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

Episode Date: March 25, 2020

On today's episode, Peter and Adam list their favorite lightning-quick fast-tempo barn-burners. As always, you can listen to the full list on our Spotify playlist.Our 7 Favorite BurnersBud Powell - "Tea for Two"John Coltrane - "Countdown"Miles Davis - "Two Bass Hit"Miles Davis - "Milestones (Live at the Plugged Nickel)"Joshua Redman Quartet - "Just in Time (Live)"Brad Mehldau - "The Way You Look Tonight (Live)"Oscar Peterson/Clark Terry - "Mack the Knife"In light of the worldwide coronavirus pandemic, we understand that money is tight for a lot of people right now. That's why we've decided that for the duration of this crisis, we'll be running a Choose What You Pay campaign at Open Studio. Choose whichever course you want and then let us know how much you're willing to pay - that's it. For more info, click this link.There's a brand new course from Open Studio: Jazz Chords for Beginners. Learn from YHI's own Adam Maness as he teaches you the important chords you need to know to play jazz. You can also follow along with Adam thanks to our Guided Practice Sessions™, where he'll teach you exactly how to practice the concepts of each lesson. And as a response to the tough times many of us are going through these days, we've decided to launch this course at several different price points. For more info, follow this link.Interested in more music advice? Go here to browse our catalog of jazz lessons and courses available for purchase. And be sure to check out our All Access Pass - every course from Open Studio on every instrument.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Facebook | Twitter | Instagram See acast.com/privacy for privacy and opt-out information.

Hey, Peter. Hey, are you burning at all right now? Yes, because it's 87 degrees here in the pod suite because somebody left the space heater on all weekend. That's weird. It's on your side. I'm Adam Annis. And I'm Peter Martin. And you're listening to the You'll Hear podcast.

Daily Music Advice coming at you. Coming at you. Sponsored today by OpenStudio. Go to OpenStiojazz.com for out your piano needs. Sorry, I got to stop with that. I know it's annoying. You don't have to stop. Just stop looking at me like the way you are as you say.

I know. That's creepy. A. I know it is. I'm sorry about that. I love we longingly look over. I know we look over it as if to remember the name of our own company. So go to Open StudioJadjazz.com to check out all of our piano courses.

You know, we have our piano access pass, which is growing by the minute. That's right. By the time you're listening to this, there's a good chance there's a whole new two-handed voicing course almost out. And it may be from Oscar Peterson. I can't confirm or deny that. We can definitely deny that. That would be fun, though. He's passed away.

Have you ever seen his jazz piano lesson with Dick Cavett? Yeah, if you Google jazz piano lessons, it's like one of the first thing that comes up. Oh, really? Yeah. Why are you Googling jazz piano lessons, man? No reason. Okay. It's so awesome, man.

I mean, somebody, like, I didn't see that as a kid, but I remember seeing, like, my parents watch, especially my dad watch Dick Cavett a lot. And seeing him kind of like laugh and just look like he was being intellectually stimulated by watching the show that I could not understand anything that was going on. I thought it was the most boring thing. I was like, one of the cartoons come back on. Is it Saturday morning yet? But it wasn't. Alas. But I digress, because today we're not talking about Dick Cavett.

We are talking about our seven favorite burners. Burners. Yeah, I've been wanting to say that. British all of us all. Oh, yeah. You know a lot of, we have a lot of listeners in the UK. Did you know that? I did know that.

It's like the second largest country for our listenership. Is it? Shout out to the UK. Yes, right. Yeah. They got a good jessian over there, too. They got a great jassi. I mean, I would say per capita,

It may be besting the U.S. No, don't say that. Sorry. Sorry. No, no, great stuff happening. Not just in London, but in Birmingham and up in Scotland. They're still part of the UK, right? Are you going to try a Scottish, maybe a Glasgowian accent real quick?

No, but I would say, now what I don't know is we don't get political very often here on the, you'll hear a podcast because this is not daily politics, it's daily music and jazz. But I would say we do not know the effects of Brexit on the jazz scene. in England and the UK yet, do we? We don't know. Are there any projected effects on the jazz? We're hoping not. I'm actually doing a gig there later this month,

so I might be able to check it out. I don't know if it's too early. Are they Brexit it off yet? I'm going to check it out, though. I'm going to go down to Ronnie's and jazz cafe and stuff and check it out. I'll let you know. Please let me know if they're burning over there,

and in the meantime, we're going to burn a little bit today. Hey, now. We kind of, we have a loose criteria for this. These are just tunes that, first of all, just feel like they're burning. Yes. But also trying to get everything above 300 beats per minute. And it's so funny how you, I mean, folks, loyal listeners,

Adam pulled out his apt check and rejected a couple of mine. It's all about quality here, man. I know, but he rejected a couple of mine because they were not at 30, not because of the quality. Okay, this one's pretty good though. Right? And it's over 300 BPM. Eventually, yeah.

This is Bud Powell. This is from, what is the name of this? Is this the genius or this is the amazing? I'm just not crazy about you trying to put an algorithm on the music, man. Come on, man. The genius of Bud Powell. This is the genius, yeah. This is T for two. Ray Brown, Buddy Rich. Stank face.

Yeah, double stank face. Triple. 1950. Recorded in late 1949, I think. Man, I had the pleasure two weekends ago of meeting Bud Powell's son. Oh, really? And had a great chat with him up in New York after a gig. I told him I was so honored that he came.

And I made a joke to him. It wasn't actually a joke. I was like, you mean Bud Powell's grandson? Because this gentleman did not appear to be nearly old enough to be his son. He's like, your age? Yeah, he kind of got offended when I said, your grandson. And then he's like, oh, wait, that's a compliment. I mean, he thought I was doubting that he was really a son.

I was just like, it was so cool. He had told me some great stories about him and Thelonius Monk coming over to visit with him and what they talked about and stuff. Awesome. The next one, you know, we had this track on the show a couple weeks ago. And I just, I was trying to think of ways to leave it out of our top. Yeah. Seven burners, and there was no way to do it.

This is Coltrane's countdown from Giant Steps. Hello. Art Taylor. Yeah, Art Taylor. I made the egregious air of... We're going to make up for it. We're going to make it. Next track.

You know what's great about this too is this is, unlike the first tune, like this can only... This tune can only be played as a burner. 300 plus. I mean, this doesn't work slower. It's like a ballad? It just turns into Central Park West after a while. This, that's true. No, but I mean like T for two is like, Bupil just played it fast. Right.

But that is, this is meant to be. Yeah. Just amazing. I mean, Ryan, go get the fire in exchange. I think the Potsuit is about to catch fire here with this. Well, that in the heater. Consider the fact that we left a space heater on plugged in all weekend. I love it too because it's not a nice space heater.

It's like a $40 space heater at most. It's the, you're noto. Yeah, that was, we're lucky the Potsweet is still here. A big shout out to the Yornado. Also, it's just. This is sitting next to like two flammable walls of... Man, this place is... I can't believe this...

Man, that was bad. That was bad. You got bottles of hard liquor next to it. Well, at least there's a hammer in case you're trapped in here. You could fight your way out. You could have the monk hammered your way out of this place. But... Oh, well.

Okay, so we're going to make up for last week's Art Taylor snafu. Yes. Where I incorrectly and incoherently labeled that great drum intro that is, in fact, by Art Taylor, as coming from Philly Joe Jones to fantastic drummers that are similar and influential in their own ways and for each other from a similar error

but are not the same individual and I made that mistake. My bad, but this is definitely Philly Joe Jones on two-base hit. Ooh. Okay, just so you know right now because we're not on video today, Adam is shaking his head tapping this into his tapping

app saying it's not 300 but... No, it's right at 300. But check this out. Just right there. No, but check this out. I'm going to jump ahead. gets there. Oh no. Oh no.

Oh yeah. What are you looking for? You're looking for some speeding up? Yeah. It wasn't. Wow. Okay. My bad.

Well, no, it's hovering right around. It's somewhere between like 290 and 200 somewhere in that range. So you're close enough. I just always, you know what this to me? This brings up a good point. And since we're in the middle of our list halfway through, as it were, almost halfway.

This brings up the good point. What makes a burner? because you seem to be of the mind, correct me if I'm wrong, Mr. Manus, that it is strictly a numerical BPM situation. Like you're some kind of EDM DJ going off to Bia Ritz this weekend, you know, for your big party. And you, you know, but I think certain tunes, I don't know, this, because it often, well, first of all, they played it faster a lot. Yeah. I'm thinking about what was it that live at the Plaza record.

They were some other, like they really pushed it sometimes. And this is a tune that just has that kind of feel to it, don't you think? Yeah, for sure. No, I'm not, I put an arbitrary 300 BPM. I do have a funny 300 BPM story. I was, when I was in college, I was like talking with this kind of strange drummer, and we were like, kind of comparing notes. What are you working on right now? And he's like, he just looked at me and he's like, honestly, I don't want to play anything that's below 350 right now.

He's never forget to look on his face that only a smug 20-year-old thinks that Jess playing around 400 is the way to go. How is this career at the fry machine at McDonald's going, by the way? Yeah, it's not going great. It's not going great. Turns out, not a lot of people want to listen to things way up there. Not a lot of music could be made

above 350. It takes some real mastery. Yeah, Frilly Joe Jones slash Tony Williams. Is that you on your mind? Speaking of, so we're going to keep on with the miles. And we're going to do milestones from live at the plug nickel.

When I think of a burner, for some reason, this one always sticks in my mind because of just how intense the fire in Tony Williams is on this entire record. And how fast it is. Wayne? Yep. Damn. How good does that ride symbol feel right now?

It's just like it's relentless. And he kind of goes like when Ron started to break it up on the bridge, Tony actually went to like another level of intensity. Yeah. You know, not to be like to push along, but to kind of compensate and to balance. There was such a symmetry the way they played And it's crazy Every time I see Ron Carter

Which is not often enough Every day would be nice How about that? No, but he I always think about all the stuff he played When he was so young during this period And then and since like His sense of sort of mastery and freedom

As a basis to do this kind of thing Really ahead of his time in a lot of ways And what a great thing That he had Tony Williams there Who was even younger than him Like to play in these like uber mature ways in terms of like stretching things out this is not that many years after the milestones with philly joe jones and and and with that group that earlier group and even the way

they played at the beginning you talk about like you know four and more and my funny valentines that live at lincoln center concert um which was just like what two years before this maybe three years yeah um like how much they were able to stretch the same kind of standard miles davis quintet material in a way that was so advanced and man it was yeah still a burner but in a whole another way it's awesome how do you think about burners when you're playing them like how are you approaching something that's really at the edge there um well you know one one thing i i do sometimes when it gets really fast even faster than this is start thinking about each measure if it's like four four swing as either just one and three or just one so if it's like one two one two deep up

and if it's even further as opposed because on two and four you can only really get up to a certain tempo you know and I was always so programmed to like you got to feel it at two and four but then once you actually learn that

that's always there right and so I actually learned this I remember we did like a workshop years ago I don't know 10 15 years ago or something at Indiana University it's great music school there with Christian McBride and we were all

it was kind of like a rhythm section thing and we sort of talked about you know how you work together as a rhythm section I remember somebody asked us about playing fast or something Christian was just like oh it's easy

just you know you're not thinking about all four and you know it's easy you're not thinking about all four and he's like and he started playing and he was just like tap his foot on the one he says like it does help man man that's like it does help yeah and I mean that's giving you that sort of spacing and feeling so

I don't know I don't even necessarily think about that a lot but when I do like I but that also gets you in that breathe you Ruben Rogers on one of the rhythm section courses here, I had a great concept on that about like really breathing and like just relaxing as you go into that. Well, I strategically ask you that question at this spot because next up is a burner that you're actually on. This is from Spirit of the Moment, Joshua Redman live at the Village Vanguard. This is just in time.

I love the sound of this record. Sounds like he's overdub like the other part. Oh, man, but the Vanguard sound here. Oh, so good. Is this how weird, 300? Is this legal? Yes. It's right there.

Wow. So is this a pretty relaxing thing? I think, you know, Blade and Thomas really with testimony to that, you know. Let's get ahead a little bit here. You can play like that? I don't know. Kind of rushing there. All right.

I'll fade it out so you don't get too self-critical here in the middle. That sounds great, man. Maybe we pushed that. You know, we might have pushed it even before. I think because you jumped from earlier. I did. It was probably a slow, you know, kind of a red garlic. Finnish Philly Joe Jones is kind of an acceleration.

But the general rule for all of these, and Chris McBride has talked about it, Ruben has talked about it, Hutch has talked about it, you've talked about it, and that's, you can pick it up a little bit. And the great bands often did pick it up a little bit. Never slow it down. Never slow it down. Now when you're playing fast. No, especially not when you're playing fast.

You can never slow it down and it could pick up just not too much. Yeah. Well, a lot of times we'll use the never slow down and never stay steady, which only leaves you one way to go. We're going to skip head just a couple. Maybe you know, this was maybe around the same time. This is from Live at the Village Vanguard,

Volume 4 from Brad Meltdown. And I was going to make a note. I said, let's do something recent. You're like, oh, I got something. Because then I was like, we know. This is like 25 years ago. It's 25 years ago. It's recent enough.

This is pretty fast. This is from the Vanguard, too. Yep. Art of the trio of volume four. It's funny. It's same piano probably, same engineer, I think. I like his piano sound better.

The plumber or the plumbing? I don't know. Contact the engineer. Yeah. Plumber or the plumbing. The engineer, who I won't name, he'll probably be like, I like that piano's better than you, so there you go. Is Jorge.

Jorge Rossi. Larry Greta, too. Props, mad props. It was cool about this is they keep that loose feel that they are so known for as a trio, you know. Because Larry can't walk this fast. That's why he did him. No, I'm kidding. Big shot.

to LG, well-up. Keep on walking, if you can. It's pretty good, man. See if they, I'll skip ahead a little bit, see if they're... Ooh, judgmental. I like, oh. Sounds like they do go to walking, my friend. Oh, they do kind of keep breaking up.

Yeah, he's still kind of broken up. Yeah, yeah. Yeah, Brad's gonna Brad. Yeah. Brad'll be Brad. Brad's got a bread. That's Brad Meldo, Art of the Trio Volume 4. That's a brilliant album all the way around, actually.

What a great night that must have been. And that's six. And before we do our seventh, which we, is a special number seven today, don't forget to go to open studio, jazz.com, but also go to you'll hearit.com. You know, we have our speakpipe up. It is recently back up. The speak pipe is our voice message system. Leave us a speak pipe. We want to hear from you. We want to hear your You'll Hear It story. Right. If you have a story about using this podcast to hone your practice routine, to sharpen your skills, maybe some piece of knowledge that you learned on this podcast or people that you've met via this podcast. or artist that you've heard of you this podcast. Leave us to speak pipe. Tell us here you'll hear its story. We want to hear from you. That's right.

And that is available, as you said, so eloquently, you'll hear it.com. Dot cam. Dot com. And now for this last number seven of our burners, this is really cool because we have one of our good friends and friends of the podcast and fans of the podcast in the house with us today. And we were kind of struggling with which of the other ones to pick. And this gentleman kind of mentioned.

this tune and we both like listened to it and hadn't heard it a while and we were like this is it and um we actually talking about leave your story and stuff he's got a great story about you'll hear it that we're going to hear right after we check this out this is oscar peterson and st louis's own clark terry mcdon knife and you might want to well start wherever you want maybe a little bit into it um can somebody get clark terry a statue down here in st louis please can we get them on the walk of fame for reals i know you're not checking your app on this one so i'm checking my hat no No, no need.

This is well over three. Come on. That's ridiculous. Man, I'm almost embarrassed to say I've never heard this before. Have you heard this? I heard years ago. Yeah, actually my dad had this LP, man. Thanks for out for the reminder about that one.

That's amazing. That's number seven of our favorite burders. You don't hear Oscar do much of that strad stuff, and he just sounds so effortless on it. It's ridiculous. Yeah, it wasn't for lack of ability. Oh, my goodness. And the trumpet chops that it takes to pull off what he just did was insane. Yeah. Well, there you go. That's our seven favorite burners. We thank you for listening. And we have a very special message right here from the great Rob. Check it out.

Hey, this is Rob, longtime member of Open Studio. Started out with the trumpet pack with the Sean Jones pack and then realized that I need to get my piano chops together. And I said, what the heck? So I'm just going to get the all access pass. And now tooling around, listening. into all kinds of great players and learning something from every one of them, no matter if they're on my instrument or not on my instrument. So thanks guys and keep up the great work.