaxed. It's a great tune, though. It's got every hallmark of a great jazz standard. It's got a beautiful, singable, simple melody,

and it's got really fun changes to play over. It's got a great groove and really nice, moments that happen, hits. Yeah, they're all simple, but they all have little quirks to them that make them a little bit like, hmm, to really nail them. This is from the album Heart of Gold. This was a good one. This was, I believe,

Jason Marsalis, the youngest of the sons on drums on this, I think. I don't know this version. Shame on me. So I'm going to have to add this playlist to my personal Spotify to save it, which I'm going to do right now. Well, we are doing a podcast, so do your personal business on your own time, sir. Oh, boy.

Okay, boss. My number three is the classic. From Genius of Modern Music, felonious monk around midnight. There could have been this whole list could have been

Monk tunes, honestly. He probably had the most, would you say Monk has the most jazz standards that could have been on this left? Either? In terms of volume. Yeah.

They qualify. Easily. There's two on here. Not to get anything on that. Monk tunes are their own genre. Yeah. I mean, he wasn't the most prolific but in terms of like pumping out jazz standards yeah or do you guys too gaij

grice is that gggy grice on alto gigi gigi or gigi i don't know would you say phlois muck had quirky renditions of his own compositions the greatest the greatest quirky renditions of his own did monk like the whole ton scale i love the part where the horns just playing unison to the base yeah modern music. Nice. Well, in an act of random kindness and happenstance and

soliloquy that needed solving, we are going to my number... What's crazy is we have mirrored composers three times on this list. That's weird. And we that was from no... We did not work it out, yes. Your number three is also Thelonious Monk and it's Blue Monk from Art Blaking the Jazz

Messengers. Oh, this was not the version I met. This is a good one too. So to me, this, like Blue Monk, it's like a lot of blues, like what makes it a jazz standard? If every blues is a jazz standard, then none of them are jazz. You're really hooked on that phrase today. If everything is something, then nothing is something. Oh, you notice. I'm just keep saying stuff over and we're going to see if you'll notice, finally. If every phrase is that phrase, then no phrase is that phrase. Wow, it's a riddle wrapped up in a conundrum. Thank you, sir. But you know what I'm saying?

Like, there's not, I don't think every blues needs to be, even every monk blues needs to be a standard. But this one is. Because a lot of times you can say it, jam set, let's play a blues, right? And then it might be dealer's choice. It might be, you know, saxophone's choice or whatever. But this is one we kind of rally around. Like, this is one of the... Everyone knows. I almost included, like,

there's so many monk tunes that I don't, I don't know if you would count as standards. Like... Yeah, not every monk tune is this... I love this. Think of one. Man, that's one of my favorite tunes to play. That's not a standard. You can't call... Like, is a standard something you can call on a jam session? I think so.

Yeah. I think so. Everything we have here I think you could call in a jam session. It might be a sophisticated jam session. You might get pushed back with some of these. You might get pushed back for sing a song, a song, or nobody knows. Swinging at the Haven, maybe, could be tough.

Yeah, that's a little bit more regional, but... But everyone would know Blue Monk, for sure. Yeah, they should. And everyone would know our next tune, which is by Juan Tiesel. Yes. And Duke Ellington. I'm going to throw Duke's name in there

because it's important part of this. Under the auspices. This is Caravans. from Art Blakey's Caravan. We listen to this couple of years ago. Back. Back. Back. Back. Back. Ah, damn.

We talked about the greatest of this intro. This is Caravan. We're going to skip ahead a little bit. I skipped ahead. I feel like you've got to know this one. You know, you got to. You know, you got to. You know, there's a lot of different versions of it. A lot of different ways to play it. You feel it.

I love this bridge here we mentioned during our Caravan episode. Predended to Juan Teasel, who I believe played Tampone. With, yes, absolutely. And Duke Ellington's Orchestra. The Duke Eucharlington Orchestra. The Duke Epoenaously named. And Peter, your number two is also from the Duke Ellington Orchestra. And it might be my favorite ballad ever.

Yep. And you've chosen the best version. In a sentimental mood from Duke Ellington and John Coltrane. Of Duke Galentons? No. Sophisticated lady? Adrian. Oh, Adrian.

I'm sorry. Of his ballads. Oh. Well, come Sunday, maybe. No, this is more standard evening comes on that. This is probably the most well-known. Sophisticated ladies? No, this over that.

I've actually never heard anybody called sophisticated lady at a chance of you. Sophisticate late, one, two, two, two-d-be. That'd be wild. Gross. It's a great tune, man. It's a great call. So I think Duke Gallington's out of all the composers we have on here,

maybe the Loney's Monk as well. Like he drifts into the realm of Great American Songbook, wouldn't you say? No. Why not? I think Great American Songbook has to be something that singers sing in a musical comes from Broadway, from Showtube.

Hey, welcome to the show. Woo! Well, you notice that jazz musicians never grab those kind of songs from the musical, but they do grab others. But no, I think... It has to. But sometimes they come from movies.

They do. But I feel like Duke Ellington is... He's jazz. He's the jazz. No, he is jazz, but I'm saying, but there's some... Like, well, what about the girls? Gershwins, because they're definitely straddling in the line.

It's jazz. That's Great American Songbook for sure. Hard line for Adam. Well, all those students are from Gershwin. They're from musicals. Do not cross this line. They're from musicals. Okay.

These guys are writing songs for their art that they're making. It's not coming from another source, right? Okay. Man. You think Monk is making Great American Songbooks? No, but I'm saying he has certain, like, certain, well, maybe not as much because the lyrics, although there's some great lyrics written for his, Compositions. Name one.

It's about you dead around midnight. That is some good lyrics. Okay. Yeah, actually, John Havrex has some great ones for Monk tunes. But yeah, no, that's why I said more to Gallington, you know. Yeah. Or lush life? I used to visit all the very games.

That seems like a could be right out of a musical, but I would definitely say that's more of a jazz standard. Listen, we're talking about labels. It's not going to be perfect, but you get the idea. I think we're up to your number one. Before we do the number ones, we have some glaring omissions. that I'm realizing. Of course. There's no compositions here by Disney Gillespie.

By John Coltrane. Yes, there is. There was a John Coltrane one. What one? Oh, Giant Steps. That's right. Thank you for doing Giuseps. My first one.

That's true. Well, then we're good. There's all the people, Sunny Rollins? There's no Sunny Rollins compositions. I mean, that would be like... That would be the top one. That's a standard. That's definitely jazz standard.

And that could have made the last. list for sure. I think my number one, I'm going to cover some bases with that that you wouldn't have thought was the glaringle mission, but it really is. Some people think my number one was written by Charlie Parker. Yeah, it is. But when I put that out there in circa 2020, on the internet, I got a lot of pushback. This was not written by Charlie Parker. Some people think it was written by Miles Davis. Some people think it might have been written by Dizzy Gillespie. Some people think it might have been written by Red Rodney. Some people think it might have been written by Fatsnevarro. Fats Red Navarro. Some people think it might have been written by... Fats Red Navarro. Some people think it might have

been written by... Preemptive strike. But Garland. There's many... There's many people. Disi Gillespie I've never heard. But I was thought it was Charlie Parker. That's what I thought too.

But apparently, if you do just the minimal amount of Googling, you'll find that it's pretty ambiguous. Okay. Who actually probably wrote Donald Brown. Didn't... This is like the original recording, though, isn't it? Is that Miles and Charlie Parker? That's Miles, right?

A young Miles name. Damn, Miles is everywhere. Yeah. It's like the Forest Gump. Started with Byrd. Yeah. And then it was Cindy's offer. My app.

Yeah. Cool moody. You actually have more good. What a like. Cool. If you've seen him lately, it's not as cool as I remembered him. Cheers.

So why is this my number one, Peter? Because this is a music theory lesson within... It really is. Within a beautiful melody. It's a, first of all, it's a really fun melody to play. It's a beautiful singable melody, even though, much like, you know,

a Bach cantata. fugue. It has these swirling melodic devices that go all over the place. But if you learn this tune and learn just the root movement to this, it teaches you how to get around bebop changes. It is so useful as a player to learn Donnelly, and I think that's why it is

the greatest jazz standard of all time. Other in the fact that it's a freaking burner, and it's a really beautiful melody structurally. Kids today are still learning it, and I'm sure it'll be around for another hundred years, you know. Yep. Well, I'm just, I'm I'm just texting with an expert on this

that will actually give us the answer. Because sometimes people think, well, I'm going to Google it, I'm going to look up this. Are you texting Christmas, Brad? Are you texting to Charlie Parker? Chat, GPT. The jazz tune Donnelly is attributed to saxophone

as Charlie Parker. But many jazz historians believe it was actually composed by Miles Davis. It was first recorded in 1947 by the Charlie Parker Quintet, which included Miles Davis on trumpet. While it's officially credited Parker, Davis later claimed authorship of the complex.

did. How convenient Miles Dewey Davis from East St. Louis that you, after Charlie Parker from Kansas City, Missouri, passed on that you claimed ownership. I don't know what I'm saying. Then the last thing it says... Anything about Red Navarro? Jazz Piano Star Adam Manus thinks it's written by Red Navarro. Okay, so inconclusive. Inconclusive. That's what I'm saying. But definitely a standard. It doesn't matter. Doesn't matter. All right. For my number one, This sounds like I'm sort of checking a box on this, and I am, but it's an important box, and I'm just going to play this. This is a standard...

Oh, you're going to play. I'm sorry. No, that's good. I thought that was my cue. Go ahead. That was cool. But I'm going to play it. Hard out.

Wait. You're nasty. You're dirty. Take it away. You're terrible. You're awful. Take it away. Buddy Bolden's shop

Open up that window And let that bad air out Open up that window And let the foul air out I thought I heard Buddy Boy Thought I heard Judge Fogarty Say

Judge Fogarty 30 days in the market Take him away Get him a good room to sweep with Take him away Gail, give me that money So specific with his narrative And violent

It's a different time I mean give me that money Like I explain you I'm gonna beat it I tried to call this at the darkroom jam session No one in the words They're like which version This is

Buddy Bold and Blues Of course by Jelly Role Morton OG composing Jolly Roll Morton Did you just say Jelly Role Morton? Okay Jelly Role Morton Red Morton

He was a an albino. But Garland Morton. Yeah, I mean, this isn't, I mean, I know some of you might be like, oh, of course I can't say boo because it's jelly, but this is an important, albeit regional standard, certainly in the new South Louisiana area, all the way from Lafayette.

Lafayette. I've heard you do some Ceyton-Rooge. Baton Rouge. Yeah, but it's just, it's an important tune. Oh, then we go out to Duke Ellington. But it's, uh, I wanted to have something in there with like that connection, but you hear it in, you know, with the beat and the groove. Like,

When we listen to Lewis Armstrong, because he was part of the lineage of the music from almost the beginning, I mean, certainly a direct connection with, you know, King Oliver, Buddy Bolton. I mean, everyone was like, Betty Bolton was great. There's no recordings of him.

I must assume he was great. He's kind of a legend. I'm not on that. He is a legend. I know, but I can't be like, who I love his phrasing. Really? Do you?

Yeah. You talk about secondhand information. But jelly roll we do because of these great recordings, especially from the Library of Congress, which was later in his life. But you really get, like the roots of the music, everything that became.

Yeah. But it all started from that. And this tune is still like, if you're in New Orleans and somebody calls this, you just go into it. It's almost like like bibo-de-bo-de-bo-be-be.

Stubit, be-de-be-bitt. There's a bunch of tunes like that that are just like standards for such a long time. We can play them modern. You can play them calypso.

You can do them a lot of different ways. But they're really jazz standards. Oh, G. I put that as the OG jazz standard. That's great. Yeah. What are some Louis Armstrong jazz standards? What would you say?

Strudden? I mean, yeah, Strud was some barbecue, which was actually written by Lil Hardin. Yeah. Wife at one time to him. I think there's a lot of Tin Pan Alley ones that he made into jazz standards. Yeah, for sure.

And that was really early on, you know. Once that B-Bobb there. Dinah, you're red dinah. You've got an finer. In the state of Carolina, Red Vorrow. Boom! Okay.

You got to go. This is good. We got the standards, bro. Fats Navarro. Okay. Thank you, everybody, for being here. Don't forget to go to open studio jazz.com. Do they know about the little secret?

No, only important. No, go ahead and tell. No, after the credits roll, we always put in something special. Well, don't tell them you're spoiling it now. Well, no, they'll never go otherwise. Tell them about Open Studio, tell about Open Studio Pro real quick.

Stick around. It's not an Easterank if you let them know about them. Well, shut up, red. Openstudiojazz.com slash pro. We are just beginning our blues season, our first season of all the time. It's not too late to join. Come on in.

We have an application process, but it's a painless application just to match you up. Make sure that you'll match you up. Match you up. Got it. Yeah. It's fall when the leaves turn red.

Stick around if you'd like. And Gallo. Don't forget about that. Until next time. You'll hear it. Come on back. We told them we're coming back. Man, you don't take, you never, you're more of a director than being directed.

I'm trying to direct you. You don't take direction well, sir. You're a real leader, aren't you? Yes. I don't know what's happening. Okay, so this is our fun, you've forgotten already, this is our fun little part at the end where we give them to the Easter. I get that, I get that, but why were you telling me to get out of here? Because it'd be fun if they come back and there's empty chairs and then we seat in them.

It's drama, showbiz, baby. Borchbelt, you never been there? Can we do that again? Because did you see what happened? Caleb came back while. I was leaving. And then when we came back, he went to black. I know, I know.

Caleb likes to, he'll fix that. He'll smooth it up. Okay, so since you guys stuck around, we're going to give you a little bit of info on what happened earlier. Adam, we were trying to figure out the possible composers to Donnelly, right? Is this okay to say? I mean, we're saying it. We said Charlie Parker.

I said, yeah, maybe Miles Davis. I said, we were like. Red Navarro. And I don't know where that name came from, but it's a kosherly. It's been a long... I don't make it stuages like this. It's not a big deal, but what was funny is Adam... No more podcast after lunch.

If you ever hear us clapping, that means we're trying to do an edit. I was like, no, we're not editing that out. That's not a cancelable offense. It's not. By saying red Navarro instead of fats in the bars. It's not, but I meant to say fats, and I didn't. And it's just an easy thing we can easily... Actually, red is probably more kosher than fats at this point, Navarro.

Why? You know? Fobious? Body shaming? Body shaming. me. Exactly. He was a trumpet. Was he? No, he was a portly gentleman. We really can't leave this in. Yes, we can.

All right, thank you guys for sticking around. Gala, if you enjoyed this, gentlemen and ladies are green. Nobody enjoyed this. Until next time. You'll hear it. Just fade.