You'll Hear It: Full Album Deep Dives with Jazz Musicians - OG's React to IG

Episode Date: September 19, 2022

Peter and Adam check out new and upcoming artists Domi and JD Beck and react to their music. Check out the Domi and JD Beck video right here!Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open StudioLet us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Twitter | Instagram

Hey, Peter. Hey. Are you OG or IG? Oh, gee. Okay, let me think about this. Oh, you're ah, G. I'm IG. Wait, OG.

Is that old guy? Yeah. Yeah. I'm OG. Yeah, we know. Original gangster. Gangster. Sorry.

I'm Adam Manis. And I'm Peter Martin. And you're listening to the You'll hear a podcast. Jazz sprained. You're shorting? I'm going to try not to do too much jazz spaining today. In a couple weeks is just going to be displained. Jazz plain.

Just sprained. I'm going to jazz splaimed. We, man, we had a great time yesterday with our brand new series of our favorite pianists of a generation we did. The millennial generation. Man, they came stronger. Well, I knew it was going to be strong because we chose them. Every generation is kind of strong. Every generation is pretty strong.

Right. But you think that, I mean, obviously when we get to the final, which will be, well, we haven't talked about. We could go beyond our planned. We left pianists out that were born before 1900 that are really good. We could go into the 19th century. We would have to find out the name of that generation. I don't think they did generations before the 20th century. Well, I'm going to tell you one who's in there, it's not going to be on the list unless we do that.

Yeah. Duke Gallington. I know. A couple. There's a couple of really important people that are not. Exactly. So we might do that. But I would say the millennials came strong.

It was just fun listening to them. There's, it gives me so much, it's not even about giving me hope for the future jazz because that's more Gen Z, I guess, right? Yeah. Gen Alpha. Gen Alpha. Gen Alpha is already in their early teen years. Exactly.

Exactly. We might be watching some of their videos on the IG. The OGs might be hitting the IG in a second on our new series. Which is a React series. Because, you know, not only have the secondary channel, our secondary YouTube channel, Peter, we can do... Don't use that an excuse to get sloppy. Don't use that an excuse to get sloppy. We can't go crazy on the series. No, but we can do some reaction videos.

So that's what we're going to do here. On this podcast, we are going to react to a kind of famous video. It has two million views, which is a lot for an instrumental, it's improvised. motivational video. Indeed. It's going to be two OGs, two old guys. Yes. Reacting to some IG, some Instagram musicians. And so we're going to react to a Domi and J.D. Beck video. I know you've not seen this. I've seen of it, but I haven't seen it. I've seen Domi and J.D. Beck. I mean, but I'm really, I'm probably the least familiar for somebody who's as heavily involved in the jazz medium. Yeah. But I'm going to, I mean, is this jazz? Is this? I mean,

I'm already going to get controversial. I know. But I'm aware of who they are. Some people say no. Yeah. I mean, I've heard their stuff. I could identify them. I think the better question is probably doesn't matter. Well, of course. It never does with any of this stuff. But I mean, are we getting above, below, or are we right in the middle of our pay grade with this? I think we're right in the middle. Okay, cool. I think we can do whatever we want here. So let's just start the video and we can pause.

We're going to react. Let's see what we got here. This is from Nord live sessions. This is their original. Love Nord. Big shout to Nord in Sweden. There's my first reaction. action. I don't play it. Send us more keyboards like Domi does. So this is from the Nord Live sessions. Domi and Jadie Beck their original sniff.

Sniff? I don't know. It looks like a stage Yeah, stage three and a lead. Fast, quadruple time trap. Stop. So that's a good setup there. It's a simple chord progression. Yeah. But that's a nice setup into this section. Yeah.

And that's a nice shot. I'm not sold yet. But it's, I mean, great playing. You're not digging it. I'm digging it okay. it's enough to keep going alright let's try how many more okay so that's really

technically I mean obviously the technical level that they're playing is off the charge it's a high level yeah um really yeah

nice setup and then they're going to this like the time is still there and they're hitting it right on to me that's like that's kind of gimmicky like it's great

what's gimmicky like they're in a groove and then it's like that that's like that and like all that stuff to me is just you're juxtaposing um

a little bit of like rhythmic nonsense a little bit in terms of like how it fits with the architecture of the tune now I know I'm early I'm supposed to listen to the whole thing can we just take it back a little bit yeah yeah show me that I'm wrong

this break these breaks are gimmicky well no there's just something disconnected about it it's like everything it's almost so automated you know what I mean like they're playing it so well I'm not saying that they need to mess it up but there's no like fill into it

at least sometimes there's nothing like marking it as some kind of an interesting offbeat organic flow syncopation. I mean, it doesn't have to be syncopation like the Duke Ellington orchestra. I'm just saying something to connect it with a flow in the music. It just sounds disjointed. Like that's not out of time, but it almost might as well be. Like now they're playing the same rhythmic figure in the time. So that's kind of interesting. But this is cool. I like that. It's a melody thing. Like there's got to be some irony to that, you know, something.

So you're just arguing that the sort of the composition, itself is not doing it for you. No, the composition is fine. I think there's a way to play that where there's a little bit of like danger and irony in that. Like they're playing so perfectly. This could be edited together or they seem very technically capable of just nailing this live.

But it sounds the same as if they'd edited it perfectly together. Yeah. All those different parts. I mean, like it's interesting melody. It doesn't really go anywhere, but that's okay. Because sometimes my thing with anything, I don't care about with the groove, the instrumentation, the error. There's got to be something.

that you want to sing afterwards. That could just be the bat, but there's like nothing compelling about that outside of just like, they're playing it right together. That's always compelling to a point. But in terms of connecting it with the, with like the form and the melody or something with the tune, to me it's just like hip shit for four bars, eight bar,

hip more hip stuff, incredible fusion. I don't know. It's just there's nothing that would make me be like, I want to, my soul's going to be moved by this. Now, having said that, how old are they?

Young. Yeah. I mean like 19, 20, 21. You know what I'm saying? Like I would have killed to be able to play like this at that time. They got plenty of time to get soulful. You know what I mean? Yeah, yeah, yeah. But in terms of like and then what about like the gamer music. Okay, I'm gonna get myself in trouble. No, no, that I think that. I think that. Okay, I'm gonna get myself in trouble. That's there's some gamer music. That's, that's where the disconnect is coming in. There's probably some generational things that we're honestly just lost on us. You know what I mean? I always think that like if I don't get it, I always give the benefit of the doubt is that like, I don't this probably isn't for me. Like I don't understand. Right. But that. But that. I mean? I know, but I mean like the groove, the trap vibe, all this. I'm probably using the wrong term. But I know that like where he's coming from and some of these influences drumming wise. You got to admit, the playing itself.

The playing is incredible. And that is itself. His control is unbelievable. Her time and feel is pretty, pretty spot on. But I wonder if like when you talk about like, I love some of the gaming music and the melodies and whatever, I mean, gaming music, that's like a whole, but then we do the same thing with jazz or classical.

Final Fantasy 7 theme? Yeah. So good. But I mean, exactly. But I mean, there's also, you talk about, you know, generational gap or something, incidental music, be it in a hotel lobby or on a cruise or during a gaming situation where your attention is somewhere else or you're multitasking. There's always a need for music that draws your attention in. Now, they do draw my attention in because of the technical skill and some really hip stuff happening. I think we're going to see a lot of the same comments from you when we watch because we're going to do this as with other.

IG musicians, younger musicians who have made their name on social media. To me, this is the sort of main theme about music that gets made and artists that get their name from social media is that it's really flashy really soon. Yeah. Like there's no

there's no like, you know, there's no fusion here of whether a slow weather report build with some or some Herbie, you know, secrets like Spacey Synths for four minutes before the groove comes in. There's none of that shit. It's all just like right to the d'ad, you know, all that stuff like super bad. Because they're afraid, like if you don't get, well, I mean. It's the algorithm.

Peter, we do it the same way with our own videos. You know how they just, now hypocrites. They're just working it. But let's check out Domi's solo here. Because I do think Domi is, like, I'm really excited to watch what she does as she ages. Like, as she gets more and more experience and plays with more people. Yeah.

Even just what she's doing with J.D. Beck. But, like, I'm super. Because I've already watched a couple of years. years of her development as a musician and I love what I'm seeing, you know, and hearing with what she's doing and who she's working with and it's exciting. So okay, check on Domi So I mean, I'm like this. I like your face so much. No, I'm like, I mean, there's some stuff that I love like I hear the influence. I mean, she's a great play. I love her tech. I love the sound, the spirit. Yeah. The vibe. I mean, they're there's they're they're they're popping. What's the

disconnect? What's missing for you? I mean, this isn't like like you're it's like patchwork. What's the difference between what what do you hear with like Kenny Kirkland and and this oh my god why is there such a chasm because the the technique is about the same well i don't look i don't expect any 1921 or of kennie kentnerk it's not about that and you hear a little bit of that influence certainly herbie check check i mean like the lineage of the music is there but it's been it's a little bit like algorithmic yeah i'm asking because i don't think many people would be able to tell you the difference who were just watching this but you i think would be able to have put this in a really I don't know, but I think that the potential impact on the listener from this compared to like,

you don't have to be on the level of Kenny Kirkland or Oscar Peterson. And I don't want anyone going back. I love that they're pushing things forward. I love the instrument sounds. And like, I mean, this is going to kind of a piano on a Nord. You could go whatever. I mean, but it's like, you know, fat bass and like cool stuff happening. But, and I like the improv, but like there's still like the things I think can stay the same,

even as the style of the groove that I love the look of the video. I love the lighting. Like you can bring all these elements in. on social media but like the tenets of the music that hold this together the improvisation like they're making improvises and i don't doubt that she's improvising you can this isn't planned out but it sounds like it's planned out like it sounds like it's edited and planned out in a lot of ways you know i think we all when we're younger to a certain degree probably sound like that because we're very conscious of how we're putting it but you want the spirit of the music to be like

you want some mistakes in there you want there's some danger you want some you want it a little bit raggedy. I mean, not raggedy as in, but just like when you listen to Philly Joe John, I mean, say, look, I'm an old guy talking about me, make it sound like the 50s, man. You're bringing Philly Joe Jones. No, okay. So, no, okay. Greg Hutchinson. Can we get a little hutch? Oh, you're talking about flurries now. Okay. Flurries. Yeah, yeah, yeah. But I mean, I mean, I'm not dogmatic about that stuff. And this is really good. And I mean, I, I mean, I, again, I temper all this with like, they're finding their way. I mean, I would kill to be able to play like that this, this at that age. So this for you is. So this for you is.

Well, like, I like some of the stuff they're playing, but I couldn't listen to this and be like, wow, this is so exciting or uplifting to my spirit. And that's what I look. I have a high bar for music. Sue me. You know what I'm saying? Like I want to. I just think it's so interesting. No, I mean. And it's not like it has to be calm jazz that I'm smoking a cigar by. I don't mind it being like young and upbeat or dance. You know what this reminds me of? Okay. I'm going to put myself out there. Yeah, do it. I'm ready. Hello world. I'm Peter. Okay. This kind of reminds me of Bruno Mars. The same way. that like Bruno Mars, it's really great. Yes, he's regurgitating and rehashing, you know, disco and Michael Jackson and these different eras and the Commodores. But there's a little bit of like, if you've been through that and you know that music, Stevie Wonder, it's like, I'm not so precious. Like, you can't copy that. No, totally copy that.

That's what that's, that's great. But there's like a sanitized version of it. Like Bruno Mars can be, he's so talented and his stuff and his hits are so great in the grooves. But it's so produced. It's so sanitized. you know and this of course is way more daring in a lot of ways and there's no vocals and it's like improv and stuff but it's just like it's a little bit of like sanitized fusion you know turned up with some kind of gaming vibe

and look it's obviously finding an audience and that's great and visually it's really exciting and well shot and I think that's a big part of it as it should be yeah you know what I mean but to me in terms of like how this fits in with like the improvisational artistic world yeah yeah yeah I don't know. It's just not for me. No, I hear you. I hear you. But it could be.

Yeah, keep playing it. Let's keep reacting. Maybe it'll come around. Like that, like that line. Part of it is because, can you pause for a second? Like, what she just played there? Like, maybe this is partly because you're playing a piano sound on a Nord. And Nord's are great, but piano sounds, they don't necessarily excel at, I would say.

I agree. I mean, this is probably better even. Spectronics, for sure. Yeah. No sponsorship. But the idea, like, can you take it back? like 10 seconds. Sure. What she plays here.

Okay, that, right there. That's like, I mean, like, that's so, she couldn't have played it anymore, corrector and just straight and sanitized that line. It was an interesting line, but it needs a vibe to it or something, you know, and maybe this style of playing

doesn't allow that for as much because of the speed and stuff. Yeah. But Kenny Kirkland could. Yep, I hear you. Can I get a hey-hae for 1985? Hello. I'll give you a hay,

especially for the sort of loudness Wars dynamic level that's going on There's a compression to the vibe in a way 100%. But it's not That's kind of part of the sound too. It is part of the sound And look, this is not, I don't want to be like, oh, I hate this. This is interesting. It really is to me. Yeah. It's interesting for me to watch you watch this. This is really fun for us.

Caleb's enjoying it. I can see his lighting up over there. Do you remember? Do you remember dirty loops? Of course. That band. That that, I think, spurred a lot of this in a way. I could be wrong. Maybe they never heard of them. But to me... I know what you're talking about. The Swedish out fit that was like doing all this stuff and they were I think more pre-recorded

yeah I mean but their their stuff was more like I don't know to me it was a little bit more authentic but it was like really like a lot of crazy lines and stuff I love like I don't want people to be like oh because they're not playing a blues okay that's interesting blues I mean that's another thing I think blues has to have

some impact on like almost every music that's like happens that's come from American R&B blues jazz I don't know that like there's a connective tissue there that I think is important you know I'm all about the

yeah you know and it can be anything and you know they've got a little bit of it I'm not saying they don't have any in there but it's a little bit submerged right now we should get them on the show I'm just saying let's finish this solo yeah it's a lot of pattern based playing that's great you know the other thing is like are they like let's just watch

how much are they playing together they're playing very much together with the beat and the groove but in terms of like interacting and listening. They may be, but the way they sound like they're playing, they don't sound like they're listening to each other. But you know what I'm saying? There's not a lot of like what and it's a duet. You know what happens? Spurs the other. Like I'm not saying anything has to like have to stop and they have to do Stardust. I'm saying they could play this exact two. I mean, the tune is fine. It's nothing wrong. It doesn't really go a lot of places, but it's got

enough there that's kind of cool. But it's like you got to play together. You got to feel each up. Like there's got to be that human element. People come to this music to any music to have their souls like touched in some way. You know what I'm saying? And so like you got to like they're doing like hits together. That's great because people love that. People love to have that. But then you got to do stuff that like you're reacting and it changes and you're like, whoa. Yeah, yeah.

And it's a little bit like two machines playing. I like that. That's nice because it seems to people like they're playing. And they are playing together. That was a nice moment actually. Yeah. But there's just these more of that even like because of how they, you know, there was a little bit running into it and running over or something. I mean, the playing great.

I mean, let's make a chart. Let's have Max make a chart on this, the transcription. That's sick. Come on. That's nice. That's fine. I don't know, man. I'm a fan.

I'm a fan. It's all right. It's all right. It's not. I mean, look, there's so much great stuff happening in there. But that's also like, I'm a, you know, I think that when you can do some things really well, even if you're young, that raises the expectation for the listener. And I'm not trying to be, like, great based upon my knowledge of music. No, no, no.

I'm just like, if you can play really well, you know, to, to those who are given much, much is expected. So I'm going to have high standards. If they kind of came through slopping through this arrangement, I'd be like, okay, you don't have to really be together. But it's like, you've got to be banging on everything, not just the technical level, perfect time. I mean, I bet this is like perfectly in the exact time they started that they ended.

But that shit doesn't excite me necessarily. What's interesting about the video we just watched, I think this is on the series that we're going to do. This is a great series. We got to replace me with Hutch. And I think it would be a better, a better show, honestly, it would be amazing. But I think we're going to find,

and interestingly, with all of these, like, think about, like, if this was 30 years ago and they were of that level, they wouldn't be doing their own thing yet, no matter how good they were. Right. They'd be in someone's band. They'd be in Miles's band or something. You know what I mean? Sure. And learning like that's a flaw with the, with the system now. Like, if Joey DeFranchesco was 18 now, he'd be an Instagram, you know, he would have been maybe an Instagram position, you know, so that, like, it's something to think about that difference between just making it yourself. Like, you're saying, like, with much is, when you have that much is, when you have that

much responsibility talent talent much as much is expected but like they you know there's not that same pipeline of like you know older musicians who take people this talented in their bands that's true you know but i think that there's also this platform platforms in which you can kind of leapfrog some of that because we you know the the young guys we had new jazz underground yeah last week i I mean, they're like, you know, they're having some success online and stuff, but they're basing it upon, I don't know. I don't want to get into a stylistic thing because, like, they're playing straight ahead or whatever. I'm not, it's not about that. You know what I'm saying?

But they seem like that they're taking a more authentic approach without being like, I've got to be a, I mean, this could be the, the Jacob Collier effect to a certain degree. Oh, we're doing him next. We're doing him next. Yeah. I mean, now, that's a different story. We'll get into that. I definitely have some thoughts on that. But I just think there's, but look, everything is supposed to be for me.

Look, I love Stevie Wonder. I love Herbie Hancock. I like Shirley Horn. We know, baby. I like Brad Melda. I like Robert Glasper. I like you. I like, you know what I'm saying?

I like great music that I think is great, but that's not the only great music that's out there. You know what I mean? And so I love hearing this new stuff. It's just for me, the bar is very high on like what's, I mean, I spent this morning listening to Ron Carter and Roberta Flack, you know, on her record first take. So, I mean, my standards are high. Yeah. So, I mean, you know.

you know, J.D. Beck and Domi, my apologies that, but, you know, somebody that comes to mind a little bit, just in terms of just a lot of technique at the piano that I heard live recently is Haromi. And, you know, I wouldn't put them in the same category outside of the fact that, like, she can play all this incredible. Technical brilliance. But I mean, soaking all the pianos we have on the millennial list, too. Yeah. But they're not necessarily as, like, she does, you know, some experimental things and writes her own music and kind of goes crazy. Some people kind of like, oh, is she just about the flash and everything? And, you know, and she's, and she's, She's had big videos like fascinating rhythm stuff where it's just like, but to me she's always like, there's always that danger element there. Yeah. And I like that. I love hearing your thoughts on this because so many people just automatically give it up to the chops, right? Yeah.

And because they are young and exciting. Like it's exciting to hear something that's that different from most things, right? Right. And that that's that like crazy like what is happening. Yeah. You know, with the chops and everything. So I love hearing you like not give it up so easily. It's so wonderful to hear me.

I gave it up to the chops. No, I mean, like there's no. that they're amazing musicians, it's gonna be great to hear what they do. But I think you're right, like it's not as earned as, there's even like something like Haromi or Robert Glasper, like,

Robert Glassford was in Betty Carter's band still and like did this sort of like mentorship thing that happens. And a lot of the people that we're gonna listen to in this series and the OG listens, what is it OG on the IG? OGs listen, react to IG. A lot of the people-O-G-G-Ract to IG. But we couldn't even figure out how to do it on IG,

so we did it on YouTube anyway. I know, I know, I know. That's how OG we are. It's so funny. Well, cool. Well, thanks. Yeah, man. Super fun.

That's right. All right. Until next time. You'll hear it.