You'll Hear It: Full Album Deep Dives with Jazz Musicians - 7 Of Our Favorite Burners - #131

Episode Date: June 9, 2018

In this episode, Peter and Adam list their favorite fast tunes. See acast.com/privacy for privacy and opt-out information.

I'm Peter Martin and I'm Adam Annis and this is the Yol Heard podcast Daily Jazz advice coming at you sorry I got I got a little sing-songy that was God can you try that one more time? Daily Jazz advice come back you. We are so sophisticated here. We kind of inspired we just watched the well did you watch the royal wedding last weekend? No man did you hear about it? I heard a little bit about it yeah no but I didn't I didn't I wasn't tuned in were you up really early to watch the whole thing and no because you can watch things at any time now and I wasn't that interest I didn't I didn't peg you you for like a royal wedding time. No, but my mother-in-law, she set her alarm for 3 a.m. Are you kidding? No, no, no. She was so proud of that. And the funny thing about it was that wasn't even when the wedding wasn't until like 6 a.m. Central time.

So she was just pre-gaming. She was pre-gaming. She was all about the pre-gaming. She went back to sleep before the actual wedding. She wanted to see everybody walking in, the pageantry and pomp and circumstance, you know. She's not heard of the internet if you watch things later. She wants it in real time, old school. All right.

What are we talking about today? Today we're going to give you seven of our favorite burners. Of our favorite burners, what are these like campfire burners? Campfire songs. Campfire songs. We're covering stoves and ranges all of a sudden? Yeah, and I mean, actually burners fast tunes is all that is. But I don't actually ever call them burners, do you?

No, no, no. I just, we kind of have seven of our favorite ballads on the coming up. And so I wanted a little alliteration. Well, that's just magnificent. Maybe we could do an episode one day of seven of our favorite burgers. Ooh. Yeah. For maybe some visitors coming into the loo sometimes.

Let's do that. Hit you to our seven favorite burger joints around here. Good stuff. All right. I'm hungry, by the way. I'm hungry, by the way. Let's go get a burger. Let's go get a burger.

Max. Okay, seven of our favorite burgers. Number one, I'm going to go with Donna Lee. Controversial choice. Well, it's listed here as number one. Yeah, I mean, it's fast, it's fun, it's furious. I think that this tune, I always recommend it to students, if you want to kind of entree into learning bebop solos because it's basically a solo.

It's over Indiana. Is that the name of the tune? It is. A great kind of classic, you know, double form based on old standard tune. And it's just like a Charlie Parker solo. And I love, you know, I went through an exercise years ago and kind of revisit it from time to time of taking it through different keys for the piano. It's a really good way to kind of learn your way around the instrument and get over some

fingering technical, technical fingering challenges specific to the piano. Yeah, I got to put this one back in my practice routine because I never actually, like, perform the head of this. I don't think I've ever done it on a trio, but I need to, I need to ingrain it in there. You're so good at it. It's a hard key, and it's a hard head in A-flat. Yeah. There's some technical things that you really have to get down. So this has inspired me to do that. So my first pick, and then the number two pick here of our seven favorite burners is one finger snap by Herbie Hancock.

One of my go-toes. Yep. So much fun. form, interesting head. It's really just a couple of bars. You might not want to phrase it exactly like that. But that is exactly it. It's just those two bars.

And then solo. And it's, people often think of, of da, but that's just Freddie Hubbard's first chorus of his solo. That's not the actual. You might not want to phrase it like that, by the way. Thank you. Touche. But awesome kind of modal tune with some two fives towards the end.

So you get a little bit of everything. fun tune to play. Yeah. And I mean, I think it's definitely got the big modal sections where you're sitting on those chords, but it's fast. So they go like four bars each, I think, for those first couple of chords. But then you get into some kind of two five ones, you know, cascading down, which is a nice kind of architecture to the, sorry, I got my feet in the way of your coffee there.

No, you're not bad, bro. I got my dirty Nike's all on the, I'm chilling up in here, man. My bad. But yeah, it gives you a nice sort of dichotomy. I have no idea what that word means, but it seems appropriate at this time. You know, balance between the two different parts of it, when it's going by fast, so it's cycling through quickly, like all these tunes are. Yep.

Number three, moments notice. Nice. Now, is this, is that John Coltrane? I'm ashamed to say, okay, yeah, moments notice by John Coltrane. This one is a bunch of two, five, ones, but not in the typical way. It's fast. It's got a melody that really fits nicely over. the core changes that you can reference on the solo. It's a great kind of burner. To me, this is

actually an easy, once you really know and learn this tune and learn the form of it, it's not that hard of a fast tune to play, because even though the chords are moving fast, it almost plays itself in a way if you really take the time to learn the form. Yeah, you don't have to do very much. If you just play the changes, it's kind of sound pretty good. It's one of those, let the tune come to you. Don't chase the tune. So number four is another Coltrane tune, and this is one where, yeah, you can just play the changes, but you kind of really... This is hard. There's no way around it. This is countdown. And this is one of my favorite burners to play.

It's a challenge for sure. But it's such a short form. It's based on tune-up, which is like three, two-fives in a row, but he's put, you know, his coal train changes to them, the major third thing. It's an awesome tune. It's super fun to play.

Once you kind of get in the flow of the changes, you can just kind of play those changes and come up with rhythmic devices on them and you sound Pretty good. Yeah. That's fun. Good stuff. So number five, I'm going to go back to kind of an obvious one, which is Cherokee.

Ray Noble classic, the great Ray Noble. The Great Ray Noble. I always think, you know, Ray Noble wrote two my favorite sort of standards, Cherokee and Very Thought of You. Oh, nice. He's a noble man. He's a noble composer. Thanks, Ray. Cherokee, kind of a long form.

This one's played really fast. This is another, I think, good one, too, as much. you have time and facility to kind of learn in some different keys. It's nice because, I mean, the bridge already takes you through a bunch of keys. The cascading down, two-fives. But going into some different keys can really, you know, help your facility on your instrument. This one's sort of one of those challenge fast tunes, especially for trumpet players, it seems like. I remember years ago, I shouldn't even tell this story, but it was public.

Oh, do it. Do it. Do it, though. I'm doing it. I'm going in. We were playing. I was part of this group called the Jazz Futures 2, number 2, not T-O-O, although we were kind of an afterthought to Jazz Futures 1. But Nicholas Peyton was playing trumpet. He was still a teenager. Who?

Nicholas Payton. Oh, right. Yeah. And he, the great Nicholas Payton. I mean, I think he probably was like 17, 18 years old at the time. Yeah, killing, I'm sure. And Brian Blade on drums, Chris Thomas, bass, some other folks. But the thing, we were playing, like, we did a tour where we were opening for Winton Marsalis' Ceptet.

doing like this Europe tour in the summer. It was really fun. But we, I guess it was on Winton's. Yeah, Winton's gig, you know, he played after us. He called up Nicholas. Actually, you know, I guess I was on the stage, too. So he must have called a couple of us to sit in. I remember Brian was playing drums.

So maybe me and Nicholas and Brian, Brian, Nicholas and I. But he called Cherokee. It was kind of a challenge, you know, to Nicholas, because like Winton has just can really play Cherokee. I mean, his technical mastery of that tune. Like he gets it and can just, you know, and it was like the end of the gig. It was like Paris Jazz Festival people going crazy. So I think that, yeah, Winton's solo first and then kind of turned to Nicholas.

And Winton just played this incredible solo. And it's like, what are you going to do after that? And so Nicholas gets up and just plays an even more incredible solo. But in his own way, like very confident. I mean, I was shocked. I was like, man, this is something to be, even to be able to play after Winton on the same instrument. Yeah, yeah, yeah. And in fact, Nicholas's soul was so good that Winton did a faux pa.

Now, we should do seven faux pauses sometime. He did a big faux pa. He came back and grabbed some more. Oh, he was like, wait a minute, Young Gunn. I got something else to say about that. Not confident in his initial statement. But, I mean, it was all fun and good humor and stuff. But, yeah, so Cherokee, I think, I don't know, it's always been associated to me with that

moment and trumpet players kind of challenging each other in a very good-natured way. That's awesome. I love what you said about a good one of probably. practice in all keys because of that bridge, how the bridge kind of goes to the tonal center, a half step above. Yeah. You know, if we're in B flat, it goes to B and then A, which is a tonal center, a half step below. Yeah. And then down to G, you know, that.

So you, if you change keys by a minor third, you're going to hit every key eventually. You know, you just go up those four keys. I love the way you described and thought about it. I don't, we never talked about this, but that's exactly how I think about that tune. And people are always like, oh, it's so confusing when you go to other keys because you've got to go up a minor third at the the bridge to the first court, I'm like, that's such a whack way of thinking about it. It's so simple when you start to think about these tunes exactly the way you described it, half step up, and then a half step below where you came from, or I'll just think about like going

down and whole step, but some kind of logical way that you can hear. Right. You know, why do we call this? You'll hear it podcast. But, I mean, really, that's what it's about. Like, don't think about, I don't know. I mean, I guess you could hear the major B-flat major seven going up to, C sharp monitor. But to me, it's so much easier just to think about where you're actually going to be sitting.

Yeah. You know, tonic kind of chords and tonic centers as they move. Yeah, I agree. For me, too, we're changing keys. We're going to B. Yeah. That's right. Yeah. So number six, this brings us to our first rhythm changes of our seven favorite burners. And I like rhythmining, the monk tune. Dun dun dun dun dun dun dun dun dun dun. My slapping is working now in my advantage. Slap me. Da-da-da-da-da-da-da. It's a, just because it's an easy, fun head to play. Yeah.

And, uh... I've always been confused about the, but-da-da-da-da, is that on? Is it? Bap-Bah-Bum-Bum-Bum-Bum-Bum-Bu-B-B-Dum-B-B-B-B-B-B-B-B-B-B-Bam-Bam. That's how I play it. Okay. Yeah, I don't know.

But some people play it on the offbeat. Yeah. I think Monk actually did it differently. I'm some of those live recordings, Mysterioso and stuff. Okay, we're going to edit this part out there. Seven alternate ways to. Cool. I love that too because, I mean, yeah, rhythm change so many different tunes, but this one's kind of a, it's sort of a classic, like standard rhythm changes.

Yeah, it's a fun. What I like about... I guess I got rhythm is the classic rhythm. No, what I like about rhythm and ing is the actual head because it's so simple. And I feel like we overcomplicate rhythm changes. Jazz editions try to play so much on rhythm changes. And like Monk just goes, try it, try it. You know what I mean? He's like, let's break it down.

And rhythm and thing, it's just like because the rhythm is so. hip, you get away with those sort of tries, but it's something that we can apply to our soloing. Absolutely. Good. All right, well, we're up to number seven. So I'm going to go with a little bit of a lesser-known one because we've got so many common sort of common ones, and that's crazyology. Nice.

And I'm thinking this is by Charlie Parker, but now I'm actually not sure. We'll let this part out too. But the thing about it is, this tune, this is, but do-do-do-act-actually, I don't even know if I'm describing the right tune. Oh, yeah. Bibi-d-lid-lid-d-d-d-d-d-lid. Another rhythm change, with that little bit of an alternate thing. That's why I like this, because it's rhythm changes, but it's got that little...

It's got that little... Yeah, 251 to a major third below, the tonic key there, you know. So that one... Oh, yeah, it's... Oh, Benny Harris, of course. Benny, the great. The great Benny Harris. Popularized by the great Charlie Parker.

Perfect. But that's a fun one. This kind of a bonus one. Maybe it's the good Benny Harris. The good? Not the great? The great? The good, Benny Harris, popularized by the great.

Okay, God. There's got to be some kind of delineation here. But that might be a fun one, because a lot of you probably know all these tunes, but maybe you don't know Craziology. That's another one kind of like where we started bookending now, you know, Donnelly being a great sort of melody that's like a solo to learn. Have you done a lesson on Crazeology? I think so.

Okay. I think so. Yeah, that's a great tune. Yeah. Well, that's our seven, a list of seven of our favorite burners. Thank you so much to all the listeners. We're having a great time here. if the spirit moves you please leave a rating or review below or we're shooting for 100 ratings

now by we're putting a date on this well you know soon i don't want to do list of failure but like today he said soon soon i mean go do the rate put the rating in today and maybe even a review no the other thing is i mean i'm i'm getting a little picky i know nitpicky but we got quite a few people that are giving ratings, but not leading reviews. So you want more reviews as well? I mean, I want both. Call me greedy. If you can only do one, do the rating. That's fine. If it's not a seven-star rating, it's a rating and review. Exactly. I mean, if you're feeling it. And you know what, I've been actually doing this. I enjoy a bunch of podcasts. I know you're a podcast officianto. I've been going and leaving rating. I've been, you know, I've been eating my own special sauce.

Well, I think once you start your own podcast, you understand how important they are. That's right. It's good. So we appreciate any rating and reviews that you might leave. Also, if you have any ideas for us or lesson topics or just want to stop in and say hello, please go to you'll hearat.com. You can leave us a voice message. You can write us a message in the comments. We appreciate all of those. We love hearing from you.

A lot of good stuff there. We're also going to keep rolling here with our discount for you'll hear at listeners on the Open Studio All Access Pass. That is every course that Open Studio offers courses from people like Christian McBride, Peter Martin, Jeffrey Keiser, Diane Reeves coming soon. soon, Gregory Hutchinson, so many great musicians. You can get 10% off if you enter. You'll Hear It 10 in the offer code field at checkout. Don't miss that opportunity.

What else you got, Pete? Well, I know that I said in the last episode that I was going to read some of these reviews. So I'm going to choose one for each day. That will encourage people to leave more, so I don't run out. Andrew, could you put on some quiet music, please? Thank you. This is from Justin in Pacifica. This is from Justin in Pacifica.

he says sometimes I just want to hear people talk about jazz it's great to hear that I mean sometimes I just want a good burger I think that's so funny sometimes I just want to hear people talk about jazz it's great to hear the dialogue between these two I really hear what these guys are saying he'll hear it

I don't know why that's so funny to you but it's a serious business man well like he said he'll hear it