You'll Hear It: Full Album Deep Dives with Jazz Musicians - 7 Soundtracks Peter and Adam Love

Episode Date: December 16, 2019

Peter and Adam turn to the silver screen for this episode as they list their favorite film soundtracks.7 Soundtracks Peter and Adam LoveBirdmanRound MidnightElevator to the GallowsGood Night, and Good LuckJurassic ParkAnatomy of a MurderLa La LandBONUSThe ending theme song for today's episode is "Travelling Outcast" by Paul Andrew, from his ensemble Silk & Steel. You can check out the full track on YouTube here: https://youtu.be/AN3pqGak9vg. To get your music featured on You'll Hear It, send an MP3 recording of your music to [e-mail] all pianists - the Piano Access Pass is now available from Open Studio! Save money with this bundle featuring every piano course ever from Open Studio, including teachers such as Peter Martin, Geoffrey Keezer, and Helio Alves. For more info, go to https://www.openstudiojazz.com/piano-access-passTo quote every Christmas ad ever, "give the gift of giving" this season with Open Studio's new gifting feature! Help spread the joy of this art form by giving a course or membership to the aspiring jazz musician in your life. For more info and a list of gift-able courses, go to: https://www.openstudiojazz.com/giftsWant every Open Studio course for free? That's right - over 300 hours and 1200 lessons can be yours with free lifetime access! All you have to do is enter Open Studio's 2019 Holiday Giveaway. Go to https://learn.openstudiojazz.com/giveaway/, or watch this video of Peter for more info: https://youtu.be/KsdhVXE5ovILet us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Interested in more jazz advice? Go here to browse our catalog of jazz lessons and courses available for purchase.Follow us on Facebook, Twitter & Instagram at:https://www.facebook.com/heyopenstudiohttps://twitter.com/heyopenstudiohttps://www.instagram.com/heyopenstudio See acast.com/privacy for privacy and opt-out information.

Hey, Adam. Yeah. Do you like one of the movies? I do. Do you like talkies or silent? I like talkies. Talkies. Okay.

Have you ever had deja vu? All over again. I'm Peter Martin. And you're listening to the You'll Hear Podcast. Daily music advice coming at you. Come on at you. And today's episode is sponsored by Open Studio. Go to Open Studio jazz.com and get your piano access pass right now, if you're a pianist.

If you're not a pianist, don't get the piano access pass. No, maybe, because you can gift it. Did you know that? Oh, you can gift it. This is gifting season. You can't. also learn some jazz piano if you're not a pianist because we do start with the jazz piano jump start which is really for the novice level as we say but you could get it for the novice well

the great thing about the piano access pass is if you want to give that as a gift it's good for the whole year and it's every course so like if you're not if you know some of that plays piano and you think they're interested in jazz or just interested in like creative music but you don't know what level they're at and so maybe you don't want to insult them by getting them jazz piano jump star they're like oh this is too babyish for me um then you get the piano access pass It's kind of like, you know, do you get a loved one? Well, loved one, you would know their size. But say you have a friend, female, male, whatever, and you get them.

Like a purple sweater. Like a purple sweater that's extra large, you know, and their size medium. That's awkward. That is kind of awkward. So the piano access pass fits all. Anytime anybody gives me any kind of clothing, they always say, here you go, big guy. Big guy. And there's a famous line that Alec Baldwin said the movie with Merrill Streep because they're always like,

big guy. He's like, hold on a second. Are you calling me big guy? because I'm fat or because I'm tall? And then they say both. Yeah. It's true. Okay, so today we're talking about,

now, why did you bring up in our little witty banter? What, witless banner or witty banner? We're never sure. Either way. That it was deja vu, perhaps. I feel like we've done this episode before, but as Andrew reminds us, he's like, I wasn't here. So it had to be a long, long time ago. That's right.

We feel like we did. And normally we would say, well, we're going to bring something fresh. but if we did do it, we very well will be listening to the exact same movies and bantering about them in the same way. Full disclosure. Full disclosure. I just thought about this because, you know, I was on that long flight from Japan and I watched the movie, which is our number one, Birdman.

And great soundtrack from Antonio Sanchez. Yes, our friend. And a guest appearance by Brian Blade towards the end of the crucial scene and he kills it. Like, before I even saw who it was, I was like, that's Brian Blade. Yeah, and I think, I remember Antonio telling the story of that, I want to say that he's, that was kind of his thing bringing him in or whatever, which is such as cool and smart thing to do. But yeah, that's a great, great movie.

I mean, just the whole thing, it's, it's, the music is, is so unique and that it's all, there was some controversy with that though, because it wasn't, do you remember that? It wasn't eligible for a Oscar because it wasn't considered an original score or something. Why not? I don't know. I think it was some, I think it was a little bit of, a little bit of hating on it being so drum heavy as an all-dramed. drums, you know? That's ridiculous. Yeah. Jive.

Well, you know what? We're going to boycott the Oscars this year because, well, that was a couple of years. It was like two years ago. We would have. We're on board. All right. So that's number one of our seven soundtracks, Peter and Adam Love. And look, most of these have either like a jazz or creative music kind of connection, but not all of them.

We just all ones that we enjoy. Our love. It's kind of thinking off the cuff here about what we like to listen to. All right. Number two, we have round midnight. Now, if you haven't checked this one out, this is a classic jazz soundtrack. There are many classic jazz soundtrack. Yes.

And that's not what this is about. No. This is the classic one. This is the classic one. Great movie. Great soundtrack. Great movie. Great that they have so many of the musicians in the movie.

Oscar winning soundtrack? I believe so. Definitely Oscar winning some parts about the movie and the music. I don't know. But, yeah, it's so Herbie Hancock's. That was kind of my first time seeing him. Like when this movie came out, you probably saw it later. And I want to say I saw it in the theaters.

I was in my 20s at some point. So it was not when it came out. But I was like maybe 13, 14 years old. I want to say, I have to check the exact. date, but what was the situation that you saw it in? Well, so when I moved to New York, I lived at 22nd and 8th, and there was a video store around the corner from my apartment where, I mean, these just don't exist anymore. No.

Was it called Blockbuster? It was not called Blockbuster. It was an independent. It was called, like, Al's video or something like that. And it was just like, you know, run by nerds who were into film and organized by director. And I was like, what is this all about? and I think that was the first time I might have rented that on VHS and watched it

and VHS, love it. Not Betamax? 70-foot square apartment in New York City. Yeah, no, it was, and I'm just looking at it said 1986, actually I was probably 15, but I remember seeing it and it was so exciting because it was a big picture. I mean, it was kind of an art house movie, yeah, but it was like available. I think I saw the Tivoli

theater in St. Louis. But Dexter Gordon just kills it in kind of the main role. And he, I don't know, I think people that don't really know him or the history or the fictional nature of the movie think that it was biographical. I mean, there's some elements because he did live in Europe

for a while, but I don't think he lived in France because I think he, in the movie he did in Paris. I think he was living in, like, Denmark or something. But I mean, you know, it really wasn't about him. But he had certain things that he could relate to. But his acting was so great. His playing was so great. The soundtrack's so great.

Herbie had a lot to do with Freddie Hubbard's killing it. A lot of them are in the movie. Yeah, it's great. Awesome. Yeah. speaking of France yes you've been practicing this one okay this is getting a little nervous

let me get warmed up here so I'm gonna say it in English first elevator to the scaffold or elevator to the gallows I'm getting some conflicting information okay now you put them on the spot now I gotta find where did I have this here

so this is Miles Davis and actually I didn't see the movie in so much later I'd heard the soundtrack but I always loved Miles is playing on here and it was from a great you know period they're late 50s 57 58 something like that but I'm gonna try this in French, so you please?

Yes. Ascenture for la chaffaut. The elevator to the scaffold. Elevator to the scaffold. I'm sorry. I don't par not bien le francis because

I'm American. Excuse me, but that's the best like you. The last time you spoke French, we got comments in YouTube saying don't speak French. Oh, did we? Oh, my bad. Well, that's the name of the movie. I got to say it.

So anyway, Louis Malle, great French director and everything. Classic movie. Amazing Miles I don't know if Miles didn't. I'm sure he appeared in different things and his music's been used in a lot of movies, but I think as far as the soundtrack,

this might be his only situation. Awesome. Okay. Number four, this is a favorite around here. I put some posters up of this one. Never heard of it. That's one that you were in called Good Night and Good Luck.

Oh, yeah. If our listeners don't know, this was a movie, it was what, 205? Was when it came out? 2005, yeah, exactly. Directed by George Clooney all about the sort of red scare

of the mid-50s. and journalists' role in that, Edward R. Murrow specifically. Yeah. And the way the music was done was so super cool because it was your frequent collaborator,

Diane Reeves. Yes. And it was like she was in studio at the news station and it would cut to you all playing. It was you and who else was in the band? Jeff Hamilton? Jeff Hamilton, of course.

I don't know I forget. The great Jeff Hamilton. I was saying because the soundtrack we had a little bit of a different lineup. Oh, right on. Well, it actually was the same. Most of the soundtrack is actually from the movie recorded live, but then we did some additional tracks as well with Bob Hurst playing bass.

So cool. But, yeah, Jeff Hamilton was on everything. It was amazing. And, yeah, that was a lot of fun. Like, as you were saying, George Clooney, or as I call him, George. Just George. But, no, he directed it, but he also wrote it and produced it and created it. I mean, it's incredible.

Like, it was really his baby. It's a brilliant film. It's one of those that whenever it's on, I see it on, I have to watch it. You know, it's so good. And it kind of has a little. resurgence every now and then on like showtime or TBS or some random thing somewhere and yeah good stuff all right number five number five one two three four five okay so here we're getting into some some probably more of our blockbuster hits a lot of these other ones were sort

of art house hits a little thing called Jurassic Park by a guy named Steven Spielberg who was it by stevens yeah I guess the first one was so I remember this because my older kids were like little but it was big but this is John Woodrow Williams score, of course, you know, the master of scoring big scores, stuff that we love as frequent, you know, arrangers and orchestrators, we really look up to John, as we call him. How did he do all that? That's what I want to know. Yeah. How did he do?

Think about, I was just thinking about, like, what's my favorite John Williams? How do you pick? I know. You know, think about, like, Chindler's List, the theme, the da, do. That's probably the most classic, you know, yeah. And most beautiful, art-housey kind of. But even you hear this orchestration in the Star Wars score and you're like, Man, that's good.

That's like, and he's still doing it. I mean, he's still like, you know. And a lot of people like, oh, he's got orchestrators and he's got arranges and stuff. Not really. I mean, yeah, he's got people helping him move things along. But that's all out of his mind. And, you know, I got a chance to work with him one time, not even on one of the, well, I mean, with orchestra, but kind of a jazz thing. But also my father worked with him a few times with the symphony.

And he was always, you know, like a lot of symphony players a little bit on those pops concerts, turning up their nose. But, like, John Williams is such a great musician, such a great conductor. Yeah. and great writer that they all were like, man, this guy is a pro. He was just here last month playing with the orchestra. I think you were out of town, actually. But you might have noticed on your social media feed,

all of our friends in the St. Louis Symphony were posting pictures with John Williams. Right. And all the people that I talked to said that as a conductor, he was just very economical and just gave you exactly what they needed. And it was very, very, they were all very starstruck. Yeah. As they should be.

And, man, what a humble, nice guy, though. For sure. Like, totally chill. probably the richest composer I've ever shook a hand with, I'm sure Has to be. Which is nice too. I hear he still does his own Garbage scores.

Does his own orchestration? I don't know. That's not true. I think he does. Yeah, it's incredible. Okay, so number six, we have Anatomy of a Murder. Now, this is, I think the only one on here

you were saying you weren't familiar with. No, I know this one. This is a great album cover, too. It's great album. Now, have you seen the movie, though. The poster. I don't think I have seen the movie. The movie's great.

The score is great. I think all these, we feel like they both the score and the movie stand on their own, but together there's nothing like it, I think, especially for this one. There's nothing more powerful than, like, great music with great visuals.

So that's, you know. Yeah, and Jimmy Stewart is great in this. And I was just looking up, oh yeah, Otto Preminger was the director who was, you know, big time director back in the 50s and early 60s and stuff. But that's a really cool one, great record. Duke Gallington, man, what a distinctive sound

that he brought to that movie. Really incredible. which brings us to number seven. Are you having a second thoughts on that one? Good. Okay. Well, no, it's your turn because I just didn't have to be. That was my turn?

Yeah. I don't want to say this one. Come on, man. There's no shame. This is a beautiful, technicolor masterpiece from just a few years ago. Lala Land by Justin Hertz. And it is? I can't hear you.

La La La Land by Justin. Okay, so tell the good people out here why you're a little bit coy and sheepish in your delivery. Well, because it's this weird, you know, actually the movie's not bad as a love story, for sure. But the way they handle jazz, come on. You can't see, that's the thing. Don't look at it as a jazz score. It's not a jazz score. But they're saying it is.

Well, no, but you're confusing two different things. There's the plot is about, what's that guy's name? The main, who's the main character in that? Ryan Gosling? Ryan Gosling. He's a jazz pianist. He's the actor, but he plays a jazz pianist. So everyone is like, the music's kind of jazzy, so they think it's a jazz score.

That character would be dogmatic about the soundtrack. Exactly. Yeah, he wouldn't approve it. Yeah, he was totally like a, yeah. But that's the thing. It's not like, you know, good night, good luck you mentioned before. Like, that was, we were supposed to actually be playing in the studio, playing jazz. Yeah, it was awesome.

Swinin felt great. But it was like, but that's what was supposed to be happening in there. This is like, not a Greek choir. This is like actual background music, musical stuff that they start dancing to or whatever. So it's a very different kind of placement. and, but some great drumming on there. Peter Erskine. I have a bonus that is going to...

Knock my socks off. No, it is, but go ahead and tell them about our sponsor today while we try to redeem ourselves. Okay, the sponsor today is openstudiojazz.com. We've had some great sponsors that are going to be coming back as well, but we're back old school for these few days here as we finish up season 5, open studio jazz.com. We're really being into gifting.

A lot of people have been gifting. We have a new system that makes it kind of easy. And if you're thinking about a piano so you don't know which course to get, you can peruse them, but then consider the piano access pass. You can gift it and we'll send it to them on the day that you specify.

You get all the glory. We'll take care of the details. trumpet courses. Diane Reeves, she has a great course called Define Your Voice. If you have any just music fans, that's a good course. She talks about singing, of course, but there's just great performances and videos and accompanying things, inspirational stories

and all that kind of stuff. And you can find it all at openstudiojazz.com. All right, so we're going to redeem ourselves, and that is our bonus number eight is the anti-love. And that's really any score by a friend of the show, Terrence Blanchard. Frequent Spike Lee collaborator, Mo Betta Blues, oh yeah, how do we leave him on? Jungle fever.

I mean, but even like the 25th hour and the Black Clans. Twenty-fifth hour is killing. It's all dope, man. He's one of the great contemporary, especially with the Jazz Connection film scores. Yes, big job to Terrence. yeah and I think too and I'm even going to put that shout out

to TB but the thing with that too is like he's just getting better and better like I would say black Klansman which I think was the last score of his that I heard I was just like really wild I've always loved his playing and his compositions and his film scoring I think is just better than ever

it really is so distinctive and such nuances that he brings to the table good so I'm glad you threw that in there tomorrow we're going to have more of this kind of banter Did you know that? Yes, we're here every day, man. Well, then you'll hear it.

All right, we're going to go out with a listener tune. This is Traveling Outcast by Paul Andrew from his ensemble Silk and Steel. Paul is in Mannheim, Germany, and is the guy who sent in the question about managing large ensembles. Oh, yeah, I remember that. I was just reading for a row what you wrote.

That was awesome. Andrew lost it. I got him. All right, there we go. You'll hear it.