You'll Hear It: Full Album Deep Dives with Jazz Musicians - Cookin', Relaxin', Workin', and Steamin' – Miles Davis Quintet

Episode Date: April 20, 2026

Cookin', Relaxin', Workin', and Steamin' capture Miles Davis on one of music history's most remarkable upswings. He had recently become clean after a years-long heroin addiction that led to his exclusion from major record labels and clubs. And now, in 1956, he had a deal with Columbia - the Cadillac of record labels - and a band he loved: Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and John Coltrane playing the sax. In this episode of You'll Hear It, jazz pianists Peter Martin and Adam Maness go through each album. They discuss the outsized influence of Ahmad Jamal, Red Garland's Red spread technique, the power of Miles's chatter on Relaxin' and whether this is the greatest rhythm section in the history of recorded music. Whether this is your first introduction to Miles Davis, or you've been listening to these albums for years, you'll walk away from this episode with a new understanding of, and appreciation for, Miles and his first great quintet. ------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://openstudiojazz.com/yhi------------------------------Some Day My Prince Will Come: https://youtu.be/a_Ygq74SjvQBirth of the Cool: https://youtu.be/eEl9-z6G2tU My Funny Valentine: https://youtu.be/-9mMbZMtyGs -------------------------------About You'll Hear It:In this popular music series, Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love: https://youllhearit.com/newsletter -------------------------------0:00 Miles Davis - Cookin', Relaxin', Workin' & Steamin'0:47 The Comeback Story5:17 Miles & Monk at Newport '558:54 "My Funny Valentine"11:09 Miles to Red: 'Play Like Ahmad Jamal'13:51 "Blues by Five"17:39 BTS: Trane Comes Into His Own21:06 Relaxin' with the Miles Davis Quintet22:40 "If I Were a Bell"29:59 "You're My Everything"32:54 The POWER of Miles's Intro Chatter36:40 "Oleo"38:15 "It Never Entered My Mind"41:58 "Four"46:44 Steamin' with the Miles Davis Quintet48:25 "Surrey with the Fringe on Top"53:22 "Salt Peanuts"55:08 "Well You Needn't"55:30 "When I Fall in Love"56:27 "If I Were a Bell" Over the Years58:03 Desert Island Tracks58:36 Apex Moments

Miles Davis wasn't always an icon. In the early 50s, he was at his lowest point personally and professionally. Clubs didn't want the bother and no label would touch him, except one. Then in 1954, he got clean, formed what would become his first great quintet, and began to rebuild his life and his career. He showed up at the Newport Jazz Festival, a last-minute addition to an all-star group. A Columbia Records producer saw him and tried to sign him on the spot. There was just one problem.

Miles still owed his label four albums. So he gathered his amazing band, went into the studio for two days, and walked out a legend. I'm Adam Manus. And I'm Peter Martin. And you're listening to the You'll Hear a podcast. Music Explored. Explored. Brought to today by Open Studio. Go to Open StudioJadogadogad.com for, oh, your jazz lesson needs, Peter.

Yes. Good morning. Good morning. Good morning. So we got a good one today because we're going to be checking out four different albums today. And we've done similar episodes to this. We did this during Herbie Hancock's Headhunters run. We didn't do four complete records.

No, no, no, no. And we probably won't listen to every track today, obviously. I'm going home. I'm going home. Don't depress me. Don't suppress me. Just chill, just chill. But we also did this during Bill Evans' trio, you know, the Waltz for Debbie, Sunday at the Village Vanguard. explorations, episode.

And these four albums, I mean, we could do an episode on each of these individually. But they go so well together. And the story behind them is so interesting. Yeah. As you alluded to in that brilliant intro. Well, can I, and I just want to have one little quick caveat. We took a little bit of, we took a little bit of editorial license there. Oh, yeah.

Because I said, you know, two days in the studio. Just to be clear, those two days were six months apart from each other. They were. Yeah, they were in May and October. 1956 is when both of these albums were recorded. But all of that is what happened. In July 1955, Miles played the Newport Jazz Festival as a last-minute edition. He was really coming off of, and he writes about this in his autobiography, which, by the way.

Oh, it's so good. I've got right here. Now, I don't know if you can see this is my copy of this. I mean, literally Peter, decades of coffee stains. I can see that, yeah. Look at how brown these pages are. Look at the patina on this. The patina on this.

I bought this in the 90s, buddy, when this came out. Did you leave that in your Ford Escort from the 90s for like 20 years and let the sun come in on it? This spent time in every single Chevy S-10 I've ever owned. It's one of the greatest music biographies because it's an autobiography. It's controversial. It's amazing. Because, you know, I remember when it came out reading it and I was like, everybody was like, oh, my gosh. Controversial because a lot of people said it takes some liberties with the truth.

Yeah. Which Miles said that was not true, but it's super fascinating the intersection not only of, stuff like what we're going to be talking today, 55, 56, where he goes into depth on that, his memory of it, and really just his viewpoint. Like, we feel like we know Miles because of these records. And I'm sorry, I interrupted you were saying,

you know, going through multiple records we've done before. But we've never done four records. And I don't know if this exists that we could even do four records from basically two recording sessions. Yeah. That's pretty incredible. It's very incredible. And, you know, as we were just talking about too,

Miles was coming out of a real low period for him where he was, he had a horrible addiction. Yeah. And he beat it. He was getting stronger. He was kind of reading. What did they used to call heroin? It was like a monkey or the something?

The dragon? Dragon. Yeah. That's what it was. And he, but he was, he got clean in 54. And he started re-devoting himself to his music. And, you know, he was signed to prestige. and he was, they were giving like $750 an album.

And it was really just kind of like a bargain basement deal that he had. It was not like a prestigious deal. He was not the Miles Davis that we think of at this point. He was really going through it. But he's Miles and he's talented and he's a visionary. And more than anything, he's so confident and knows what he wants and who he is, at least when he's himself. And he describes that, you know, that person who was on drugs was not him.

Right. And that once he was out of that horrible situation, that he got real clarity on what he wanted to do. And luckily, he found four compatriots in this band that they were a real brotherhood for a couple of years. And we'll talk more about that. Miles really describes it as his first grade band. The way he talks about it in his autobiography

is more positive than any other experience that he has musically. I mean, he has a real fondness for this time and this band. And you could hear it in the music. There's so much joy in the music, you could tell that they were a real unit. but he did play when he was when he was sort of getting back on his feet. He played, he was asked to play

at the 1955 Newport Jazz Festival as the last minute addition to an all-star band that included Monk by George Ween. By George Ween. Who was the first producer? Up until just a few years ago. And it's really cool. They've released that concert live

and you can hear the whole thing and this is Miles and Monk playing around midnight. Here the seagulls in the bleed-through on the two-inch tape. There's some really funny stories here in the autobiography about this about the drive home. Back to New York.

Yeah, they all went back together in a car and Monk apparently was like, hey, you didn't. You messed up my tune. You played a melody room. Miles was in his autobiography was like, I could have said that I didn't like what you were competent,

but I didn't, you know, which is really funny. But George Vakian of Columbia Records heard him at that performance and was just blown away. Yeah. And wanted him on Columbia. But as you said in your intro,

Miles still had four albums left to record with prestige. And it's a real fascinating time. Peter, because it's like, not that he had to release with prestige as we'll find out. He just had to record them. Yeah, it was up to them when they would release. Well, that's what's so fascinating is basically he like starts recording for Columbia immediately.

They make what's going to become roundabout midnight before he even makes this stuff. Right. You know what I mean? And then this prestige stuff is coming out all the way up until 1961. Which was by, what was that Bob Weinstock? Was he the... Bob Weinstock. Yeah, yeah.

That was a savvy move for him because it was kind of like, let's see what happened. happens with this Columbia, obviously kind of blue, you know, Blockbuster albums and stuff for him to drip those out as well. But yeah, it was a fascinating kind of turn in events. And apparently that wasn't, Columbia just tried to just, they just were like, oh, we'll just buy out his contract from Prestige. But Prestige was like, no, no, no. Like, they wanted a crazy amount that even Columbia was like, no, we're not paying that. So it kind of worked out well for Miles, especially in terms of like developing this band, the sets and reps there doing a bunch of club dates. Yeah, they were playing a famous couple weeks here in St. Louis.

That's right. Yeah. Miles talked. talks about those dates in St. Louis, about his family being around, about him feeling so good about everything. And they had a regular gig at the Cafe Bohemia in the Greenwich Village. So they go into the studio for two days. And the very next year, the first of these four albums, so they make four albums in two sessions, essentially.

No second takes. No second takes, apparently. Just all calling tunes. And it's a band that's playing together all the time. It's a band that really love each other, that are like hanging out, having a good time on the road, and you can hear just like the ease at which they do it. And it's a group of masters.

It's Miles on trumpet, obviously. John Coltrane on the tenor saxophone. Ever heard of him? Red Garland on the piano, who I want to go on a bit of a deep dive on. Paul Chambers, PC on the bass, who was the youngest member of the band at 21 and the incredible Philly Joe Jones on the drums.

From, strangely, from Philadelphia. Fun fact. Philly Joe, from Philly. They start out with releasing Cookin with the Miles Davis Quintet And it was released August 1957 and it starts with Richard Rogers and

Lorenz Hart song My Funny Valentine Ease with which they just Slide into this intro Man the confidence and clarity of Miles is sound That's what That he would carry for the rest of his career, really

He was already there That Harmon Mute sound I love the way these albums are recorded too so good. Very simple sounding recordings. I don't know if they are simply, but it sounds very basic and it works. It always in the same.

Apparently at that Newport gig, the Harmon was what everybody was going crazy old. Miles talks about it in there. And he was like, oh, I didn't know how he would be able to like that. Man, it strikes me how much Red Garland and Paul Chambers, how much of an influence they had on Herbie Hank. I never really noticed it like that. Herbie Hancock and Ron Carter playing the same.

same tune, you know, seven years later once they were in the band. Because Miles kept a lot of this repertoire on these records, many of these tunes for years, especially like My Funny Valentine and did it with the next bands and kind of had a pretty tight repertoire up until the late 60s, really. Absolutely. Yeah. Well, it's great you mentioned Red Garland because it was such a huge, incredible collaboration that Miles had with Red.

Miles actually influenced Red by encouraging him to play more like Amad Jamal. Because Miles and Miles, again, talked about this quite a bit, that he was influenced by Amad Jamal, that he loved the space with which Amad played the way that he was so melodically focused. And he especially loved Amad Jamal's light touch on the piano. And told Red Garland, you sound best. when you play like that. When you play with that light touch that.

He said that right before he said, but play what you feel. But play with what you see, what you feel. So he did. He encouraged Red to play like a match ball. Here's Amadamal at Surrey with the fridge on top. A lot of the repertoire of Amad

informed influence these records. Like five or six of the tunes. That's right. Surrey with the fringe on top is on these prestige. And he plays a couple of mods tunes, I mean? So here that way up high in the register, light touch, space.

Brilliant. Yeah, so good. And I mean, so it's great we're talking about Red Garland because he's, I mean, this is really a quintet. Like there's Miles, in some ways, as a personality tower is over this. But once you get into these records,

there's so much, I mean, in a way, Paul Chambers, who's by far the youngest on here, is kind of the one who steals the record in a way because he's just, he's so consistent. He's always there. Philly Joe, of course, is Philly Joe. But I would say red garland. So all four of these records, I realize, start with, we talk about how important the beginning

of records are. And even though we're going to kind of paint with a broad brush today on these four records, they are four distinct records that were released over a year apart. All of them, I believe. They're pretty stretched out. All four of them start with Red Garland playing by himself. I think that was an intentional thing that Bob and Miles made in terms of producing this. Like with beautiful, classic intro.

Great call. Great call. And they're all four. I mean, I have kind of my favorite. We'll talk about, but they're all four. I mean, this is the most iconic one, probably, the way that my funny Valentine's. Oh, and then the one when Miles says block chords.

If I were a bell. That's your my everything. Yeah. Which is the second tune. Yeah. So I want to get one more track from cooking. This is Blue 5. You're going to go?

Yeah. You know, the rhythm's going to play first. He's going to play first. We're going to go. Here we go. Right on. Oh, you hear. On the bass, you know that's right on.

It's the chorus, Joe. I love it, man. There's so much studio talk. And this... They just fall into it. So Red Garland doing his red spread thing here. And that shadow was not on the original. This was on the remastered version.

But the stuff on relaxing there was all on the original. Philly Joe's bombs he drops. The greatest. The greatest. The conversation between Miles and Philly Joe with the space that. Miles gives. We are.

This is a very influential trumpet. I'm the trumpet players geek out on this solo. So good, man. Frazing. And that playing... Miles playing his ass off in this whole run. It's like really wanted... We talk about Charlie Parker, of course,

of that mastery of like bebop and blues. Like seamless integration. Stuff is there. Yeah. Like trains take on bebop is so different than Miles, right? But about trains.

This is from Miles' biography. He talks about their tour, their first tour. On our first tour after a cold train joined the group in late September, 1955, we were having a lot of fun together, hanging out, eating together, walking around. From Chicago, we went down to play Peacock Alley in St. Louis. Now, you know, I was going to have a good time there, and we all did. It seemed like everybody in East St. Louis came over to St. Louis to see me play that week in the middle of October.

all my boys that I had gone to school with showed up and it was a gas I was happy for my family to see me doing all right off drugs and clean leading a band and making some money I could see that my father and mother were proud of me especially after I told them about all the recording deals

that I had going with Columbia and all Columbia for them was the big time and it was the big time for me too anyway everything just went beautifully in St. Louis while I was there and throughout the whole tour I think a lot of people had expected Sonny Rollins to be in the band

nobody in St. Louis had ever heard of train so a lot of them were disappointed until he played. Then he just fucked everybody up, though some people still didn't like him yet. By the time Sonny Rollins came back from Lexington to New York, Train was a fixture in the band and had taken over the place reserved for Sonny. And Trains playing was so bad by then

that even made Sonny go out and change his style, which was a great style, and go back to woodshedding. He even went out on the Brooklyn Bridge a few times. At least that's what someone told me to find a private place where he could practice. So that little behind the scenes of that sort of shuffling in Miles this band. He was playing with Sunny Rollins for a long time.

Sunny leaves. Train comes in, really establishes himself during this time as this force in the music. About the time Sunny gets back, there's no spot for him. The train's taking that over. Yeah, and I think he had to get trained. Train was playing with Jimmy Smith, I think, right before this. They had to, like, Philly Joe, you know, really lobbied for him, and Miles was a little bit like,

I don't know about that. He's like, I heard that guy. I don't know. So it's, this really is the blossoming of Coltrane, like this, this period. You can hear it. You know, you can hear it. This is like the coming out party. And Miles is like control, his phrasing, like his already, like his understanding, his use of space.

And I mean, I don't want to read too much into it. Read the book if you're interested in this. But Miles definitely walks through this in terms of his life. Like that, you know, I don't want to belabor the stereotype drug addict in jazz. Hollywood's done that plenty of times. But Miles talked. about him there like you know about how he went about kicking this habit the confidence that that gave him and the you know with so many direct musician friends i mean like him and charlie parker were

very close i didn't realize until i reread that how much like beyond just an influence and mentor charlie parker was musically to miles but i think charley parker died right before this like maybe 54 55 and like that was a big hit to a lot of people i mean there was a big hit to a lot of people i mean like Charlie Parker has got. I mean, that was the thing the musicians that looked up to him and said and so I think for Miles, knowing that he was able to beat this

this drug situation that was very hard. And then he was like, you know what, now I'm doing it. Like, I got my band and a lot of people saw him as aloof and all this. He talks about that in there. He's just like, I didn't want to go on the wrong path again and like, I'm here to play music. They're not here to hear me talking. Like, he was all about business. You know, the business of

like having a great band. And then it all started taking off, you know, as it should, right? Yeah. Yeah. Well, Peter, that brings us to the next album, the second album to be released in March of 1958, and it is relaxing. Sorry, I was getting these confused back and forth. No, this is an amazing album.

And before we talk about relaxing, it has If I Were a Bell, the iconic If I Were a Bell, and the block chords, fall start. Another start with Regal. Yeah, and if I could write a book, and OLEO and it could happen to you, and Woody and you.

Isn't it, OLEO? OLEO. OLEO. OLEO. I want to talk about OpenSudio. OpenSudioJS.com, Peter. So we were talking about red spreads before, and it's something that we teach over there. At least I love to talk about it.

It's a spread voicing where you play a simple four-note block chord in your left hand and you play these octaves in your right with a perfect fifth in the middle. And red keeps the perfect fifth, even if that perfect fifth doesn't line up with the key. It sounds weird over a podcast, but I promise you on a video lesson, it makes a lot of sense. So if you're curious to know how these great musicians are making the music, we try to demystify some of that for you at Open Studio. and you and I both have a ton of lessons on, I mean, almost all these tunes, I'm thinking. I've done a bunch just on Red Garland's introductions, because I'm in love with his introductions.

100%. Yeah. All of his different kinds. No, I have something on You're My Everything as well, because all of it is so good. I just did a lesson on you on my everything. Yeah, but you have, I know you have lessons on when I fall in love. If I were a bell, it could happen to you. Because these are classics, my friend. They are. They are classics.

So if you go to Open StudioJazz.com slash YHI right now, you can start your free trial. That's open studio jazz.com for your jazz lesson needs. Now, back to the show. If I were a bell. Relaxic. The greatest. Red garland.

I'll play it and tell you what it is later. Hold on. We've got to do that again. One more time. I remember when I first heard this, I was like, damn. I'll play it and tell you what it is later. That high hat. RVG knew how to record some drums.

Let's put that out there. That's swing. Do we like it? Yes. I mean, it's effortless swing. Effortless mastery of swing. Like, swing doesn't have to be... Kak-k-k-ch-ch-ch-ch-ch-ch-ch-ch-too-k-ch-k-ch-k-k-k-k-k-k-kkkkk.

What are you doing? That's what I'm saying. It doesn't have to be that. I'm saying it's elevated. It's just swing elevated. You know, you go in the club, and it's kind of jankety, and they're like, oh, would you like to go to the other room? And everybody's, like, rich and good-looking and tall.

This is the champagne room? No, not like the hoochie champagne room. Like the classy champagne room. All right. Listen. He sees bass is so up front in this mix. We're going to talk about that little later. That's cool because the piano sounds 100 yards away.

Miles has some perfect solos on here. Go with what you know. And a four and a two. How does he make that work? I tried that and the Trump player threw his bow bow bowler at me. Well, you're not red garlic. You know, Doles is playing very St. Louis-style trumpet in it.

You know? It's like swinging clean, though. Coming out of Clark Terry, you know, technically proficient. With the bass and hype in the mix, it's like, it's like two melodies go on, Miles's and PCs, you know? It is, it is like a counterpoint. And Red's chords are almost like a snare drum hit. Yeah, exactly. Coming off.

You can hear a picture in a lot from a distance. It's like, you have something to say. So great. Amazing. One take. that first take energy. You notice that? Pretty great phrases.

A lot of space. Are these albums just the biggest flex in music history? First takes, four albums, two days. That I'm on Jivalve? Yeah, very a lot. All right.

Red Garland is so swinging. Brady of language. Thinness of sound from R.B.G. Just fluence. So good. Fluency. Chopping a little wood.

That's the Signature of Philly Joe Jones. Man, it's kind of... It's kind of stunning when you think about these records. Like, you could be like, oh, these are simple standards, but, like, they made them standards for the jazz world. Absolutely. And there's, like, there's no letdown on any of these solos.

There's no, like, low. They're all amazing. Yeah. They're all good. And there's no, like, well, there's a couple of, like, really big... But it's mainly just, like, you can show up to the gig anytime you're going to be happy, you know? Oh, you should have been here for the first thing. That was really killing.

No, everything is a banger. I always direct new jazz pianists. Like pianists who are getting to the point where, like, I want to transcribe a solo. Transcribe some red garland. So easy to hear and understand. And also each solo is a little theory lesson. He teaches you how to play the changes.

He does the basic so well, even like the block chords, which is not necessarily that basic. But he does it in a very simple basic way. you know, like you were saying, with the red spreads, and the way he goes in and, like, the usage of it. He's like a tastemaker. He's a tastemaker. And it's not just Amajamol.

He's not just these, like, it's like a combination of Amad Jamal. Knack and Cole, got a little Nackamol. Nack and Cole, Edel Garner, Bud Powell for some of that B-Bobb language. Errol Garner? Yeah. He pulls it back on that. I wish I could hear a little better over the bass, but on that. But honestly, and I know this is the RVG, but I wouldn't change a thing.

Yeah. No, no, I agree. I agree. A tone. I couldn't imagine it. Man, some of the most copied stuff in modern jazz. Just by me. Yeah.

All of us. Man. Nobody does an octave like rap. Okay, okay. Another great studio chatter is the beginning, and this is legendary. This is classic. The beginning to You're My Everything with the false start. They were supposed to be quiet.

You're costing tape then. Kill an intro. All right, Rudy. Block cars. And like PC just playing. Do we have any bourbon here? I know. No, sir.

Burbon. Oh, it's double stuff. And like Philly Joe's choices of what not to play here. This is very romantic, you know. What a tune to do by everything. Henry Warren. Sorry, Harry Warren, excuse me. PC just basically playing chords.

Yeah. I know. I mean, PC's only. we're playing, but it works. Like, that's when you know you're a great bass player. And at the beginning, at first he's just kind of like, boom, then he's finding it, you know, but it's just... Any other tracks from Relaxin

that you gotta, I mean, honestly, the whole relaxin. Well, if you want, we can wait, because my apex moment is going to come back. We'll get to the next one, which is... But wait, actually, but can we first, there's some good... Can we listen to the top? Okay, so I'm obsessed with the studio chatter on this record.

It's amazing. I think it's some of the best stuff. Wait, this was the only one that had the studio chatter in the original, right? Yes. I think there was a little bit at the end on some things on the other, but the only ones with these extent, one's the end and ones at the beginning. Because that, that... The blues by five, that wasn't original.

Yeah, yeah. No, but like the, on the, if I were a bell. Oh, yeah, that was always... I'll play it and tell you what it is later. Because, like... Man, I'm going to tell you that, sorry. There's a Honda commercial where he says that, so it must have been a thing.

Like in the 80s. Miles said it. Yeah, yeah, yeah, that's cool. But that, can you play it one more time just that first part? I'll play it and tell you what it is later Okay, so This and then the And then the way he counts that off

That was so Inspiring to me when I first heard this record I don't know why Like his voice Like there's something And I'd heard Like this was a very early record for me When I got into jazz

But I definitely heard other stuff But I'd never hear Like a jazz musician Talking On a record Yeah From like It was like a ghost

Even though Miles was still alive then You know And I actually saw them live not that long after and then I got to meet him at. But I mean, the thing about it was something about like even the way that hi-hat, because you hear all the music that comes later. And so the only other reference point I had for that as I started to get into this music was like live records.

And I think that this very much falls in the Pantheon, live the Black Hawk, live in the plug nickel where you see. But they're not talking as, I mean, you, and Miles was not talking at all in those records in terms of announcing. There was a little bit maybe, or like live at Carnegie. McGee Hall and these different things. But something about the humanity of that and the way, the elegance of how that can go right

into the record. It's like, it's not, it's not stick or anything. It's just, you see the flow of the recording. Like, you could imagine because it's got that first take energy and then you find out later as you research it, oh, these were all first takes. They were the only takes. But the confidence and, you know,

that's just something that's always inspired me when I'm in the studio. It's like, I want to be able to just be like, oh, okay, we're playing. Bam, you're on. And it's not like, okay, come on, guys, we got to do this. It's just like, all right, let's go. Let's do it.

Time for, you know, the professionalism of it. That's what struck me. I was like, damn, how do they do that? I mean, some of the, some of my most favorite moments are with musicians who, when the red light is on, they are on. Yeah. And it's like, I mean, I'll never forget the first professional recording session I was on. I made a mistake in a, in a, in a, I was just doing the arrangement.

So I just made an arrangement that had a mistake in it, and I got vibed hard by these really great pros. And I won't name names, but they're great. people that you've heard of. Quincy Jones. Rod Temperature. And they were right, because they were, like, time is money, and they were there to do this session and then serve the music and you've got to be on your stuff. 12-year-old Adam was like, sorry, guys.

I was, I mean, it pushed me to never have that feeling again, for sure. You know what I mean? But it's a great feel. I honestly love the first take, man. I love the feeling of, like, freshness and newness. And if you can do it. And, I mean, it's not like it's perfect. We did it.

We did. It's not like it's perfect playing, like, where they're just, it's, it's, Everything is perfect. You know what I mean? You got to be able to just take some mistakes with that first take because, or just like not, or imperfections, not mistakes. You know what's interesting? Yeah, it's not perfect.

But these, I think everyone, I mean, some of these tracks I know better than the others, but I've heard them all a lot. I think these tracks, these two sessions, these four records from two sessions, I think they're kind of more perfect. They're not perfect, but I think they have less mistakes than definitely they have any business having being all first takes. That's the amazing thing. But I think it's less than even like Kind of Blue.

Like Kind of Blue's got some, I mean, wonderful mistakes. A lot of those are first takes. Yeah, that's true. Well, right, but they did multiple takes, I think, only everything. Two and three. Yeah, yeah. But I mean, these, I think, no, because they said they were just going to, they only had time, you know, to do one. And that was the plan.

Like, we're going to go in and knock this up. Now they were working band. They're doing club dates for months at a time. They're probably playing all these songs live all the time. But I mean, in general, like, some of these solos, and that's, we're going to get to that on my apex moment are, like, perfect solos. One after, or. another where you're like I wouldn't change a thing on that. No.

And like the comping, like everything is like... Everything is great. It seems like it was pieced together like a mosaic. Oh, put this there. And it was, but it was done in real time. In the studio. Yeah, yeah. In the studio.

Cool. Okay. So we're going to come back to... We'll come back to something on this. Okay. Next up is working. Oh, wait, but there's some more good chatter on here. Sorry.

Oh, yeah. What's the chatter? Okay. So go to... Well, the beginning of Olio. The beginning of Olio's group. You're like you're getting... 1001.

Turn red light. Go. Turn red light. Just like we do it with? Yeah, watch the tempo, though we're going to. Keep it up there. Oh.

That's a great trumpet sound. Recording up. This is classic. Though phrasing it like exactly together. Swing activated. Bud pile, stuff. Very, very butt. Okay, we can come back to this.

At apex. Yeah. It's crazy. It's crazy. It's good to hear them address things, like, keep the tempo up. Like, these are five masters. That's actually the biggest, if you want to find mistakes, there's a lot of tempo fluctuation on these records.

And I don't think it ever gets away the music somehow. Like, there's one, I think it's Amad's blues or blues by five. One of those blues slows way down. But it's so gradual that you never. notice it, you know. Cool. Cool. So they were not

recording to the click track. They did not use a click on these albums. The next one of these albums to get released was working with the Miles Davis Quintet released December 1959. Another Miles Davis album. And that was a long time to hold off three years at that time.

I remember stuff was getting released like two months later. Yeah. You know. It never entered my mind. Oh. Just absolute heartbreaker. Yeah. Okay, can we pause it there for just a second?

We got to, no, no, we're going to We get to hear twice, see? Wait, no, Paul, you don't have to... Okay, let's talk about the intro. That's such as apologies we're a little out of between with each other. That's such... I never really...

These things that are, like, actually way simpler than you think there. Don't be about a major trihood. Yeah. Man, just the simplicity, the beauty of... Okay. This is my excuse we get to hear twice now. Okay, see?

Don't get fended. You good? Yeah. I put the O in fended. Is there a little... Oh, no, it's the left-hand. He's now. It's very cinematic.

Big choice. Miles took a lot of liberty with the chords on this. He rearranged it a lot. Oh. It was just better back then? Is that what it was? Yes. These weren't old guys.

They're like 30 years old. They were great. They're playing like old dudes. I mean, I could. And they're playing with the expectation that everyone's going to do something beautiful throughout the whole damn track. And then they do that. Like there's no like,

oh, are we going to do something cool? It's just like, no, we got it. Like, they're really playing like old people. They're grown-ups doing grown-up things. They're doing grown-up things. Next up on this album is, this became a standard. Four. Does this really play confidently?

I can't remember. Yes. I mean, yeah? This is a Miles Davis original. Is this by Miles? Well, Eddie Vincent claims he wrote it. Yeah. But it's got Miles on it.

Oh, it's been interesting. Bill Evans' compositions. I mean, Miles Davis composition. And Sonny Rollins. Time to swing. Boom, roasted. I mean, these albums are these are like jam session records. It's like the greatest jam session ever. But they are what

I think people who think, who don't know about jazz, this is what jazz sounds like. Right. Sounds like this. Well, I don't know about that. If that was because everyone would love jazz. They should. They should start here. These are great albums to give people as a starting point. Absolutely. Almost better.

Way Drugs. Kind of Blue is such a singular album. Yeah. It's still its own thing. But these are a great entree into like what it actually, what you're going to get with the best of jazz. Yeah. But don't you feel like that especially some of the ballads on here, they're very closely, more connected, except for like the production, the sound, even of Miles.

That's the main separation between that and Kind of Blue. Like Miles is very much, it's not like, people make it like, oh, Kind of Blue, Miles started playing modal. He was already doing that on ear. You know, but that record has such a distinctive sound and concept. But to me, Miles is already there in terms of the beautiful phrasing, the harm and mute, the ability to connect with the audience, like, on a gateway level. That's true. With the beauty of it, you know.

It's true. And it's a different kind of swing. It's a different kind of swing. It's a different kind of swing. You know, that's that Jimmy Cobb, you know, Philly Joe Jones. That's that beautiful diversity of approaches. Great take of Dave Rubex in your own sweet way. Yeah.

Philly comes in late on a bunch of stuff and I'm here for it every time. I know. The way he does it is so cool, man. Oh, listening to each other. Trains solo on this. Oh, so great. And Miles is like,

he's already at his technical peak, I think. He maintained it for a while. Especially with the harmon. I mean, vibrato. Using the melody to start the solo. Yeah. Man, it's, for them to record so many tunes in a day, it's kind of stunning to how

how, that's what I'm saying, the consistency of these. Like you would think, you were calling all that, and a certain thing you'd be like, you wouldn't really be locked in. Like, they're hitting a high level, but that's also the great thing about doing one take. If you can nail it,

now you're saving your energy to be able to do twice, three times as much material, which is basically what they did. But there's some other stuff. Like, before this, Miles was, like, they used to do three recording sessions in a day, literally three records in a day sometimes.

You know, but there was shorter. That was the 10-inch instead of the, this was the 12 inch. All right. Do we want to listen to anything else on Working? Working's great. I mean, there's so much on all of these. The only drag about doing all four albums in an episode

is we can't actually listen to all like 30-something tracks or whatever. You want to move on this theme? Let's go on to see, and the last one. This was released in August 61. Dude, this is like another generation. Like five years after they recorded. The Beatles are out by now. I know.

It's crazy. And this does start. Yes, it's dead, buddy. This is coming out. This does start By the way, Miles talks about this too about this string of albums. He says that this band and these albums

made him famous. They made him well known to a wider audience. They made his music, you know... You say wider or whiter, because it was both. It was both. He talks about that. Yeah, he talks about that.

And it just made him a superstar. This is when he got with the first, like, really big booking agents. Yeah. I mean, he had played and toured a lot, but this was like... This was him. He's now Miles.

After they record, he walks out of that second session, and he is now Miles with this band and this music. And then he's releasing stuff on Columbia this whole time, too, Peter. By the way, also, like 57, Birth of the Cool, the whole album finally gets released. All those, like, 10 years later. There's 10 inches, speaking of those, 10 years later. So he's having this moment in the late 50s, obviously. I don't think they were, one thing they were graded in the record industry back then was

exclusive contracts. They hadn't mastered that kind of that concept. Listen, like, if you go to, like, Miles Davis, discography, it's like during this time, it's like prestige was released one. Columbia's released in one. Dile, some more. Yeah, exactly. Random. It's all these rando labels that are releasing Miles Davis

albums had to saturate the market. And then he played on at least one blue, well, that was... Cannonball, something else? Oh, that was Cannibal's record, that's right. That was Blue Note. That was Blue No. Yeah. So, we talked about Amat Jamal and Surrey with the fringe on top. We listened to that a little bit.

That is what starts out. The final recording here of Steeman with the Miles Davis Quintet. Again, released August 1961. Another red garland intro. He starts every record. It starts pretty much every tune also. This is from the musical Oklahoma,

which Lorenz Hart I am not a fan. It was not a fan of. You ever saw the film Blue Moon? Neither was Ethan Hawk was not a fan. Incredible. Incredible. Just the whole movie, him just shitting on Oklahoma. It's great.

It's a corny song with the words. Yeah, with the words, but this is not cool. Ahmaud, give it up. Chicks and ducks and geese. Listen. Red. Just doing those tents down there. There's a lot of subtle arrangements.

Like, you think, oh, they're just playing at like a jam session. But there's a lot of arrangements. Even on the balance. Oh, yeah. Like, you are my everything. It's very sophisticated arrangement, very simple. What's that? Blues, they end on this hymn.

I forget, on the end of one of those blues. They end on this, like, hymn by. Beard blues, the train blues. I might be the train blues, yeah. Oh. Like this? A little counterpoint line. Do you think that I like 3-6-5s on this record?

And solo breaks? Man, that's damn near a perfectly recorded trumpet right there. Like you really feel Miles. That's so direct. Oh. Man, Philly must have been a great listener beyond music. Maybe not. That'd be funny if he didn't.

He listens so well. He's always got... He's like the guy. It's like, yeah. You know, like, he's all, yeah, you know. Yeah, buddy, I know exactly what you're talking about. Man, I'm going to skip ahead a little bit. I want to hear some more red.

We haven't heard nearly enough red garland. There's no like, brie. No. Oh. That's a tough little tasty part of the piano to pull off too. Yeah. PC and Philly are dial. They are locked in the ride.

the bass, boom, kick in. This is almost like a Jimmy Cobb kind of... High hat's perfect. Yeah. Like dynamically. Right. Newsflash. Philly Joe can play the high hat.

Philly Joe Jones, the greatest. I've been saying that a lot on this episode. But these guys are just so next level, man. I think that's the other thing is like the level, it's not... Like, train is not like just... He's cutting loose, but he's not like another level. Not from everybody. Like, everybody is right in the A tier.

So, S-tier. That's right. What's the highest one? S-tier. Like, this, it's very even, even miles. That's true. You know?

Well, this is one of good, was going to be one of my hot takes, but I'll do it now because you just mentioned train is not, like, outrageous. Yeah. Train is not quite train yet. That's the thing. He's just getting his train this together. Right.

He sounds like it. But this isn't 1961 train, 1963 train. Where, like, everyone's trying to keep up with him. Yeah. This is like him still kind of like gathering his sound together, He's still looking over his shoulder for Sonny Rollins is what it is. Yeah, and honestly, he's about to, we mentioned Miles coming out of his lowest point to make this.

Trains heading to his lowest point during this time. And he eventually gets fired from this band. Like basically Miles and him get an altercation in a dressing room a couple years later because Train was having addiction issues of his own. Which Miles could have been a little more understanding, having gone through that. Miles is a business band. He's trying to run a band. And so Sonny Rollins actually comes back into the band after that.

But Train would get clean and do this. exact same thing. Trainwood get clean and refocus his efforts and become that sort of like mammoth player that he became. And it's so funny because those two musicians, even though they're the same age, had this like similar arc at different periods. Right. I mean every, we could listen to every tune. Salt Peanuts. Yeah. First time I heard it, I thought someone threw a drum kid down the stairs. It's so good. Oh, effortless swing. Relaxed. So fast to be that relaxed. Literally. There's none of this. We don't think about Red as this chops monster

but Red's like That's choppy as hell That's choppy as hell That's fast He didn't fall behind on me I like Miles kind of Kind of scrubbed up that

But he came back and played it again He's like I'm gonna get that shit You hear that? Because this is not Miles is like You know For yeah that's killer though I love too that these are a mix You know

This kind of is the blueprint too For how Post Bob like hard jazz would be for a while. There's a mix of Great American Songbook standards and of standards by their contemporaries. Like there's Sonny Rollins, Oliot, Woody and You. They got, on this album, there's a monk tune,

Well, you need it. Which has controversial changes as well. There's error change. Sunny Rollins. This is all bangers. This is all the ballads, the mid-temple, the couple of really uptemples. The last track on the album when I follow up.

This is so great. So this was, This was... This is the template that George Clean wanted at the beginning of Goodnight Gluck. Oh, that's what he said. Yeah, with Diane Re-singer. And this is like the temple we did it in every day. The same tune.

I'm sorry, dying did the singer. We did it. It's true now. That's right. Do we get George on the phone? Yeah. Can we get... Sam, can we get George Clooney on the phone?

Friend of the pot? Well, front of ours. I don't know about front of the pod, but... We didn't mention the pot, but we... Assume he already does. Of course. We don't like to rub it in his face. All right, Peter, this is a blast.

You have on here, you know, we had our, if I were a bell from Relaxin. I'll play and tell you what it is later. Right? Ah, the hi-head. You have a couple here that I really like from 1961, another version with Miles. Oh, yeah. Who's this band, you know? This is, um, a few years later.

That's Wynton Kelly. This is the Black Hawk. Oh, the Black Hawk, San Francisco. Saturday night. So it's a little bit, not much faster. Same hits, you know, same. Yeah, yeah. But then...

But Jimmy Cop. And then 10 years later. Four years after that, 10 years after they recorded the original, the plug nickel. They're still playing it, too. Avant-gardeish. Yeah.

Chatter. Still, well, live chatter. Live chatter. Ron Carter, Tony Williams, Herbie Hancock. This is freaking fast. Yeah. Miles''s...

Who, approach. When's the Plug-Nickle album? Deconstructed. Oh. Which one? Was your plug nickel show? The whole box set? I'm down for it.

The 90s box set? Yeah. Yeah, so there's a bunch of these things They're just painting in the abstract at that point But that was like Miles, man Miles took this and you know And he was he was thrifty with the material He knew how to how to take that stuff

Through different bands Let's look about some categories, my friend Yeah, Desert Island track We could do a track or we can do a track or we Why don't we do a track and an album? I like it. Okay. Because there's four.

There's four albums. So mine, I've always been drawn to relaxin. Now I think part of that, that was the first one I had of all these But I think it's the strongest from beginning to end. but I'm also a little bit like, because all the studio chatter on it,

I love that so much. Yeah, it's either relaxing or steaming for me, but I'm going to go with relaxing too. I think relaxin is an S-tier Miles Davis album. It's incredible. And then for the track, I would say Olio off of there. And it's going to be one of my apex moments.

Let's hear your apex moment. Well, my apex moment is the whole track. But no, the transition. If we kind of go towards the end of Miles' solo, I think Miles' solo is so good, but I think Train's really the way he starts the solo, but the transition. Like Miles Primus plays a perfect solo. And PC is walking perfect lines. But the way Train starts his solo.

We're not there, but... But this last eight bars. And then it overlaps. And then we'll train. Oh, my gosh. This is the first train soul I ever learned. I was like... It's a good one.

You can really hear everything without the drums and everything. Oh, and then Philly right here? It's like a... Like a Bulechall thing. That's like that campaign. Street beat. I mean, honestly, you could put any of the transitions

between miles and train... Between miles and train, any of those transitions could be an apex. Like, we've talked about it before. The greatest hands-off in jazz history. Yeah. And this band in general... Now we're hitting on it.

The masters of the transition, the introductions, like going between soul, like, you know, Philly Joe Jones. Little details. I mean,

these are head charts, right? But those little details make them really, really special. And a lot of that stuff, it's so, like you try to do some of this

like we all have, and it's like, it didn't quite sound like, because the inspiration, the impetus for them to play it at the time was so, like,

they had such an awareness of the kind of overall arrangement. And nobody's being greedy on here. And like, Even, even, like, Philly Joe is probably the most obtrusive, but he's being uptrusive, like, hey, hey, like, at the right times, you know, and he, like, Miles leaves, like, he's coming in. So, like, there's this honoring of the overall architecture that really makes all these, these little details and transitions work great. What's your apex moment?

Well, hold on. I got, I still have a desert island. So definitely my album is relaxing, but my track, ironically, is this. It never ended in my mind, the first track on working. One of the great starts to an album ever. It's unbelievable. It breaks my heart every single time.

Even this part. And then when Miles comes in, forget it. No, the whole thing, man. But this piano line specifically, because it's... And, like, PC... Honestly, can I... You know, can I be... We're about to do some radio head on the show.

There's, like, radio head pulls from this kind of stuff. You know what I mean? Like, this kind of ethos... Yeah. Is right in my wheelhouse. And it's honestly also very Amad Jamalish to have that line like that on that triad.

Yeah. All right. See, we got your apex moment. Yeah. My apex moment is from If I Were a Bell and it is that train also entrance. You know, it's funny because I had it was my original one. Train solo break on If I Were a Bell.

I think it's the greatest. It's so good. I mean, it's so funny, we both picked Poloni. We both picked. train entrances. It's one of the greatest solo breaks ever. But Miles sets it off or went up a minor player?

The fact that he's far away from the mic and walking towards the mic playing what he's playing. You're feeling the presence in the studio. I'll never forget the first time I heard it. I almost fell over. Great production. Doing the perfect thing. Philly does the perfect initial fill.

I mean, it's still, you're right. It still gives you chills. It's one of the greatest solo breaks. I mean, it's like, you know, Lewis Armstrong, Westland Blues. I mean, it's like up there. Because that's the thing. Like you take one little solo line, solo break, because the architecture and like the placement of it. But it's just one line.

It's the awareness of what's happening around it. You know, it's like if you built this door, a beautiful door, it's just like sitting on the sidewalk. Go on, go on, paint your picture. You know what I'm saying? It's just sitting on the side wall. But now all of a sudden, but then you place it in a building where it's like, whoa. Oh, yeah.

Yeah, yeah. I can picture it now. You don't go in buildings? You don't open door? Hey, man, when one door closes. I love that you're always like, you have, you have, it's like you have, it's like you have, it's like, metaphors ready to go, Peter. You have these like imagery.

You're an author, man. O'Tour. You're an O'Toore. O'TCouture. Dispoke playlist title. What do you got? If this was a playlist on Spotify, what do you got?

Well, the one I really want to do is New Jersey audio file. Well, it's not bad. It's not bad. Because this is recorded in Jersey at a certain place. But I'm actually going to call this one I'm not going to do that.

I'm going to do Inde Club. Into club Like 50 cent Why? Because this has the This Your Spotify Playlist titles

Always have a duh Or there's always I'm from the streets Man what can I say A Z I like to add Z Martins No the reason is like

Into Club Because bespoke playlist There's other stuff on there Right And so I'm thinking Plug Nickel Black Hawk Oh yeah yeah

Because this is like It's a studio record But to me it's a live record You know it's a working band That's been in the clubs I don't think this is the first time Ahma, live at the Persian,

that would be on there too? Inde Club. Inda club. D.A. D.A. D. Mine, my bespoke playlist title

is contractual obligations. And it's just albums where the artist made it. It's like, Here my dear. Oh, right.

So when you say contractual obligations, with a Z? We can. We can. What are your quibble bits? Quibble bits. Actually,

for me, the only quibble bit I have on this is. Actually, I want to change the name of this category. Okay. Quibble bits or hot takes. Okay.

Okay. So you could either do a quibbleb... Your hot take is that you're changing the quibble bits. Well, the problem is that sometimes I don't have a quibble bit and I really got to reach for one. We can just say, you know, we've said none before. But a hot take is like the opposite of a quibble bit. It's like, I got a hot take. Did I have quibble bits on Money Jungle?

I can't remember. You had a few. You had a few. Okay, so my quibble bit on this, and it's definitely a quibble bit, not a hot take. But it's very slight is the bass sound. oddly enough. But I have to qualify this. You don't love great bass sounds?

This I don't think is a great bass sound. But it's so far up in the mix. That might be a hot tank honestly. Maybe so. PC's playing so good and like hearing the lines. It affects the music a lot. I think actually in a very positive way. So the placement in the mix I'm cool with,

I just don't think it's a super. Do you have any of it isolated any of the bass? Yeah, I do actually. I just don't think it's like a, I've heard more natural, like actual sound how PC sounded. to me this doesn't sound. It sounds good. It's a little like a little bit of a nasal.

I know it's not an amp, but it's it just doesn't sound supernatural to me. But it's, I get it. I mean, like, he's got it pushed up in the mix. It's very clear. It's just, it's not supernatural. But this is a small quibble bit for me.

The piano sound on this record is, actually, I'm okay with. I'm not okay with that. You have some artifacts here. Okay, interesting. I have a hot take. I don't have any quibble bits, honestly. I do have a hot take.

Yeah. Hear me out. I'm listening. This is the greatest rhythm section in the history of recorded music. That is hot. That's red hot. No, it's a hot take.

The greatest rhythm section... In the history of recorded music. I think PC, Philly Joe, and Red Garland, specifically that you know. Can't they just be great? Why they have to be the greatest ever? Well, because it's a hot take, buddy. So Tony Williams, Ron, Carter, and Herbie.

Boo? No, no, no one's booing anybody. I think this is, I think, okay, if it's not the greatest because I realize that is... Wow, you fell off that mountain quickly. I was trying to be, I was... Trying to get a hot day going.

I just think, let's put it this way. There's nobody better. There's nobody better than these three musicians. And let me tell you why. And playing this music, like this kind of arrangements, this period, I could agree that it's the best. Let me be specific of why. All three of them as a unit

are so swinging, the groove is so incredible, right? There's those little details, the transitions, the intros, the things that they play together, the way the ride symbol and the bass lock up, the way Red Garland does his red rhythm, which is like that and a four and a two anticipated. He just calls that rhythm. I know he does, but we have to classify it for contractual obligations. But the way that they work together as a unit supporting other soloists is as good as it can get.

And then on top of that, all three of them are world. class, like top tier s-tier soloists in their own right. Red Garland is a just a complete monster on these albums. He is crushing every solo. I mean, crushing every solo. Incredible language,

fluent language, choppy when he needs to be. Big, spread chords like Arrow Garna, like we mentioned. Philly Joe plays some Arco solos on here that are unbelievable. He's one of the greatest bass solos ever. And, and sorry, PC. And

And Philly Joe is playing some of the greatest, like most transcribed drum solos in history straight ahead music. I just think that individually, they're all the greatest soloists on their instrument at this era, and then, or arguably, some of the greatest soloists on their instruments

in this era, and then as a unit, they are an unstoppable engine of swing under train and miles, and I just think there's no one better. So in summary, you love this rhythm section. Got it. Checkmark. They're right. Stemometer, what do you got?

Five. straight five. I got a four, so we're not too far off there. That's a couple weeks in a row we've been five four. Yeah, no, we've been, well, because this is,

I think it is fair, like I said, you could show this to someone as their first jazz album and you wouldn't go wrong, right? These beautiful ballads. So that would make it lower. Well, lower than a five for me.

Yeah. But there's still good John Coltrane on here, doing some stuff that, like, there's still. But this is some of the most accessible Coltrane, wouldn't you say? It's true. Besides maybe like Blue Train

or something like that. Yeah. Well, even that, he's kind of going crazy. He's kind of going crazy, yeah. No, this is a solid in the middle. Yeah, this is a, this is Taylor Made 5. Okay, the big question.

Yes. Is it better than kind of blue? No. You have no. Well, in total, I have no. I mean, I could almost say relaxing would be equal for me. I love red garlic. I think red garlic.

I'm going to say no. Okay. What are you saying? Wow, I'm shocked. Well, I don't think it's, which, are we saying one in particular? Like, so relaxant, I feel like is the strongest. That's what I'm taking. I'm very close, but I'm not saying better than.

I'm saying equal to kind of blue. But that is, the question is not, is this better, equal, or lesser? I'm sorry? It's a binary question. Excuse me? I've never said, I've said maybe. Pardon me? I've said maybe.

Okay, sorry. Hypocrat. Thou art and joye, un hypocrite. Akutramans. Can we ask chat TPT who gave these out of cameras? I got a nine on these because I really like them. We don't know a lot. We're not going to go in deep.

Only because we don't have time. We know all about it. Yeah, we know. But I do like the one with Reed Miles. That one's cool. I mean, actually, I love them all. That one's different. I absolutely love them all.

I also agree. Nine is a way of them. That's fun that the prestige had a blue note looking cover. That's cool. But they're all really, they're great. Yeah. Up next, what do you got? K-O-B.

Why not? Round Midnight. Same era. Live in Newport. Round Midnight is the same band on Columbia. Yeah, yeah, exactly. I'm going to say round midnight because that's a fun one. Okay, other albums that you might like from that.

Roundabout. Midnight. Roundabout midnight, right? We don't have to do that. Good. Man, this was fun. Awesome. So if you guys like to get some behind the scene stuff, we have a newsletter.

Don't tune out now because we got other fun stuff coming. Not really. We have a newsletter. Go to you'll hear it.com. And we have some other accoutrements of ourselves. Actually, to be honest, I haven't been on you'll hear at.com in months. But I hear this fun stuff happening. Come on this.

No, you spend all your free time on the chat board. You'll hear it.com. There's no chat board. I don't know. I've never been there. Do we still have a speak pipe? We do have a speak pipe. You can leave us a message and we'll listen to it.

We don't know where it goes. But hey, if you do want to go on a deeper dive on any of this musical stuff, don't forget to go to openstudiojadj.com slash y-HI. That's openstudiojad.com slash yh. And you can sign up for a free trial and get lessons from Peter Martin. That's right. Good stuff, good stuff. All right.

Well, until next time, you'll hear it.