You'll Hear It: Full Album Deep Dives with Jazz Musicians - 7 Things To Say After A Solo - #83

Episode Date: April 22, 2018

Today, Peter and Adam discuss some things you can say after a good or bad solo. See acast.com/privacy for privacy and opt-out information.

This is Adam Manus, and I'm Peter Martin. And you're listening to the You'll Hear It Podcast. Daily Jazz Advice coming at you. Today we're going to give you seven things to say after a jazz solo. That's great because I never know what to do after they get done solo. Number one, thank God it's over. No, we're not going to say that. Okay, so yeah, these are things that, you know, right after the solo, like especially I'm thinking if you're on stage or if you're like the other horn player or if you're sitting close to the stage, if you're super hip.

you know, little things that you would interject. Yeah, if you're at a jam session and you want to get there, get in there with the lingo, with the cats, this is what you could say. Yeah, we're going to give you a little key to it, okay? Little affirmations. Okay. Well, you just did the first one. Number one, woo.

I know, we're making fun of these, but I do every single one of these. That's right, me too. So, yeah, that's number one. And you've already done two versions of there's the woo. There's the woo. What are some other ones? You've got to make the jazz face with that one. Yeah.

That's when you crinkle your nose up. up and you kind of go, woo, like it's nasty. Yeah. But then there is the, whoo. Yeah, there's just the like, woo. Yeah, that one's good. So, yeah, that's number one, woo. Number two, we're going to go with, wait, you don't have this list in front of you, do?

No, you got to. Oh, I got to say everyone. I'm going to cheer you. I'm going to affirm you on. Okay, number two is a variation on number one. Woo-hoo. So what would that, what would an example of that be? Woo-hoo.

Well, that kind of sounded like a sports bark or something. Yeah, I don't know. I don't know this one. Woohoo. Is this like a country western? University City thing? Yeah, maybe so. We'll get to skip that one.

All right. Number two, the official number two is, yeah, man. Yeah, man. This is classic jazz musician. This is like, it's kind of understated, too. Yeah. Kind of cool. Yeah, I don't know.

This one could be used if you don't want to say anything nice to someone because it didn't really sound great. You know what I mean? Yeah, it could be, yeah, it could be go either way. Yeah, man. Yeah, man. Don't ever do that again. Yeah, I mean, you're not really saying anything.

thing. You're just saying, yeah, man. You know, you can kind of side-eye it. Or you could really mean it. Yeah, man. Yeah, man. Yeah, man. That's good one. Okay. Next, you know what? We're not going to restrict ourselves to seven, because I feel like we're going to come up with more than seven. Of course. We're going to keep the title seven, though. Perfect. Okay. Then we've got, you sound great. Also one that you could say and not really mean. Exactly. You sound great. I don't know. I don't know about you, but when I was younger and, I mean, going to a lot of sessions or whatever. This was almost like hello.

Yeah. You know what I mean? Like, hey, what's going on, Ted? You sound great, man. You sound great. Like, you just got her. You didn't hear me. Yeah.

Oh, it sounds great. I had mouth surgery and haven't actually played in three months. It's probably the most over-said thing amongst Jebs. You sound great. We love to affirm each other, right? We're very insecure. There's no way everybody sounds that great. No.

So then the variation on that is, you sound great. How do I sound? Oh, that's my favorite. That's kind of a classic St. Louis one there, too. There is a couple of old. St. Louis cats that actually still say this. That's like kind of keep it fair. Like, I've given it up to you, so if you don't tell me right back how I sound,

I got to ask you about it. It gets bad when they call you and say it. Or now like a text message. How you do it? Hey, you sound great. How I sound? Yeah, don't even give you time to come back. Kind of put you on the spot, too, you know, but that's another part.

Yeah, well, if they say that, then you can just be like, yeah, man. Yeah, you sound great. The next one, Killing. Killing, this is more of a modern one. Yeah. And this is still overused, even though it's not even that old. But everybody in their mama now says, killing, man. Oh, so killing.

How was that gig? She was so killing. Oh, man. How'd she sound? Killing. I mean, totally killing. It was killing all night. Yeah, man.

Killing the vibe. Woo. Yeah. So you just did a little combo there. You did killing and. Oh, these all can be worked with each other. They work together. As combinations, yeah.

Now, okay, there's another. one, this is not so much what you would say right after the jazz solo, but it's more of like an affirmation or a preamble. We like to use as jazz musicians the great a lot. Like I wouldn't talk about Adam Manus. I would be like the great Adam Manus. Or it's almost like Sir Thelonious month. If you're talking about a solo from the great Thelonius Month, you know, even if it's, you know, Miles Davis, you know, the great, like we really, I think we all know he's great. But we love to reaffirm how great he is. We do lionize everybody at all times.

It's part of the tradition of this music for sure. And then there's the classic bad when bad means good. Oh, he's so bad. He's so bad. Do you hear that record? Oh, man, it's bad. And then the, I mean, just going to the most bad, badass. Bad ass.

Just one word. Bad ass. He's a badass drummer. Badass drummer. Right. Or there's the U-Bad with the incorrect grammar thrown in. You bad. He bad.

And then, yeah, I mean, some of these, like some fun topical ones, or not topical, but geographical ones like from New Orleans, I love the, yeah, brough. That's a great, yeah, bro, yeah, like you could say that right after a solo and really get some good New Orleans street cred, right, with that. Yeah, I hear some of the kids around here saying it's fire. Yeah, and I hadn't, I've never heard that. I mean, I've heard like there's a fire called the fire department, but that's so on it was fire. fire.

I don't know. I don't know. Yeah. I could be wrong about that. This is a very, that's a very dad one for me. Yeah. Sorry.

And then, what's, what's one more? There must be one we're forgetting. How about, like, oh, how about just your classic? Yeah.

Yeah. And that's another one that could go either way. Yeah. You know, like, you get to the end of a horrible, bad jam sessions.

Oh, yeah, it's over. I always like, uh-huh. Like, on stage, you know what I mean? Like,

that's a good one to interject. Like in between friends, uh-huh. Yeah, I hear you. Yeah, how she sounds? Oh, she's killing. Uh-huh. Uh-huh. Oh, yeah.

Well, we hope these helped if you're... We don't know what. We hope they helped. Hey, no, but you know what? This is part of the language, man. The history of jazz has been spotted with this kind of language, so it's important. It's not really important. It's not really important.

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