You'll Hear It: Full Album Deep Dives with Jazz Musicians - Miles' Greatest Album - You're Welcome

Episode Date: March 24, 2025

Could Miles Davis’ peak performance come alongside a bunch of kids who weren’t even getting paid? In this episode, Peter and Adam dive into one of the greatest live albums ever captured, My Funny Valentine: Live at the Philharmonic (1964). We explore how Miles Davis, sideman George Coleman, and a young rhythm section (Herbie Hancock, Ron Carter, and teenage Tony Williams) made jazz history in real time with their one-of-a-kind (unpaid) voter registration benefit concert. Learn how the quintet remade Miles’ go-to standards (“All of You”, “Stella”, “All Blues”...) with their conversational, free-flowing, spacious playing – and hear the evolution across Davis’ career. Join us as we break down these incredible performances and prove why this underappreciated live album captures Miles’ greatest playing ever (at least for Peter’s ears).🟠 Open Studio Members → Nerd nook ABOUT OPEN STUDIO------------------------------------------------------------------------------------------------------------------------------------------------------------As the premier online jazz education platform, with an ever-expanding course library and 20,000+ members, Open Studio (OS) has everything you need to excel and thrive on your jazz journey.Featuring everything from beginner to advanced lessons, engaging courses from A-list instructors, step-by-step curriculum, real-time classes and a thriving and incredibly supportive community, OS is the perfect platform to level up your jazz playing, whether you’re a total beginner, or an advanced pro-level improvisor.Try OS Membership today! → https://osjazz.link/aboutAll about YHIhttps://lnk.to/youllhearitYB

What's up, Adam? What's up, Pete? Recognize this? Yes, that is all blues. Yes, indeed. Do you like it? I wouldn't say I like it. I would say I love it.

Oh, woo. Good. Did you know? It's from the greatest Miles Davis record of all time, clearly. So you got to be talking about kind of blue, right? Wrong, sir. It's from my funny Valentine's. live at the Philharmonic, 1964.

Okay, geez. And I'm Peter Martin. And you're listening to the You'll Hear It Podcast. Music Explored. Exploid, brought today by Open Studio. Go to Open StudioJad.com for all your jazz lesson needs. Peter Martin. I'm writing that down.

Hold on. Yeah, it's opens. It's with the S. Yep. Studio. Two Zs and jazz. Dot com. My name has two Zs.

Martins. That's. Well, that's my family's name. The Martins. The Martins. Onesy, actually. Yeah. All right.

How you doing, man? Pretty good, man. How are you? I'm good, I'm feeling great. Peter's wearing a very colorful, colorful cardigan, and it is delightful. Yeah. Thank you.

This is the beautiful and talented Kelly Martin purchased this for me last weekend in Palm Springs. I dig it. In case you couldn't tell. It's the most Palm Springs cardigan I've ever seen in my life. Shout out Palm Springs International Jazz Festival. We had some fun out there. Peter, I'm excited about this one. Man, no, I'm excited.

I know. This is one of your all-time favorites. This is not one of my all-time favorites, but this is your... Can we turn you around on that today? No, no, no. I love this album. Don't get me wrong. But I think I don't have the history with it that you do.

That's what it is. Man, what a joy and a privilege and an honor to be able to, like, live in a world where... In a world. In a world. No, where, like, records, man, these things, this is gold. If you wanted to give me this versus a gold bar, I would take the gold bar because I could go probably buy a thousand of these, right? No, I'll just stream it then.

No, but I mean, what a great contribution. you know, thank you Miles Davis, thank you, Herbie Hancock, thank you, everybody, you know, was it last week or next week talking about Michael Jet? Like these records, and yeah, you're right, it means more to me in a way because this is what made me want to play jazz. That's okay. You know what I've actually noticed. This is my Largo. That's your, for you. That's what so, but I have noticed, man, haven't you seen this? We've bet so many amazing musicians here at Open Studio. Yeah. Like, literally scores and scores of some of the greatest jazz musicians in the world. Yeah. And the thing I've noticed the most is, most of them don't know a ton of music. They don't know every album from every artist, right? But all of them have like their favorite 10 to 30 records that they know very, very deeply. Yes. And so like I think for some of us, we think like,

oh, I got to learn all this music and understand. Like, it's always great to listen to as much music as possible. But I'm telling you, most of these great artists, they have like, they have a stable of albums that are their go-toes again and again. that they're, their touch points for the albums that have affected them deeply. And I know that for you, this is one of them. Yeah, and I think, you know, as a listener or as a musician, like having things, and I mean, this is always what's great about, like, having the LP in your hand,

because it kind of focuses you on what music is in here. Like, you have your phone or the iPad. It's like, yeah, you have infinite music, which is great. But there's something magical about, like when you talk about... That's your music. That's your record. Exactly. Exactly. And it's like, I have a relationship with this record,

with the liner notes, which I actually don't think are great on this. But it doesn't matter because this is like... my connection with them. Acutramounts. Yeah. But yeah, so this is Miles Davis, My Funny Valentine, in concert from 1964,

live at Lincoln Center, what, you know, was Philharmonic Hall, what it used to be called, then it became Avery Fisher Hall. Now it's David Geffen. This is a very important concert. This was a really sort of

an interesting place to kind of dive into Miles Davis's sort of like the juncture of his career then because he was just starting with a new younger band. You know, he kind of had these, like, big quintets. You know, you've got, and I mean, look, there was different iterations of them, but you really look at the quintet with John Coltrane on saxophone, Red Garland, Paul Chambers, and Philly Joe Jones in the rhythm section.

And then a little bit of an adjustment there to Winton Kelly at the piano. And then, of course, there was, you know, Hank Mowley, Sunday Rolls, different people. But really was like the Coltrane quintet. Bill Evans on piano for a minute in there, too, of course. But then you've got that from that first quintet with John Coltrane going to the next great quintet. quintet with Wayne Shorter. Yeah. And that's with the rhythm section of Herbie Hancock, Ron Carter, and Tony Williams. Which is not this. Which is not, well, it's the rhythm section. Herbie Ron Tony. It's the kind of the beginnings, the transition. It's the beginnings of it. It's a live

record. It was a benefit for voter registration in Mississippi and Louisiana. JFK was just assassinated a couple months before. It's 1964. The Civil Rights Act hadn't been passed yet. There was a lot of political upheaval in the country. Miles Davis famously, you know, for a famous black artist at the time was speaking out a lot, a lot of controversy. So like him doing this concert, there was a lot attached to it, you know. And he's got this young quintet. Tony Williams was 18 years old when they made. It's amazing. Actually, I think he was actually 17. I put down 18. I know he started playing with Miles when he was 17. Herbie was just 23. Ron Carter was 26. And then George Coleman was kind of one of the saxophonist. There was Sam Rivers also after that before got to

Wayne shorter. But George Coleman just like, some people might say that this was the best improvising on this record was George Coleman. It doesn't get enough to do. He crushes this album. He crushes on here. He sounds so good on this album. So it's a very, like it's not really a band yet, but as we're going to hear, it sure as hell sounds like a band, I would say. And then this was an interesting place

just for the U.S. Like the Beatles were on, like just a couple days before this. Like within a week, the Beatles was their famous, you know, Ed Sullivan show appearance. So like everything was turning pop. You know, Miles, everybody was kind of like, oh, he went pop. He actually went kind of rock and electronic

instrument. It's kind of late compared to other people. This was still very steeped in jazz, and he was playing a lot of his original repertoire of standards that he'd been doing for years. Even Herbie at this point is playing some funky stuff on his album. Yeah, yeah. The Blune-Nold stuff. Yeah, this was still very straight ahead. And so

this concert happened, right before they went out on stage, Miles told this young band that was kind of in awe of Miles, because he was the man. Yeah, yeah, yeah. He turned to them and said, oh, by the way, this gig, this is a benefit concert. No one's getting paid tonight. Oh!

And we're making a record. We're recording it. So there was apparently like some dismay, a little bit of anger. I'm sure that went over well. Yeah, but they were scared of Miles, so they went out and did it.

But there was some pent-up kind of funny feelings. So they didn't think they were going to be making a great record. Little did they know they were going to actually make two great records. This, my funny Valentine,

which was sort of, you know, like three ballads and two kind of mid-temples, well, one of them's a blues. And then four and more, which was all the up-tempo stuff where they were just firing and really pushing the tempos.

And I don't know. Some people say they sounded angry because they weren't getting paid. I think that's reading a little much into it, because you hear on this record. It's fun to imagine, though. I'm sure it was a little vibe. We've all been there before,

but it's like, hey, there's not paid. There's an honorarium. Do you feel honored? Yeah, no. I mean, sometimes that's the energy that comes out on stage, too. Yeah, exactly. So, yeah, five tracks,

three ballads, one sort of medium tempo with all of you, all sort of standards, and then all blues. All blues on here is really interesting. We'll get to that a little bit because that, of course, famously was on kind of blue. Yeah.

So that was sort of the modal part of this. So Miles is still playing around with, he's not like full in on like as big of a record as that would become kind of blue modality. Oh, wait, was that blue's kind of blue? Miles' greatest album? Up to that point. Up until you heard this one. Okay. Yeah.

I mean, it's a new direction, but it's just not crystallized yet. But it's such an exciting place to kind of listen to this group. They're super young. I think this record and certainly this rhythm section is the most, you know, you're talking about Herbie Ron and Tony. You know, it's always like Prince, Michael, Michael Jordan, Michael, Michael, you know, people who have one name, Sunny. Sonny, Sonny, you know, one name. But what about three people that go by one name? Herbie Ron and Tony.

Yeah, and Miles. And Miles. Well, yeah, of course, mild. But, I mean, this rhythm section, I think, was more and continues to be. This is the rhythm. And of course, you know, Herbie Hancock, Ron Carter still with us. Very much so going strong. George Coleman's still with us.

And he was the oldest guy in the group. Amazing. Let's listen to some music. How about the first track? So the first track, yeah, my funny amount of time. It doesn't get any more standardy than this. But check this out. It's amazing, man.

I was listening to this yesterday in preparation for today's episode. And I was like, oh, I know why Peter loves this album more than any other Miles Davis album. This might be, and here's my hot take. Yeah. This might be the best recorded Herbie Hancock ever. This might be Herbie's best ever performance on record. And that is saying a lot. You mean his playing or the quality of the piano?

The playing. I mean, both. The quality of the sound is great. Although I do have some quibble bits about the sound quality. But Herbie's playing on here. is so swinging, so Herbie, it's so pristine, he's so free with his ideas. It's better than the plug nickel, his playing here. It's better than a lot of his solo albums that he made, I think.

Just listening to it yesterday, I was like, this might be, this might be peak Herbie, especially of this era. Like, he's done so many great things over the years, and I love everything he does. But this playing on here might be the best of the 60s. And it's interesting to, yeah, I mean, I've always kind of shied away from saying that. It's kind of my favorite in a way. And I feel like I haven't grown enough because this was so early for him, even for the miles period.

So it's kind of like he did progress passes, but there's a restraint. For sure. Yeah. But there's something about... There's a clarity. And like he's, like, you can tell he's kind of nervous. And we're going to hear like a little bit of interview where he talks about, like, he's not nervous. He's a little unsure.

Like he's like all of them are. Like Ron steps in. But there's a tenderness. There's like a gentle vulnerability, a gentleness between the... Tony, I mean, 18 years. 17 years old? Come on, man. I think for Herbie,

he's 23 here. Miles is 38. I think they're in this point of their mentor-mente relationship where Herbie's sort of like coming out of the clouds and starting to realize some things. And he talks about it in his book.

And you can hear it on this album kind of happening in real time where you can hear Herbie to go to the next level of his playing. And he becomes this player that he ends up being in the late 60s and 70s, which is just freer with himself.

Yeah. And of course, there's stuff that he's doing now that eclipses this. I can hear that. Guys playing more at 84 than any of us could ever hope to play. I was unbelievable. And so he'll probably look back to this. But I can tell you that this kind of playing on this, on this whole record, hugely influential for our whole generation of pianists, like with just specific ways of approaching.

And it's very, like, crystallized and simple. And it's not really that simple. But compared to a lot of the things like you're talking about plug. Well, plug nickel, he's starting to learn what not to play in single. And that was just a year later. See, that sounds more, he sounds more nervous on that than he does here to me. Well, that was, yeah, that was a kind of different thing. But check this out.

So My Funny Valentine, now we might say, okay, this is six years, seven years apart. But this is how much, because this whole record is like tunes that Miles had been playing a lot for years with several different bands and stuff. Like, he was known to recycle this repertoire all the way well past this plug nickel, all that stuff, all the way Sam Rivers, Wayne Shorter. But this is 1957. I think this is red garland. Yeah, definitely red garland. Yeah. It's like another era, right?

Oh, it is another era. But it's only seven years apart. This is jazz. Yeah. But, man, Herbying them freed things up, man. I mean, this is killing. I love it. It's just...

That's great. Yeah. But the freedom that was happening, the liberation was happening. Now, okay, so I'm going to give you another one here. I'll do it in reverse order this time. This is Bill Evans, 1958, with Miles Stella by Starlight.

Paul Chambers with the bow. Really great intro. Yeah. And then check out Stella by Storby. Herbie Hancock, 1964. One of the greatest intros ever. Amazing. Very Bill Evans.

That's what I'm saying, man. This is Herbie at his best. This way of a company. I'm going to the B flat. I'm going to B flat, man. But I mean, like the freedom on this and what it does for Miles. Like Miles was, I mean, I'm oversimplifying and glamorizing and what else am I doing? But I mean, it's like, it's like Miles was waiting for this.

No, he progressed to this. he gave that space. They didn't talk about any of this stuff. That I know. But it was just like very much like the give and take in that pull. And it happening at Philharmonic Hall on this like really important evening.

Like jazz wasn't played there much. And like none of them had played there. Even Miles hadn't played. Miles had played in Carnegie, but none of them had played in Carnegie. Yeah. You know, I mean like jazz in the film, I mean, it had been a lot of stuff.

But for these musicians, this was a huge deal. And maybe we'll even throw up a picture of this, what Philharmonic Hall exists. You can still, the outside the shell is still there with David Gaffman. But it's just been built like a couple of years before. This was like modernist on the... Yeah. It was the... And I played in there

recently, you know, like over the years, it's an intimidating place. It's a big brutalist. Is that great? It might be brutalist, I don't know. It looks brutal. But this was a big deal. So... Architects nerds, come at us. The thing is, or film nerd. The thing is, too, I love about this record, it sounds so intimate. It does. You know, it doesn't sound like you're at the vanguard kind of intimate, but the fact that they did this, and that's kind of a tough,

or it's a big, it's made for the New York Philharmonic. Yeah. You know, the fact that they, I think it's really well recorded. Yeah. And, um, well, let's get to some desert island tracks. So your desert island tracks is Stella by Starlight. Oh, I kind of jumped ahead on that one. Let's hear a little more. Okay.

Maybe we'll jump. We heard that part. Let's jump into kind of the middle. Yeah, so Tony would. Oh, once it's right to an apex moment. Swinging. And the way this segues to George Coleman. Oh, pick at the cold.

Oh. Did we miss the? Yeah. But it's almost shocking when you hear all those people clapping, because you're like, wait, it's so intimate. Shout out George Coleman. Tony. Ron.

But it's like, you know, beautiful. George Coleman's playing off the chart. But this way of playing as a rhythm section, like this really informed everything. Up until today, so influential. Ron and Tony, Herbie's, I mean, you hear, he's already using space,

the way he's playing in between the cracks It was such a philosophical way of approaching the music in such a playful but serious but beautiful and just cultured, you know, technically proficient but just like, damn, you know. And you already mentioned the teenager Tony Williams here. Yeah, but he is literally changing drums during this era.

He's changing how the drums sound, how people play the drums, even the feel of the eighth note and the quarter note in a way that will be copied for decades after this. My death. Desert Island track is all of you. And this is going to line up because I know your Apex moment

is part of all of you. So maybe we play a little bit of... Okay. Is this the version of all of you that's your Desert Island track? No. But that's good. That's a good one.

Yeah. Joe Jones. I like this one, though. It is good. Red Garland. But you know what's interesting about this? And now we're going to listen to the 64 version.

This is probably the closest, this kind of a tune that they were. Check it out. This is from the current record. Almost the exact same tempo, but a little play, you know, octaves of me. Woo! Ron Carter.

Hey. And this kind of like vamp-like movements and they're still playing over the form, but it seems like they're going to a band. Is it the piano soul you're interested in? That is your apex moment, Peter. Oh, sorry, I'm getting the head of my best of that. Well, what were we doing? Oh, Desert Island. Okay.

That's my Desert Island track and your Apex Moment. This album is my desert island track. The whole thing is the desert island track, yeah. Okay, so Apex Moment. So let's go to Herbie's solo. This is the end. The same track. I love the way they overlap each other.

So I got Tony and Herbie here. How did they know how to do that? Two, three, four. Ha! Hey! Do you? A little big four, big two. Diminished.

Oh, break it up here. I'm telling you, man. Herbie was on it. Oh, man. And the freedom with which they're playing as the rhythm. Yeah, they're swinging, but then they break it up. They ain't scared of that. Now they're vamping.

26, 251. Ever heard of it? Check out the left hand here. Come up. Oh, next time. Left hand here. I got to say, man, I think Herbie might have nixed some of your stuff. I've heard this before.

Yeah, man. Man, this stuff is like... So, yeah, this kind of play, like, a lot of my... My whole conception of playing jazz piano is based on this. It's really weird, because I have heard you play almost exactly that kind of stuff. Yeah. And I was like, man, how did Herbie learn that from you way back then? That's crazy.

Okay. I was minus seven. Yeah. I mean, to me, like, if there was one solo, I was like, I have to... I can only use one as a reference. That's it. And it's just crazy. It's an amazing soul.

By the way, if there's any young pianist or beginner pianist, and you want to start transcribing, that's a great one to start with. Absolutely. My apex moment is the entire, the entire beginning of how I thought about you. The way that Tony specifically comes in, could you have that on your iPad?

I thought about you. The beginning. It's, Ron's kind of running the show on this. The second chorus here is. Maybe people, wanting to stop playing. Let it roll, let it roll.

Yeah, Ron is so solid on the base throughout this. And you'll hear the rest of the band, bounces off of him. Oh, I know what you don't know. Pressure valve. Release. I think this is Miles' best point. I think this is Apex Mile.

There's some good Herbie on this track as well. Herbie gets like straight ahead swinging on this track. Yeah. Playing freer than everywhere. It's crazy. It doesn't happen without Ron Carter on the base, holding it down. A marching band there?

He's doing that throughout this whole hour. That's all I like. Oh, man. That's all you need. That's so good. Let's get into some more categories here. Let me just play it because you're talking about it. I thought about you.

This is some crazy. That's 1964. This is less than a year later. I thought about you. Plug nickel. Yeah, plug nickel. Wayne's true. Like this, that's some progression.

I mean, you hear where it's like, it's not that crazy thing, but Wayne brought it like a whole other thing. Is this apex moment for Miles' trumpet playing? It might be. It might be. On record.

This might be the apex moment for Miles and Herbie. in the 60s. It's not quite for... I'm talking about Miles for any time. Anytime. It could be. And I think technically I think he was at his high point. And I know some people would be like, oh, but he's, like, he's so, like, there's that intersection of freedom and technique, like, he's,

his range is so fantastic, his tone. I think he was so free. He didn't care, like, he was able to go for things on, I mean, a lot of other stuff. Yeah. Like, he always had like little, you could feel little technical limitations sometimes. I don't know. Not on this, though. Mid-late 50s miles was pretty technically sound. as free as this. He wasn't as free as this.

I think he found his... That's a good take, though. That's a good take. Bespoke playlist title. If this were a playlist on a Spotify or Apple Music, what would you call this? Greatest live albums ever. It would be in the playlist of greatest live albums. Never. I mean, of any records. Ever. I mean, of any records.

I have... This could be in a playlist entitled, audience participation. Because there are some moments here. That's Wes Anderson's West Anderson. Yeah. The saxophone. this great Wes, Wessel Anderson. Okay. That's his father

saying, yeah. Yeah, there's some really good audience shouting out moments here. Up next, Peter, if this were paired with another album, what would follow this? Okay, so I've got four and more. That's an obvious one because it's from the same concert. Great record. I don't think it's as good as this record. No, I shouldn't say it's not as good. Huggianian. It's the same guys.

Same band. To me, this is one I gravitate towards more. Plug Nickel, 1965. I mean, that's the original record, but then the whole box. I mean, that's like a whole world. But that's a very similar band in this. And then speak no evil, because that was just a few months after the same band, but without Tony, who you would think, oh, that's not

going to be any good. It was very good. It's with Elvin Jones on drums. Wayne shorter, of course, Freddie Hubbard, Herbie Hancock, Ron Carter, Elton Jones. That's a good call. That's a good take. I have, I'm on Jamal's live at the Pershing, but not for me live at Pershing. Another great live album. I think we'd pair really well with this. That'd be on the greatest live albums ever. Yeah, it's not the same kind of vibe, but actually there are, like, listening to all of you,

like that little boom, boom, you could hear that. Oh, Miles was hugely, like, he admitted to copying arrangement stuff from a mod. He said it was his biggest influence. I would also put Nefertiti right next to this. Great record. From any other record from this band.

ESP, Sorcerer. With Wayne Shortoff. Steps to have, seven steps to have it. Quibble bits. What are you got? None, because this is a perfect record. Perfect live record. I'm going to say that the sound quality on the trumpet

sometimes gets overloaded. Like, it sounds like he's pushing, like I wish the engineer would have just been able to write it a little bit more because it sounds like he's kind of blowing out the channel a little bit. I could be wrong. You're looking at me like you want to punch me in the face. I don't want to punch. I mean, so what you're saying is the sheer force of humanity

that Miles Davis was exuded on this was somehow stifled somehow by the engineer? No, no, no, no, no. I think it would have been, if it wasn't a live album, I think we would have captured, especially Miles' as full-throated trumpet sound, not with the mute, but like, I got you. Open. I think we could have got a little bit nicer tone. But I think...

In general, the rhythm section sounds amazing. Yeah, and I think because Herbie's... The piano sound, to me, like so many great Bluno records from this period, but to me, this is a superior... I mean, it's live, so you can't compare it to RVG, but you can. You know, these classical spaces have the pianos, man.

They've got the pianos, the thing was just set up right, is mic well, but I hear you on the miles. Snowmometer, is this a really snobby record? Is it a 10? Or is it not a very snobby record? It's a one. I think it's like an 8,

but I put a big question. question mark because I don't know that, like, I don't hear a lot of like, like, I mean, I think plug nickel, like when you talk about this rhythm section, that's one that people like, oh, do you know, that's snobby, right? But then this one is not talked about, I don't think enough for being up there for what I would say is a good candidate for the greatest Miles Davis playing, if not Herbie in the 60s. Ron Carter, I mean, come on. As many. Tony? Yeah.

Of the whole band. George Coleman, we've already said he might have stolen his album. Yeah. So, I mean, to me, that. That makes it snobby or not snob? I don't even know. I feel like this. How about Linda feel about this? She wouldn't like it.

It's a little too. I think it's the seven for me. So it's not quite a snobby is something like plug nickel, which is very spacey. Yeah. Or, you know. Because some snobs might be like, oh, they're doing all those same standards. They weren't hip until they were doing their originals. Agitation.

Yeah. I think the standards helped to draw it down a little bit into not a snobby for sure. Is it better than kind of blue? Yes. No. No. Well, you say yes, I say it. You know what? 50% of us are correct 100% of the time on that one.

Yeah, I think it is. By better than do I enjoy it more? Slightly. I love K-O-B. But I think, you know what it is? It's live. It's live and it's like Miles is going for it. And to me, that's Miles that is most exciting.

I agree. I think the rhythm section is probably a better performance. I think Miles might be better for me on Kind of Blue. And I think Coltrane and Cannonball had so much to Kind of Blue that it pushes it over. over the edge for me. Yeah. Apples and oranges. Acuchamance, album cover. I mean, I give it a nine,

which is funny because I never thought about this as this great album cover, but I think proportionately, like it's such a great picture of Miles because he was such a, you know, the Dark Prince was not his nickname, or so I don't know if somebody called him. But I mean, like Miles

was an enigma for sure, for a lot of people. I had the pleasure of meeting him. I actually played on a concert opening form one time and so in 1990. And he was really kind and nice to me. He knew I was from St. Louis and had greetings and stuff. So like, but a lot of people he rubbed the wrong way, whatever, blah, blah, blah. To me, this is kind of cool because it's like, it's a little bit in there.

The suit, the color, the proportion, the font. It's great. We're going to go out. That's a nice suit. What can I get that online? We can't get that anymore. Okay. We're going to go out playing with Give It Up for Bob the Boo on the bass, Caleb Kirby on the drums.

We're going to do a full version here of the all blues that we did in the beginning. And by the way, Peter, you're going to be able to see, we're going to fade out on the end of this full version and go out. But we are going to record a full version as we do this. And we're going to link to that full version here in the description. So you can check out the full version of the performance. We might be starting our own performance YouTube channel here with our Open Studio. His eyes are like quivers as he says. Just be on the lookout for the full.

We'll link it somewhere. It'll be somewhere. We'll have a full version. Sounds good. Until next time. You'll hear it.