You'll Hear It: Full Album Deep Dives with Jazz Musicians - Carousel of Comments

Episode Date: March 30, 2021

Things get a little more casual today as Peter and Adam add another episode to the week. Today, they go over some of their favorite recent comments.Interested in more music advice? Go here to browse our catalog of jazz lessons and courses available for purchase. And be sure to check out our All Access Pass - every course from Open Studio on every instrument.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Facebook | Twitter | Instagram

Hey Adam. Yeah. What are you doing here today? I have no idea. What am I doing here today? I really don't know. Mm. You know what?

What's a new thing. I'm Adam Manus. And I'm Peter Martin. And you're listening to the You'll Hear It podcast. Music advice coming at you. Coming at you today, responsible by Open Studio. Go to Open Studio Jazz for, oh, your jazz lesson needs. Peter, what are we doing here today, man?

Man, we're excited. We're introducing or reintroducing, depending on how you want to look at it. Yeah. An additional episode per week. We're going to try this out because... We just can't. Make up our minds about how many podcasts we want to release. I know.

You know, we started at a brief history. Actually, brief history. I want you to check something out. Okay. I'm going to surprise you. Okay. This is casual, by the way, guys. If you don't like casual things, turn off your iPod.

This is going to be old school. Okay. Check this out. Hey, Adam. Yes. What are the seven greatest jazz solos? Asterix. Okay.

That is not what I intended. Sorry. That was last week's episode, which we are going to talk about. I was going to say, I feel like that sounds very. familiar. This is very casual. See if you know what this is in that. Okay, okay.

I'm Peter Martin and I'm Adam Manus. Welcome to the You'll Hear It podcast. Wow, who are those stiffs? Why is it playing so long? Today we're going to give you seven great practice routine hacks for you to work into your daily practice routine. Okay. So I'm going to start with developing a routine. We went right into it.

So that is episode one. Oh my God. Yes, that we've recently rediscovered in the vaults. Yeah, you know how many episodes are we done? How many have we done? We've done 785. This is number 786, my friend. That's ridiculous.

You know. Wow. But we've come a long way. Did you hear that room sound? That ambient room sound. Yeah, that's when we were in the big hall there, the great hall as we used to. We were in the, you'll haul it is what we were doing. The pod hall for a while.

We were stiff, but it's interesting to hear the similarities. There's differences, but there's similarities. Yeah. Now, I noticed that was just you talking. Am I on there? I don't know. Whatever it is for you, you know, want to sit there. Wait, was this just?

You already know. And that brings us to the third point, which is, separate your conscious from your unconscious. We were sort of organized and we were kind of dogmatic. And it's sort of a weird combination of both better and worse than I remember. Are you getting nostalgic, buddy? No, not at all. I just happens to be on the new webpage.

Oh, yeah, yeah. We got a little new page for it. That's not even what we're here for it. Today is Monday or Tuesday. We're not even sure what. It's a new feature, though. It's a new feature. It's called the comment carousel.

Or Carousel of Comments. We haven't decided just yet. Let us know. Probably Carousel of Comments is better. We were going to do Feedback Friday, but we didn't really want to put it on Friday. Then we were going to do Hater Monday, but we didn't want to invite all of your hate. This is going to turn into Hater Monday for sure as well. From us.

No, what we wanted to do really was just to be able to kind of look back at last week's episode because you guys are actually giving a bunch of great. comments and we're so forward looking here like that we sometimes don't get a chance to go back and and since we've been doing the longer form episodes there's a lot of great back and forth and different ideas from different folks so we wanted to give a chance so this is just going to be a chance weekly to highlight some of your comments are dear listeners as it were that's right that's right and this is audio only you know we're having i mean i don't need to tell you this we've having a little bit of success over on the youtube's join us at the open studio youtube page um but

We also are true to our roots here with the audio only. We are still two gentlemen that look fantastic on YouTube, but we look even better in an audio podcast. Is this whole additional episode week just because you really want to be a guy with an audio-only podcast? I feel like you want to be a guy with a podcast. I love podcasts. Sue me because I love...

Call your law firm of DeMossia and DeMossi and Sui and sui. What's the first thing on your business card? Is it jazz pianist or is that podcaster? It's pianist, but you know what? Podcaster is on there. I don't have a business card. On my email signature. Who finds out business cards?

It feels like that would be dangerous these days. Exactly, exactly. Yeah, so last week, we'll just, you know, if this works well, what we'll do is we'll just do a quick refresher of last week. So if you haven't heard that, press stop right now on your iPod and go back and listen to last week so that all this stuff makes sense. But we had a fun episode because we, I totally forgot what we did. Oh, no, we did the seven great, great solos for you to learn. That was good. Remember with the asterisk?

With the asterisk stuff. So people, apparently we spelled asterix wrong. Are there some, we're not even going to get into that kind of hating. But the first comment is from Jay Metz. Okay. Our friend. Your friend. Never heard of him.

But our friend, because he took the time to comment. So thank you. So two of the solos. So we recommended seven solos that would be fun and prosperous in terms of your personal development to learn in the instrument, really. So the idea was it's not the seven greatest solos. We don't want to get into that rabbit hole. that cauldron. I still think at some point we should just do like,

this is Adam and Peter's seven greatest solos of all time. No exceptions. That would be good. That will invite, that'll become the hater month, the whole hater month. But we had some very astute comments, and one was from J. Metz over on the YouTube, which is West End Blues and Giant Steps open with the same three notes.

So that's Giant Stubbs, of course. Yeah. Hold on. And Westen and blues. Yeah, I was going to say, do they, though? Yeah. I just take it into the other key. They're different keys, but the same minor triad.

Minor triad. And then he says, coincidence? And I would have to say yes. Absolutely what I said. But interesting note. Interesting to note. Yeah. Okay.

Next comment we have. Apparently, we used the word buffet. It was a Buffet. It was a Buffet. It was a Buffet. I think a Jimmy Buffet, perhaps. Robin says this wasn't a Buffet or a buffet. It was a smorgasbord, which is great because I have actually enjoyed, I've indulged in a smorgas board.

I don't even know what a smorgas board in Copenhagen, the birthplace of the smorgas board. Is that where Denmark is where they have a smorgas board? Yes. I would assume it was German, but I would be wrong. No, no. That would be Vayner Schnitzel. Well, that would actually be Austrian. It's a whole other thing.

So what's the difference between a buffet and a smorgas board? Well, I'm glad you asked. So I looked up what a smortis board. Can you see that there? You haven't said it right yet. But yeah, go ahead. Smorgas board. Yeah.

It says right there, a buffet offering a variety of hot and cold meats. Yeah, so I feel like we're kind of right on this. So you say I haven't said it right. I don't know if you knew about this feature. There's a place we can go to find out not only everything we want to know, but how to say things too. Check this out. Smorgas board. Smorgas board.

Yeah, that makes sense. Smorgas board. That was Google telling me how to say that. So a smorgas board is a buffet. offering a variety of hot and cold, meats, salads, hors d'oeuvres, et cetera. I feel like the et cetera, they're kind of... Yeah, that's overkill. A wide range, and the second definition is a wide range of something, a variety.

It's interesting there, the definition, the example sentence. The album is a smorgasbord of different musical styles. That seems like something we would say. That's say, absolutely. Now, we will look up what a buffet is. It's a smorgasbord. A buffet casseroge board is. A buffet casserole.

is consisting of several dishes from which guests serve themselves. So a smorgas board is more varietal. Do not attempt to serve yourself. I feel like these are two sides of the same coin, though. A buffet is more Americana, more sneeze guard-esque, I'm thinking. Salad bar. Yeah. So this is neither here nor there to tell you.

It really isn't. Okay. So we've been having some fun things going on the last couple of weeks. Do you remember this? Oh, my gosh. This was a GPS that you did, I believe. It certainly was. It was called, and I really enjoyed this one.

I have one little qualm with you. I'm going to give you a little hate on this. Learn McCoy-Tyner vocabulary in 15 minutes. Yeah. Will you get a little longer than 15 minutes? Okay, it's a 40-minute video. So how do you get 15 minutes? But you do learn what we're learning in the first 15 minutes,

and then we just work on it a bunch after that. Okay. That's definitely me skirting the rules. No, I think that I feel like that. It always changed the title of the 40 minutes. I don't mind. But this was really fun. Adam has been doing some.

wonderful GPSs, guided practice sessions over on the YouTube on Tuesdays and Fridays. And this one got a lot of love. Everybody loved McCoy-Tiner. So as always. Man, I love McCoy-Tiner so much. Yeah. But we also, people love them so much that they want to get very specific.

So I was wondering if you could address this question. You want me to read it and then you could answer it. Wanderson 7CS says, why not G-flat-7 instead of the C-A-alt, starting in the second half of Bar 1? So this is relevant to the whole, and this actually might be interesting to our listeners here.

So I did it on Afro Blue, which is an F minor, right? And the whole point of the GPS was that McCoy does this thing where it sounds like he's taking it way out. You know, he does something like like he goes up this, he's on an F minor,

he hits this F in his left hand, and then he plays this voicing. E, B, flat, and E flat. So I get what this person saying. why not G flat 7? That's a classic G flat 13 voicing. And he actually plays a G flat arpeggio in his right hand. So there's a really, really good chance

that McCoy-Tiner is thinking G-flat that whole way up. For sure. And he might have been thinking that, but that still is, in my mind, that's still the 5. He's still playing the 5 of F-meyer 7. Even if he's thinking G-flat 7, that is still the 5.

That is the tritone sub of the 5. That is 5 harmony. So I'm thinking about it as the 5. So I called it C-7-alt. you could easily call it G flat 7. Point is, it's all over an F minor, so there's really no chord there. It's just what he's playing.

However you think about it, that's how it's... Like, when I do these GPSes, man, I try to make it easy for me to think about. So when I see this, I think C7 alt, so that's what I put. Yeah. You know what I mean?

So that's why. Yeah, I think it's always great to... It's never a right or wrong because you've got to figure McCoy was not thinking either one, most likely. So it's more of how you can relate to and explain it. And then sometimes you'll hear different things if you visualize it on the keyboard or visualize it on the page or just conceptualize it as a different kind of root in the chord.

Because either way, he's not going down to play that route. As you said, it's over an F minor. And I think another reason why I chose C7 altered and chose to think about it as the five instead of a half step up from F minor, like a G flat seven, is because our friend Jeffrey Keiser has on his keys to jazz piano course. He has a lesson on Coltrane doing this exact same thing. And it's almost certainly the five. that he's playing. Right. He doesn't play like G-flat triad.

It's something else, but it's almost definitely he's imposing the five over the one. And so I think I was kind of thinking that as well. Great. Yeah. Good stuff. Okay, then we had a couple of comments on,

you did a fun thing on clavinet grooves, I think last week on Friday. So three iconic clavinet grooves. That was fun. I believe you hit Stevie Wonder. Parliament. Funkadel. Yeah, a little mothership connection there.

That's right. whose name's escaping me. Bernie Worell. Of course. Bernie Warr L. Yeah. And then Ray Jackson playing clabinet on Bill Withers Use Me, which is iconic to the...

Super melodic clavidic groove. Yeah. The whole point of that, that GPS was just to like... Have you ever done that? If you were playing a band where you were just a pocket player? Like rhythm keys.

Yeah. Kind of, yeah. It's really fun. Yeah, I'm not great at it. I love it. I'd love to do that. It's so much fun. I had a dream for many years.

And it's actually, it's funny. Kelly, my lovely and dear wife of 22 years now. Okay. That's how we roll, bro. So she kind of knows that this is a dream of mine is to someday play backup keys with a gentleman named Stevie Wonder. Oh, Steve Land Morris. And so Steve Lynn Morris out of the Detroit area. So, AKA Motown, the Motor City.

go lions but the idea is that it's great because she kind of brings it up every now and then like you know and it usually comes up in the thing of like you know we'll be talking about should we do this renovation and fix the porch in the back just some random thing and she'll be like

that's great if you get started on that but what if Stevie Wonder calls you to go out on the road as backup keys and she's always like backup keys I'm like but this is actually we don't have to change it to rhythm keys because that's kind of what you're doing it's really fun I've done a few different things I remember once I was in a band where we played

some Morris, I think it was Morris Day, or maybe it was Prince, you know, same thing. But my part was just this. Sharp time, baby. That sounds like Morris Day and time. For like five minutes, I couldn't have been happier. I mean, you never saw a potato face kid from Jefferson County smiling.

They must have been like, man, that you know some harmony. Man, listen to that. But it really is very, it's very, you feel like you're part of like a drum ensemble or something, right? You're just part of the, I like to think of it as you're part of that furnace, that engine that just keeps churning and people are dancing. Man, there's no better feeling. It is. It's super fun.

So we got some great comments on here from, he's real close, says, holy smokes. emoji emoji, moji, laughing, crying, and smiling, which I would agree. And then this is, you know what that was from is because when George Clinton blew a puff of smoke in the singer from Parliament's mouth. There you go. There you go. Neil says, seems to me like there's a whole subchannel for clavinet grooves. What do you think, Peter? Are we bored enough to start a subchannel for clavonet groups?

Yeah, but you know what? We need a daily podcast that correlates closely with it. We need a daily clavonet grooves podcast. And then we've got this was kind of weird. And I read it, I was like, you got to be kidding me. But then I thought about it. I was like, you know what? This actually brings up an interesting point.

So this started with hate and ended with hope. the two H's. Max, Maxime, is that Maxine? Says, superstition. A much proper way, much more proper way to note it would be in two, two, isn't it? I think it's easier to feel the groove in any way to play eighth notes,

jazz irregularly, instead of 16th notes in 4-4. So at first I was like, oh, God, this is another one of these, the rhythm police. But I think they bring up a good point. I think they're right. I think they're right. Well, I don't know if it's a matter of right. It's just a matter of different ways to feel it.

I think it sounds like someone that might be from a culture where they have a folk music that's in Tutu. Exactly. And they got like, I know in Brazil and in Argentina and then even in some European cultures, their folk music can be in Tutu, and it is easier to notate that way. However, I didn't even, I felt weird notating it at all. I'll be honest. Shum bum bum bum bum bum, bum, a shabodum bum bum bum.

We've had this conversation before about how the limits of Western notation on, especially like black American music. And this was a perfect example of that of just like, What can I capture with these dots that doesn't make it look absolutely ridiculous. Like, it's so silly to try to capture it when it's really just watching Stevie play it on Soul Train, even play it in many quotes. But watching him, watching his hands move on it. Yeah.

That tells you everything you need to know about it. Well, absolutely. And I think, too, but you didn't do that, the funny thing that a lot of jazz players do is that don't have a lot of studio experience. It's just like jazz charts. Because first of all, that, you know it's 16th notes, whether it's 2, 2, 4. I mean, like, that's, that's, you have to, like, I mean, feel the funk and look at it that way. Like, the jazz thing would be to be like, one, two, one, two, three, four. And those are all like anticipated eighth notes within.

So it's like one, two, three, four, one, two, three, four, three, four. Even if you're not swinging, even if you've got the feel, three, four, like, that's, each one of those is a measure. And then it becomes twice four times as long as the two, too. But anyway, you know what, for Maxime, I think, hats off. This is not a bad way. So they mean like one, two, one, two, exactly. One, two. There's really nothing wrong with notating that.

I just think there's something wrong with notating it in the first place. Exactly, exactly. Good stuff. Okay. Then we've got, this was cool. DP says this video seems perfect for me, really just getting started on keyboards after 50 years on guitars, learning to really read the music

and not quite ready to tackle the straight ahead material. Thanks, Adam. I'm tuning in and also appreciating your coach-like approach. Is that just for my confidence, buddy? D.P. Does your mom go by?

The pseudonym D.P. I'm going to say, Les Manas plays a little guitar too, so maybe that's him chiming in. But I thought this was so cool because, and thank you, D.P. Thank you everybody for the feedback, you know, both the love and the hate and everything in between,

because it really helps us. The hate. Okay, yeah. No, but I mean, it really helps us to kind of craft things, and you're so great, Adam, at what you've been doing with, like, as he says, the coach-like approach. But it also, like, kind of, you know, places things in that

everybody comes to this music, and what this music, everybody sees that as differently, which is great. For sure. For sure. But from a different place. You're playing guitar for 50 years, which brings such cool things that we don't know about. I mean, you know, you play guitar some, and I played a couple chords,

but the idea of, like, it's so inspiring to hear somebody starting on keyboards after playing guitar for 50 years. That's great. and then learning to read music, but wanting to get into straight-ahead, but using something as a bridge to get in there. And that's not why you created this video, whatever, I'm sure,

but it's so fun to see people using it in that way. I mean, I don't know about you, but Stevie Wonder was definitely a bridge into straight-ahead things for me throughout the years. He still is. He still is. Well, I mean, when I was 12 or 13 years old, I think I was 12 years old when Do I Do

came out was on the charts. Sure. When Musicarium, I think that was on Musicquarium, which was a bunch of older hits, but a couple of new and Do I Do I do was one of them. By the way, slept on track. That's a great track.

Slept on track and it was played on the radio, but they always cut it off. Magic 108. Just want to shout out Miguel Zanan's version for SF Jazz. Killer. Killer. Absolutely.

Agreed. But played on the radio here and sang, I mean, everywhere. And you would hear that great tune, but you never would hear the, I didn't know the dizzy soul. A big shout to Nancy Martin,

my sister. Yeah. Because she was a huge Stevie Wonder fan. And so she had the album, the LP. And so I heard her playing. I was like, wait, what is that soul?

She's like, I don't know. She was just like, Ladies and gentlemen. Yeah, yeah. I was like, what? And so, I mean, yeah, absolutely. I mean, a direct bridge for sure for our whole generation.

Cool. I like this. Oh, we have more. We have more. Oh, yeah. See, now we're getting this stuff that's praising Adam. Of course he likes it. This is great.

Wait until Vincent's next comment. Okay. Macy Mazz. Macy Mazz. Macy Mazz. So this was about a comment on, I'm jumping around a little bit, but I just wanted to highlight some really fun videos that you've done over this last month on the YouTube channel.

This was learning an iconic bebop solo in 30 minutes. I feel like, is this a hidden camera show? Is this great, man? With this, I feel like you were a little more realistic with your time frame. 30 minutes. You doubled it up from the McCoy in 15 minutes. I think I had originally the title was 10 minutes. And I had Ian change it.

You know, oversell and under deliver. That's what we do. That's right. That's right. May says, thanks for the great work, especially for the transcription. It helps me a lot. I'm a trumpet player and a huge fan.

of Brownie. This was a fun one, though. Because, you know, Clifford Brown solos are so universally easy for everybody to hear and understand where the music is. He lays it out so beautifully and simple for you that this is one of those, like, things we've done at Open Studio of any of the lessons or videos that we've made where it's just like, I don't have to do anything. I can just let Clifford Brown teach this lesson because he's teaching the whole class.

That's right. Absolutely. Cool. And then we got a couple more. And we're going to be at the end of Carousel of John. What do we call it? Carousel of comments. Carousel of comments.

Oh, is that going to stick? I doubt it. It's not very catchy. Feedback Fridays would be so much better. Okay, it's not a wheel. It's a carousel. You remember that, Don Draper? It's not a wheel.

Oh, that's right. It's a carousel. Yeah, he had like, yeah, some whiskey and then threw that down. Yeah. I mean, you could have said that about anything in Madison. You never what brandy drank? Oh, yeah, that's a whiskey. Remember that what brand he drank?

No. That was crazy. Because it was such an upper crust situation there on Madison Avenue in New York. York. Oh, it was probably Canadian club? Yeah, of course. Canadian club?

Is that what's called? Formerly a fancy whiskey, apparently. You're a taste of that crap? Oh, God. Big shout out to Canada. Open up your border. Okay, so here we go. Peter, is that a stream deck

that you use to control? This is from something Sacks. M. Harp. M.P. Harp. Sacks. Open up your border. Peter, is that a stream deck that you use to control your on-screen slides? It's actually a,

um, A-T-M-M-P-Pro. Big shout to Black Magic. down on Duh. They're really awesome, actually. They're awesome. Yeah, we do have a stream deck in there. We do use that to control the live performance stuff in the piano room.

I love it. Open to you on your chemistry with Adam. Oh, go do tell. It's like Dean and Jerry with theory. Who? So, except Martin is Lewis in this duo. Thank you guys. Okay, this seems like a compliment.

This is one of those off. You know, why I got to be Jerry Lewis. Because you're the funny one. I'm the straight man. Yeah, but Dean Martin was like the ladies man. Yeah, exactly. The suave guy. He's right on with this.

No, I don't know about this. Okay, whatever. Hey, it's a pandemic. We're all on lockdown. So nobody's nothing. Okay, so thank you anyway. Yeah, that's great. Let's get that offer there.

What in God's name? This is from Sam Smith, the great singer out of the UK. You know him, big fan of the show. And look, this is a recent comment. This is from an hour ago, okay? What in God's name is the theme music? I can tell you right now.

I need it. It's a little emotional. in motion by the Peter Martin trio. That is. Yeah. I accidentally pressed the crickets. I didn't know we had this stuff on you. Oh, Peter, how did you not tell me? Buddy.

We went over this, man. And those are all customizable. You'll hear it listeners. It's about to go down. I would just like to apologize on behalf of the podcast. Wait, you know what the applause one is? We could have been, are you kidding me? We could have been having canned laughter this whole damn time.

Yeah. Okay, get ready with the applause one for this one. I'm going to read. Crickets next to the applause. Hold on, hold on. All right, there it is. Okay. Okay, I'm going to read this, and then you're going to be on cue do your thing.

Okay. The Lost Profits says this channel should have 20 million subscribers. Really? Oh, sorry, sorry. Oh, that's great. But the interesting thing about this comment, thank you, lost profits, is that this is that this is a comment on a video that I have no recollection of. Like, I don't know that we ever made this. I don't know what it was.

This looks like an old old year at episode. It's called Our Favorite Reharm Hacks. That's definitely one of your titles. Was that a top? I mean, so this is just a highlight that we do possibly have, at least with some folks, some hidden gems back in the annals of, you'll hear it. Careful.

Yeah. So that's it. Our favorite reharm. I have no idea what this episode was about. I don't know either. These are comments. Feedback. Carousel feedback time.

You okay? Yeah, it was a little. Yeah. Super fun. Carousel, canned sound carousel comics. Ah, bam. Anyway, so yeah, we're just going to use this as a little bit of a look back each week. Thank you guys.

Please keep up the comments. The thing that's fun on YouTube, even if you only listen on the audio podcast, we love you, no problem. Go comment on YouTube because it's easier. How do you comment on a podcast? It's hard to do. You leave a rating and review, my friend. Ooh, that's what you do. Let us know.

Leave a rating review. There was a time when we would. shout out everybody who gave us a rating review. Then we had a cavalcade. A veritable, I don't know what that is. That means a lot. A veritable smorgasbord. A carousel, if you will.

A carousel of ratings and reviews so we couldn't keep up. But I'm committed now to starting to address, we will shout out every single, am I over promising, every single rating and review. If you do a rating and a review, we will read it. We're not going to beg too much. But we will. We do like to read.

them because we like to connect with our fans. So fans with our listeners. So leave us a rating and review and you can also go to Open StudioJazz.com to check out all of our courses, all of our lessons. There's some pretty stuff there too. Check on YouTube channel. Peter, you all good? I'm good.

I was looking to see if we had any new ones. That's going to be next week, so you're going to tune in for that. Nothing new. This is really seriously dangerous that I now know this happens. It absolutely is. Yeah. Until Thursday. You'll hear it. Thank you.