You'll Hear It: Full Album Deep Dives with Jazz Musicians - Blindfold Test-Peter - #10

Episode Date: September 7, 2018

Today, Peter takes a blindfold test to see if he can recognize some famous recordings in just a few seconds. See acast.com/privacy for privacy and opt-out information.

I'm Adam Mness and I'm Peter Martin and you're listening to the you'll hear at podcast Daily Jazz Advice coming at you brought to you by Open Studio yes how you doing I'm doing pretty good yeah we're just wrapping up this week's recording session recording sesh for this would be a Friday so yeah we're kind of relaxed and feeling it right we finally got our technology together to where we can play music via the computer to the other computer right which seems like we should have done this a long time ago well you know we're going in stages here we want to wait You know, we want to wait and see what works, what does. We got headphones now, which we've had, we've dabbled in the world.

Flirted with them. These are, what do you have? I have the Sonys, yeah. Oh, yeah, we're the Sonys. These are the standard. Because we love to give out plugs. What's up Sony? Yeah.

Keep up entertaining. These are the professional MDR 7506. I love these headphones. These are great. I've been using these since like the early 90s. They're really really nice because they fall apart. They're not very durable. They're great to listen to music too, though.

They're great to do work on. Truly professional level. So with this new technology. we thought we would do something kind of fun, which would be a blindfold test. Ah, uh-oh. Or a blind ear test. Yes. So we'll do you today, and then maybe next week you can do one for me.

Okay. You have something prepped? I have a playlist of seven prepped. Seven? Why seven? I don't know. It just came to me in a dream. And look, the people should know this, and Andrew's our witness here, our engineer, that we, I have no knowledge of what the hell is going on right now.

Yeah. I don't know what you're going to do. We don't edit this at all. Now, I will say, I think I've chosen things that you would know. Oh. I'm not going to try to, like... You're trying to throw me a nice mid-speed fastball right down the middle. Well, no, because I thought, I think what...

My thought is, I'll play a few seconds of the opening to see if you can catch things you know by just the first two seconds. This could be embarrassing. Well, let's see. Because I'm pretty sure you know most of this, but I want to see if you can catch it in the first... You think I would know them or should know them. It's a fine line. Watch it, buddy. I don't know.

It's going to be interesting. So let's see how this goes. Let's go number one. You ready? Yes. Oh, okay, I'm just going to guess Earl Hines. No? That thought was a loose Armstrong track.

No? Ooh, am I off? You're in the right era. One more time. One more time. Okay. Keep playing. Oh, Artatim.

Okay, that's crazy because, like, and I know that's T for two, right? Yeah, yeah. Oh, God, from one of my favorite record. It's just like I was hearing something. Ooh, this might be the first edit we ever do. No, we're leaving on that. to just get it in the first two seconds. That's the challenge of it, right?

No, I should have known that, though. Shame on me. Shame on me. Next time. Okay. Are you ready for number two? Yep. Here we go.

That's Benny Golson. Was that? Along came Betty. Benny Golson wrote it. Yeah, that's from Art Blakey. Wait, wait, don't tell me. Why are you telling you, man? You got to see you that?

It's Art Blakey. What album? Bobby Timmins. Is that Bobby Timmons? The Light Touch. Rudy Van Gelder Studios. I don't know. What date?

Come on. I don't know what album is. From Monon. Oh, Mone, of course. Long came Betty. All right. You know what? Fun fact about Peter.

I don't know that tune. I mean, I could fake my way through because I've heard it. I don't think I've ever played. I'm sure I played it. I just learned it this year, man. Really? Yeah. No, I mean, it's a big, big jam session tune.

Shame on me. Totally. Okay. All right, here we go. O for two. Number three. Oh, stop, stop. John Coltrane, Crescent.

Bam. Actually, wait. It's from the album Crescent. Yep. I think the track is Crescent. The very first, yeah. Man, so that's, I mean, what, hello, can we start an album any better? Drama.

Right? Yeah. Let's hear that again. Of course, Elvin Jones, Jimmy Garrison, McCoy-Tiner, John Coltrane. This is like 19-63. 64, maybe. Yeah. Man, what Elvin is playing in there.

And John Coltrade. And McCoy. That's nice. Yeah. All right. All right. One for three. One for three.

Officially. Here we go. Number four. Stop. That's Black Coats from the Underground, Winton Marcellus. But wait, the tune is, is not Black Codes. It's from the album. It's Frizzanian Man.

Yes. Yeah. Frizzanian man, Kenny Kirkland, piano, Charnett-Moffett bass, Bramford Marsalis, and Winton with that tight, close harmony. What? You stopped. 1985, sir. You stopped less than a second in. Let's hear that.

I mean, I know this record. He heard it, folks. You'll hear it. That's an easy one. I mean, I know that record. Okay, you ready? Yep. Number five, right?

Number five. Two for four. Oh, that's Amad Jamal? No. Oh, shoot. Oh, no. Ray Brown Trio. That's Ray Brown.

And, oh, I'm sorry. Oscar Peterson. Yeah. Ray Brown. Ed Thickpan? Yeah. Yeah. From, we get requests?

Yes. Yes. Yeah, yeah. Man, that's funny. I said, Amad. Yeah. Something like about the touch and. There was something there, yeah.

Yeah, this is from we get requests. Quarved bottle. Yeah. Quaradnites. Oh, this is, I love this record. Three for five. I should have been listening more, well, no, but I said Amad first. That was stupid.

But I should have been, that was kind of a fake out because if I'd listen just to the bass, I'm like, that's Ray Brown. Yeah. Whereas, I mean, yeah, of course it's Oscar Peterson, but it's not like in your face, Oscar Peterson at the beginning, you know. Great trio concept. That's why I thought Amad Jamal. I don't know what I'm thinking.

You ready for number six? Yep, number six. That's two for five. I didn't care. Oh, that's Steve Wilson's tune. Ms. Angelou. Yep, what's the record? This is, oh, what's, I don't remember

the name, that's Mulgrew, right? I think it's Mulgur. Oh, no, that's, oh, that's Peter Martin, isn't it? Yes, it's, oh, oh, wow, my bad. You know what, that's happened to be before, I'm glad I said Mulgrew, I'd say, you know what? Oh, someone thinks a lot of himself.

I know, I apologize to the spirit and the wonderful man, Mulgrew Miller, for even throwing his name into that, garbage that I was playing. No, I love that because you're like playing your Mulgrew stuff. I was playing my Mulgrew stuff, but I shame on me for not, no, because, I mean, I got to say Mulgrew Miller is one of the dearest people. Oh, he's amazing. I was ever around. Rest in peace, Mugrew, your spirit is alive. Obviously, for me stealing your stuff, apologies on that. But no, Mugrew is the man. But yeah, that's Steve Wilson. That's Christian McBride.

Must be Warren Wolf. Yep. For one of those records we did, The Beautiful's tune, Ms. Angelou, written after St. Louis' own Maya Angelou by Steve Wilson. That's right. All right, you ready for number seven? I wish. Yeah, we're going to take a hard, hard loss on that one. I think I'm two for six, buddy, if we really look at it. I don't know. I think unless I'm a cheating golfer, which I do five for six. It's a bit of a trick question. Yeah. But I've never heard that, though. I mean, we actually played that tune a couple weeks ago on a gig. Yeah. And that's the only reason I remember that intro, but I've never listened to that record. Are you ready for the last one?

Number seven? Yep. Oh, Beyonce. Single, come on, man. Single ladies. B'allese. The young French artist out of Paris. That's good.

I like that one. It was good. You had your pop music chops. You know what it would have been good as if, and I might have been if you'd stopped it even before, she said, all my single ladies. Yeah. That would have been good. You think you would have got? I think it was almost there.

Try it again. Let me see. That was nice. Nice eclectic group of seven you put there. Yeah, man. So I'll do. do mine next week, it's only fair. That's fair.

Because it's hard. It's hard. Three for seven. I'm not feeling great about that. But, you know, I don't know. That's the way it goes. Yeah, I think the key is stuff. I mean, if we're only going to play two or three seconds, you got to at least know the record.

Right. That's right. Right. Good stuff. Yeah. So, yeah, if you have some records you want to try to stump us on, send them to blindly send them to either Peter and I. We'll try to sleep each other. Yeah.

Send it in a brown, no return of your ass. envelope with a with a with a with a with a with a with a with a with a with a with a with a with a a that's right yeah a dad a seven favorite formats that's mark that one down for later seven favorite formats that don't exist anymore a dad's yeah yeah what was the member the taskam high eight oh man oh come on now yeah so laser disc hello you can 79's calling they want their laser discs back you can go to you'll hear at com to leave us your question or comment you can give us a rating of review on iTunes or Google Podcast or Stitcher or Spotify.

Do not leave your rating or review based upon my abysmal performance in this inaugural. You know, do it on the basic, on the spirit of the program, not on my performance on this blindfold tip. Yeah, and with that, you'll hear it.