You'll Hear It: Full Album Deep Dives with Jazz Musicians - Our 7 Favorite 2 Feels

Episode Date: August 9, 2019

On today's episode, Peter and Adam answer a SpeakPipe on some prime 2 feel examples. Wanna send a SpeakPipe of your own? Sign up for You'll Hear It Premium to access our SpeakPipe hotline! Go to https://www.openstudiojazz.com/yhi for more info.Our 7 Favorite 2 FeelsMiles Davis - "It Could Happen to You"Oscar Peterson & Benny Green - "The More I See You"Sonny Rollins - "St. Thomas"Oscar Peterson - "Sandy's Blues" https://www.youtube.com/watch?v=ej9xoFYS3ScHank Mobley - "Remember"Joe Henderson - "Johnny Come Lately"Brad Mehldau - "Solar"BONUSYou can listen to all of these on this handy Spotify playlist: https://open.spotify.com/playlist/5dFhgBk6879lqHF8fgaCvv?si=LiyydUiVS4-naRi71cXZ0AAnd for the rest of this week, you can still sign up for the Charter Member Special. You'll Hear It Premium and all the benefits that come along with it for only $5. Go to http://youllhearit.com/podcast/ to sign up.Tune in TODAY at 2:00 PM CDT for a very special YHI Live! Watch Peter and Adam record some episodes live from the PodCave while they take user questions in between episodes. Plus, we just might have some giveaways to offer during the livestream. Check out our YouTube channel, and don't forget to subscribe while you're there!Like those You'll Hear It shirts Peter shows off on the podcast? Want some YHI swag of your own? Take a visit to our store! Just go to https://teespring.com/stores/open-studioLet us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel and leave a comment for this episode.Interested in more jazz advice? Go here to browse our catalog of jazz lessons and courses available for purchase.Follow us on Facebook, Twitter & Instagram at:https://www.facebook.com/heyopenstudiohttps://twitter.com/heyopenstudiohttps://www.instagram.com/heyopenstudio See acast.com/privacy for privacy and opt-out information.

Hey, Adam. What's up? Feelings. Nothing more than feelings, two feelings. Makes no sense. I'm Adam Manus. And I'm Peter Martin. And you're listening to the You'll Hear Podcast.

Daily Jazz Advice coming at you. Now coming at you now, I'm looking here at the Trello card that we have for this episode, and Andrew has already put a big red label of false start. I'm not even looking at that because I'm looking at the YouTube. I'm looking at YouTube. We love you YouTube. Oh, yeah. You know what?

You have something going on on YouTube today. Today, if you're watching this or listening early in the day, today is Friday, August 9th. And this afternoon, I mean, if it's after this afternoon for you, central time, forget about this. But if you're watching now, tune in at 2 o'clock. Maybe you're at work. That's perfect. Free Internet, right? Tune in at 2 o'clock, St. Louis time.

So that's Central Standard Time. No one knows where St. Louis is. Nobody else. Chicago time. We're always under the umbrella of Chicago. So 2 o'clock, 3 o'clock East Coast time. 1 o'clock Los Angeles. No, no. No. No. No, noon Los Angeles.

1 o'clock, Denver. Yeah. Okay. So 1 o'clock Winnipeg. That's right. Yeah. Yeah. So anyway, 2 o'clock central time. Tune in. We're going to be doing, we're going to be live streaming right here on the YouTube. Yeah. On the Open Studio YouTube channel, link below. Yeah. And you can watch us make the magic happen. Heck yeah, man. Yeah. Which is not that different than just watching the actual episode. But we're going to have a little banter, a little witty banter this afternoon.

We're going to say. too. We're going to take questions. We're going to do some special stuff for the premium members, but we're going to do some special stuff for everybody, right? That's right. Okay. Maybe a giveaway or something. I don't know. We'll see. Yeah, we'll see. But anyway, yeah, so that's happening to it. So we got a question today about the two feel from premium member April. Let's check it out. What's up, April? Hi, Adam. Hi, Peter. It's April from North Carolina. I love you guys. I'm a premium member. I think that proves it. No. Really. Thank you for everything that you do.

There's lots of stars raining down on you from everywhere. My question builds somewhat on, I believe it was Melody or Melanie's question from Malaysia when she asked about arranging for solo piano. You guys indicated that you might do an at-the- piano session, which would be wonderful. But you spoke about keeping, I love the whole explanation. and advice, but you also talk about keeping things simple and especially working with a two feel. So if you do that session, could you elaborate some on two feel and give some good examples of tunes that use two feel? I think on Miles Davis relaxing, it could happen to you as a two feel, but would love to to hear a further exploration of that either incorporated into that session at the piano or

separately. So thank you and all the best to you guys and I look forward to hearing your voices every day. That's sweet. Thank you, April. Yeah, thank you, April. Okay, first of all, I just got to say, talk a little bit about North Carolina because I heard, I don't know if you know this. April had little North Carolina accent there. That's some inside baseball on that. But I love North Carolina. Both my mother and father are from North Carolina. I'm a child of the state.

And I spent a lot of time there as a young and going to my grandmother's house in Durham. My mom's from Durham. Big shout out to Durham, Duke. And my dad's from Charlotte. Man, I've never been to North Carolina. Not once. But, you know, my people are from there. The mainuses are all living in North Carolina.

That's where like this Scottish folks came. to America. The manis. Are they related to the manis? Yeah, they are. They say menis, which is wrong. Wait, is one of your father and your mother is like your mother is, and your mother, because that would explain a lot. That's more Missouri. No, my dad did the genealogy thing, and all our people came

from North Carolina. And everybody I know who's spent significant time there, including our buddy Jeff Klapp. Yeah. Just has nothing but awesome things to say about it. And I feel like I've been duped. Like, I haven't lived my best life. North Carolina is incredible. You know, my

grandfather was professor at Duke University. We got a lot of history there, North Carolina and South Carolina, going back, way back. But you got the beach, you got the mountains, you got the great cities, you got the triangle. I've been a lot of places, but I've just never been there. We'll have to do a field trip.

We might have to do a little on location. Oh, that be cool. April, hook that up. Well, April, this is a great question. And, you know, we're going to do that premium episode at the piano about solo piano simplicity, about concepts, and we'll include the two feel for that. But right now, let's have a good old fashion. you'll hear it playlist listening sesh for our seven favorite seven favorite two fields i think we should

just start with april's first suggestion her first idea miles davis it could happen to you from relaxing let's do it yeah okay so you know that class class dismissed class dismissed there is right there's right there no okay we can't talk about a two feel we can almost only talk about it with the bass players in a way like that's what lays it down we can do it we're going to get into some some some stuff without bass just to show it. But it's like what Paul Chambers just did, up until that point, he didn't play anything but half notes. Did you realize that?

He didn't do any. And then he just at that moment where we rudely cut him off kind of went into a little bit of alteration. But it was just like boom, boom. So yeah, of course, it's the whole rhythm section. But it like comes from the base. You've got to be confident on that two feel to just hit that half note. How many times have we talked about practicing?

And when we do that at the piano episode, we'll definitely hit that up talking about these tunes to practice with just that half note in the left. left hand because we've got to be able to give the feel without the, you know, it's kind of like, can you bake a really good cake without all the little ornaments and all. If you can do that, then when you add the stuff, that's great, but you've got to have that, that cake's got to be slamming. Agreed. It's, it's, it's, that, that base has got to be there.

I'm hungry A.F right now. The B.A.S.E. Base, not the B-A-S-S, but both. Yeah. I remember, have some almonds, man. We have all this food and stuff. I remember our buddy Rubin Rogers was in here talking about the two feel once for, I believe it was for our rhythm section course and was very adamant of what it's not. And the two feel is not, it's not quarter note rest, quarter note rest.

It is long, connected, big, beautiful half notes that run into each other. You very much heard that with that first track. You're going to hear that again, another okay bass player. This is more of a modern recording of Oscar Peterson, Benny Green. It's a lot of piano. Ray Brown on bass and our buddy Gregory Hutchinson on drums. This is The More I See You. Check it out.

All right. All based on that half note. To go into time here. But just that first A section there, all based around that half note. You can hear Ray connecting them. You know, that's another part of it, connecting the dots.

It takes a lot of listening to two fields to kind of instinctually know when that's kind of cool to do to kind of put it into four for just a minute, you know. Yeah, and look, as pianists, we can learn so much from the baseball. I mean, that's how you learn. We're going to hear this later with Oscar, too,

when he's playing the baseline. But the idea, you know, that Ray Brown, he actually, this is a kind of short period for a two-feel before they go to the swing. Yeah. But he still played some quarter notes in there. Yeah, he still put a bit. That's fine.

Like, that's, it's about the feel. It's not just about, it doesn't have to just be do-d-d-d-d-d-d-d-d-d-d-d-and. And definitely not what you were saying before, like the do-ttto-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d. It's like once you get that feel and then great drummers, I'm not sure who it is. Oh, it's Hutch.

That's right, Hutch. Yeah, because he's over on the hi-hat. Great, too, you know, getting ready. Like, that's the big textural setup from when you go to the four. The Two-Field's all about anticipation and transition to going somewhere else. Even if you stay there.

Yeah, yeah. You don't have to leave it. You're still building this tension. You're still building the tension. Well, so here's a little bit out-of-the-box, two-feel. See if you recognize this one. Sounds like the great Sunny-Rollins there.

It's the Great Sunny-Rollins there. Master of the Bridge. Master of the Brooklyn Bridge. St. Thomas from saxophone with Pulasas. Let's just pick up here as they end the second chorus of the melody. They stick with the two feel and it comes very prominent. He's still doing a little bit of quarter notes

when he's connecting the dots just like Ray Brown just did. And even in this calypso feel, there's no difference. There's no, it's still these big. So even if you're doing sort of a basanova, you want to connect those half notes. And it's like you could hear them break and do. You can hear them.

at any moment. And it happens. It's going to happen. Because it's still setting up this tension. I was just trying to check it. This is Doug Watkins. Not bad right there. Yeah, man.

Oh, that's a great one. What we got next? All right. Next we have... Oh, let's just play this. And then let's talk about it. Oh, wait. Do we have that up?

Sorry. Got it. Okay. Bam. Oscar Peterson. Okay, I'll say it. This is a solo piano. Well, the part we're going to hear.

So it's a lot of double. I mean, there's a lot of stuff going. But if you check out, he doesn't even play a straight two feel. He's playing a two feel. For sure. But he didn't play a straight two field baseline until the beginning of that second chorus. Yeah, yeah. But it just shows you, like, there's all different ways to play that feel.

I know we started out with talking about Paul Chambers just on the half notes. When you go to solo piano, you can kind of mix it up. He's doing a lot of melodic, I mean, do B, D, a lot of triplets stuff. But it's still that two feel. I mean, you can hear it. You can feel it. And that's what it's about a lot of variety available in a two field. The whole idea is like that you kind of, you would feel it.

there as it's going. Like that's what makes it as opposed to that straight walking kind of field, no matter what the temple is. Well, and it's a great, this is great for our context of solo piano playing with the two field, because with solo piano playing, there's just more room available.

So you could hear Oscar answering melodically what his right hand does with the left hand, but because he's in a two feel, he's not just don't go, like he has all this room to do that, that melodic content, and it's what we want to do. And you could even, on solo piano,

we'll demonstrate this on the premium episode coming soon, that you can do, a two feel for a couple bars, comp a little bit for half a bar, you know what I mean? Do some melodies, soloing, whatever you want to do and connect the dots.

Don't feel like you have to just stick with the half notes on the solo piano context. But let's keep it going here with... Well, I was just going to say real quick, too. That's a great version and a great... We'll link to the YouTube as well, but because there's a good transcription that this guy did to do that.

But Oscar Peterson does such a great example on that track of showing that if you've got the feel when you start, you can almost play anything. Like, you know, from a solo piano. If you've got the feel and the confidence, you can do a lot of stuff that you would think you would have had to more clearly play.

But he doesn't do it until the beginning of the second course, though. That's good. If you're Oscar Peterson, you can do anything. Everybody else, be careful. All right, our next favorite to feel here. This is from Hank Mobley. Album, Soul Station, track. The very first track, remember.

That's Paul Chambers. Yeah, yeah. I mean, he's the master that you feel. And it's funny, when you said, oh, we have a question about Twofield, this track just popped in my mind. That's why I wanted to put it on there. You know what this track teaches is that a two feel also doesn't have to be

Right. You can repeat notes. And Paul Chambers does this a lot. Right. Yep. And it feels awesome. Ray Brown does that a lot too, actually. Yeah, it feels great. Yeah, I mean, Ray Brown is definitely coming out of the Paul Chambers, you know, or vice versa. But the thing about it is, too, is like when you

we talked about building up, when you're sticking to that strict, boom, do. half known and then when you do do boom boom it's so dramatic same thing with when you're repeating the notes you're like once you vary from that you've really I mean this is a lot of kind of melodic drama built into this way of playing but you're right

when you repeat those notes then when you don't it becomes a lot clearer it becomes a thing it becomes a thing all right moving on this is a record this is a beautiful record I think underrated record from like 1991 or something yeah 91 92 this is Joe Henderson Lush Life on the vera revival

who's playing based on this one? McBride. McBride's on this. This is young McBride. He's like 19 years old. And Hutch too, right? Yep, Greg Hutchinson's. This is the track Johnny Come lately.

And that's a, that's a, not quite as young, but he much younger went Marsalis. I love the way, I love this record. I think it's a great. I think it was one of Grammy and stuff. But it's funny because when we talk about two, I was like, we got to get some McBride on there. And I'm sure McBride, I'm going to tell us. I'm going to text him in a second here and be like, where I put this track as an example of two field.

I know what he's going to say. He's like, man, I couldn't do a two field then. And like, but I mean, you can hear it. He can already.

I mean, of course. Yeah. Now it's another level. But it's like to me, he's always had that. And yeah, for sure coming out of the Paul Chambers,

you know, Ray Brown. I mean, that's the lineage Ron Carter. But, but I mean, he just, ooh,

I don't know. I think he always had it. He always had it. Agreed. Agreed. Let's, let's end with another modern bass player. Do we have, are we Spotify play link?

Yeah, we're going to have a link to a Spotify playlist. That's cool. I'm going to listen to Spotify playlist on my way home today. Oh man, that's good. Because this is some good tracks. So we're going to do another modern bass player. This is from the Brad Meldow trio, the Art of the Trio Volume 4 Live at the Village Vanguard. Of course, Larry Grenadier is playing bass and he has such a big sound. He's got a

great half note. There's a couple of tracks where they do a two feel here. I was first thinking about this one, this original nice pass, which is a rhythm changes. But I think I'm going to go with Solar. Okay. So then it gets a new bass. I'm going to skip ahead, really just for the beginning of the piano solo.

Because this is almost like a breakdown of a two feet. So nice, man. And that first head in, you know, he's like delaying a bunch of notes. Yeah, yeah, yeah, yeah. It's not like the Ray Brown two feel. Right. He's still connecting dots he's doing, but he's got that big half note. But it was coming from that place to listen.

Did you hear because Mel Dow kind of hinted. at that sort of quarter note half note offset thing. He kept the two field going, a lot of great listening going on there. Yeah, that's awesome. Yeah, cool. Do we have, let me see, I lost our place here. Oh, that's it, but I have a bonus. You didn't even see I added that.

We'll do that at the very end. You got a bonus? You didn't even tell me about it? Yeah, yeah. But let's talk about today. What's going on? We're doing a live stream. We are?

Yeah, come on, man. Live stream, 2 o'clock, St. Louis time. We talked about it like 12 minutes ago. You forgot already? Yeah, I have. Yeah, we're going to meet back up here in a few hours. So if you guys are listening to this on Friday, August 9th today, and it's before 2 o'clock St. Louis, which is also known as Chicago time, Memphis time, New Orleans time.

Mexico City time. Mexico City time. Hello. Tune in at the YouTube Open Studio Network channel, and we're going to be doing some live streaming of some episodes, some banter. We're doing some giveaways, some special stuff for our premium members. So if you want to sign up for that, because today's our last day. Did you know that? For you'll hear premium?

I did know that. Well, no, no. It's not the last day for you'll hear of premium. Oh, for the charter member thing. For the charter membership. Yeah, yeah, yeah. The big discount, the all-time. So you want to jump on that, go to you'll hearate.com to sign up for instant access to that.

And what else do we got? I think that's it, man. Okay, well, let's do the bonus. Because something, I actually added this something that we talked about earlier made me think of this. And that's Baggs Groove. Yep. Do we have that cued up? I have it.

Oh, my God, you're fast. I am fast. This is Percy Heath. Because he's got another kind of take on the two feet. He was a master of the two feel as well. Let's check it out. almost a little solo, a little counterpoint in the two-field, right? That's great, man.

Well, that's what's so great about the two-field. The magic of it is that space that leaves. Absolutely. All right. Let's go out on this, Andrew. All right. Until tomorrow. You'll hear it.