You'll Hear It: Full Album Deep Dives with Jazz Musicians - Herbie - ALL OF YOU solo (from iTunes review) - #176

Episode Date: August 10, 2018

Today, Peter and Adam discuss one of the greatest solos of all time. See acast.com/privacy for privacy and opt-out information.

I'm Adam Maness and I'm Peter Martin And you're listening to the You'll Hear Podcasts Daily Jazz Advice coming at you Brought to you by Open Studio That was aggressive man You know I change it up every day Every day's a new day What are we talking about? I don't know

Oh no we're talking about Well we have a question Why don't you read a question But we're talking about one of my favorite souls ever I'm so excited Yeah we have a question from Nome 215 That's like an old school internet handle Yeah people are going backwards with this

I love the trend when everybody kind of came out of the shadows and like you can see their picture. Gary Johnson. Yeah, yeah, yeah. And now I feel like we're regressing. That's all right. Noam. Maybe that's their real name. All right. So Noam, Noam 215, I don't know, writes, Peter Adam, Love the podcast, just wanted to note that in your top 10 solos list, you neglected the greatest straight ahead piano solo ever. That's aggressive. That's why I always being aggressive. 10 A's and an H on ever. That being Herbie's solo on all of you from the Miles record, My Funny Valentine. The phrasing, the interaction, the rhythm, the swing, amazing.

Yeah. While there may be solos of different styles, genres, and time periods that equal herbie's playing, nothing will ever be better. Agreed. Mic drop, peace, we out. So to atone for your grievous omission. Okay. Watch a little gnome.

Would you be into doing a whole podcast on this one solo? Well, that's exactly. Challenge accepted. Yeah. Yeah. I like the challenge. Look, I love this solo. this is one of the reasons I wanted to play jazz.

I mean, like, we talked about a couple days ago about, you know, like really emotional moments listening to it. Every time I hear this solo a bit, I just get excited about being alive. I think it's one of those just transcendental live moments captured of a great band that obviously was captured many times. And, you know, in some ways you can't even say it's necessarily better than other ones, but there is something special about this record. For me, I've listened to it a lot.

and yeah so what we thought we would do with the magic of technology and I see you holding a speaker The magic of a Bluetooth speaker pointing at a microphone That's not exactly Old school here but we're going to listen to And the solo and just kind of riff and jam and talk about it a little bit Oh let's hear it okay George Coleman

Yes the end of George Coleman solo All right check out Okay I don't know how Tony plays that phrase with him but I always thought about that I didn't know it wasn't playing I mean they were just playing a lot and they heard it I mean and like there's a lot of stuff you can go in and kind of nerd out on in terms of phrasing I mean the the top level is just like it's just so swinging yeah but like if you want to learn how to like play triplets and and like they don't play them exactly together

yeah and it's not even the exact same phrase but it's very close but it shows you like once you're into the field and look Ron Carter is really the one it's just like do-hm keeping it down yeah yeah like he set up that that would you call that an ostinado if I would get classic yeah yeah yeah kind of an ostinado but um and they're playing over the form but they're at this kind of section where it's a little bit you know stationary and it's about to jump off I mean just like this is just one of those examples in the whole soul's like this where the form and the function and the trajectory of the soul and all the different pieces for them as a trio come together in a way that like it seems like it would have taken

weeks of like planning and putting on a whiteboard and everything but it just happened you didn't think we could get a whole podcast on this for two seconds into the solo we've already got okay now play the next two seconds i don't know i'm going to back it up so we can hear that phrase again you're listening for the triplets here oh yeah smooth oh and i love that like you can keep playing it but like tony and ron come in on two instead of one yeah oh those ands of one Boom. On the two. That's like a recurring thing on the two.

Man, touch, dynamic, space. Ron Carter, I think he has a good intonation? That's pretty good. As good as it gets. And then that little thing, booting dead. That keeps coming back, but a little bit. I mean, very thematic riff. And this is just like Winton Kelly.

I mean, you hear the Winton Kelly influence. Oh, Adam's got stank face. Stank face. That's so swinging. It is. And like Tony's got that lilt. I mean, Ron is rock steady. Articulation.

And then like Herbie started to stretch out, lay the fall back on the beat a little bit. Put his Herbie stuff on it. Yeah, blues. Herbie's well versed in the Herbie stuff. Yeah, and that upbeat, bang, that's that two again. And then there, I think Tony thought they were going to break it down. But Ron kept walking through it. It was all good.

It's all good. real confident kind of mezzo piano swing quarter notes yeah and then here they're they're in the you know two five three six this is all extended they're not even playing over the form and then this is just a ridiculous triplet set up now check out what tony adjust right here boom and then check out what he does now 16 they're gonna come back to that okay yeah then tony pushes him back to the triplet but a different pattern left hand what herbie breaks it out early totally doesn't care he's with him and then Ron really just like the swing continues but he's just on like four and then they're breaking it down with a little straight eight yeah

the blue level of listening that goes on between these three during this and then this is you know like herbie's yeah he's like I got a hit I'm gonna check on the second somebody's going to break back into the swing. I can't remember who it is. I think it's Herbie. Oh, they all did. Yeah. Yeah.

But this whole thing, I think, as I recall, like, other versions of this, it's all like, they never really knew, they were all scared of Miles. And there was a big argument before this gig. Oh, really? Yeah, but, like, they're just vamp because they don't know when Miles is going to come in. And sometimes Miles would be like, it sounds so good. I'm going to cut you off. And sometimes he'd be like, I think you're getting a phone call.

See, truly a Bluetooth speaker. But it's like sometimes, you know, They would, they just, you could tell, they didn't know when Miles was going to come in. Yeah, yeah. That was funny, man. The phone call really ruined it. We got the apex of the solo. All right, let's get back in there.

And then this was gutsy move to go back to the triplets because they already kind of hit the apex, but they're going to go for another one. So he's got to step it up. You got to go level, level, you got to take it to 11. Come on. I mean, rhythm, man. It's like Big Band, Rhythm. And this is the cue to come out of it. And here's Miles.

I mean, what else? He let him play a little longer than usual. What else do you want? Yeah. Yeah. So the story I heard on this, and I'm trying to remember if it was from Herbie. I may have heard this from Herbie when we were hanging. No, you know, apparently this was at Orchestra Hall, I guess it was, or Philharmonic Hall or whatever in New York, which I believe was Avery Fisher Hall later called that. Or I might be screwing that out, but it was at Lincoln Center at whatever, or the New York Philharmonic.

on a call. And it was like a benefit concert for something. And, like, right before they went out on stage, Miles or his manager, something told Herbie and those guys, like, oh, yeah, there's no pay for the gig tonight. Come on. And they were pissed off it. But they're all scared of Miles, too, you know. And so, yeah, there was kind of like a little bit of a negative vibe. Because it was just weird because this whole record and, I mean, this whole performance, and you know, it's two records. Four and More. Four and More. And My Funny Valentine, they're both from the same concert. And, you know, I always thought it's sort of the most just beautiful, loving music and the fact that they were all pissed off at Miles, you know, it was pretty funny.

It could be a lie to, who knows. That's just group interaction and soloing and thematic development at such an intense level. I mean, all three of them were developing these themes separately and simultaneously and just being so open to everything. That's an incredible solo. Yeah, yeah. I mean, you know what, Nome? you got aggressive with saying

was the greatest solo ever, but I can't say I can argue. Nome was right, man. Nome 215. You know what? Nome is trying to hide in the shadows with that name, but I think I,

I believe 215 is Philly. Is that Philly? Let me check that for sure, but I think that's the area code. So I think this might be a little, we might have a lurker. This might be Christian McBride, actually.

What? This is Philly. Area code 215. Yep, city of Philadelphia. So, Noam, we know where you're at. That's right. Yeah. So, yeah, that's a,

That's a great soul. I learned that years ago. I want to go back and kind of get that back in my fingers. This is fun, man. We should do this with other solos. If you have any suggestions for other solos, you'd like to hear us break down, you know, please leave them in you'll at you'll hear it.com. You can leave a voice message. You can leave a written question like Nome 215 here. Yeah. And, uh, 1965. I was going to say 63. Oh, no, it was recorded in 64. It came out in 65. 24, yeah. Philharmonic Hall of Lincoln Center. And I think that's Avery Fisher, right? That's the same place.

But that was like early on. It's weird because that was like a really difficult for jazz. I played in there before. I mean, they totally rebuilt it. It's like David Geffenhall now. The record sounds great. Yeah, I mean, it was great, great sound of record. George Coleman's solo.

Wow, right before that. We should do one on that. Yeah. No, but seriously, give us some suggestions. I like this format. This is fun. I'll try to turn my phone off or on airplane mode next time. Yeah.

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