You'll Hear It: Full Album Deep Dives with Jazz Musicians - Our 7 Favorite Tunes in 3

Episode Date: September 17, 2019

For this list of 7, Peter and Adam give their favorite jazz tunes in 3/4 time (without any schmaltzy waltzes).Our 7 Favorite Tunes in 3"Someday My Prince Will Come""Jitterbug Waltz""Waltz for Debby""When a Child Is Born""Footprints""Money Puzzle""All Blues"To listen to all of these tunes, check out our Spotify playlist for this episode: https://open.spotify.com/playlist/7k0A7YbRUwbUJ6nGQh7DEL?si=TCFy9Re3RyqglXnHCwFk2QLike 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, Peter. Hey. Do you like to waltz? I do. And I know that we're doing, oh, wait, I just read this. I thought it was three of our favorite tunes in seven. That's next week. Oh, dang.

I'm Adam Anas. And I'm Peter Martin. And you're listening to the You'll Hear Podcast. Daily Jazz Advice coming at you. Coming at you today without a fourth beat attached to the podcast. Nor fifth, six or seventh, apparently. No, but next week we'll do our, you know what? We should do our seven favorite tunes in seven.

Why haven't we thought about that before? I don't know. I don't know seven tunes and seven. One of them's going to be. Bapid, do bit, do bit, do bit, do bit, dapper, dapper, do bit, do bit. Spoiler alert. Oh, I was trying to remember for what was that. Yeah, yeah.

Yeah. But today we're talking about tunes in three waltzes. And can I be honest, not my favorite meter? Three, four? Yeah. Creve core. Creve core, three, four. No, I mean, not my least favorite.

But as we were putting this list together, I realize there are some fun tunes to play. Yeah. I just don't like the. Let's do a jazz waltz. just to change it up. I agree. And then it has to become this kind of corny,

sleazy swing. Corny sleazy. I don't know about the sleazy, but you know what I'm saying? A little bit like, Tick-k-tik-tik. I mean, who are you playing with that are playing these

two? You know, you've been on a gig where it's like, let's play in three. But some of these are classics. Like, jazz wouldn't be the same without some of these. Actually, all of these. Yeah.

And certainly not without this first one. What? Oh, okay. Yeah, you don't have your headphones on, do you? Yeah. You're missing out. There you go.

Nothing sleazy about that. No, that's mighty fine playing there by the whole trio on that intro. Okay, but I, well, let's just wait until my, I think Miles is going to be coming in, perhaps. Okay, this is incredible. It's certainly one of my favorite things in three. But I would say that the rhythm section is almost playing in six on that intro, if you think about it. Like the way they're phrasing it? A lot of these things are, it's going to be sort of hazy on where the actual pulse is.

Is it in three? Is it in 12? Is it in six? Yeah. You know, I think that this is something that needs to be addressed when you play in three, that it's not all the jazz waltz. Like a, yeah, maybe that's why this sounds so good. No, I mean, that's the thing.

When you go to those odd meters, those three, four, those five, four, those seven, four meters. Yeah. It's fun to play with where the pulse is. It doesn't have to be the standard way. whatever it is, the waltz or whatever. And I think the way they accomplished that on this is, like, and Kelly,

when it starts improvising it, and even when he's comping before, this is one of the greatest intros. I love it. The whole album, actually, unbelievable. But, you know,

he's really phrasing in two bars or six kind of beats as the main phrase. And then even Miles, he's so thoughtful about the way he comes in, because this melody is so like on the beat every three beats, but he kind of stretches that out too. And it gives it a, elasticity that I think is brilliant.

But yeah, it's a three. It's classic. One, two, three. Speaking of classic, we have something that even predates that. And this is the jitterbug waltz by Fath-Waller. Couldn't find a great version that we could agree on by Fats. So we went with this version by Vince Goraldi. Yeah.

And that is so great. Yeah, yeah. Awesome. I was just looking back. I liked this record. I haven't heard a long time in person. It's the one with the double picture of him. Yeah.

OJC, original jazz classics, West Coast thing. And this is from a live record. Did you know that? I did not know that. I love the name of this, the place they were at. This album was recorded live in 1962

at Sassolito's Trident Lounge. I mean, that has mid-century modern West Coast vibe just dripping all over. Trident. That's good. Yeah. All right. Good stuff.

Our next of our favorite, seven favorite tunes in three. And by the way, we have a playlist for this. We're going to include a link here in the description so you can check out our Spotify playlist for these great tunes. This is classic. What do you know about this?

Classic Waltz for Debbie. Beautiful. And he has several many great versions of this. But you want to know the fun fact about this. Speaking of Is It in Three, down near the solo. They go into Four. Of course.

Because three is corny. No, but I mean, they had a great transition there. Yeah. All right. Our next one. Bill Evans. Our next one. Have you ever heard of this one?

Into the blast child, innocent child. Soft as a form. This child is born. What is that chord? Yeah, we took some liberties on this one. What is that chord? It's like a B minor 11. That's right.

So we kind of, I actually arranged this sort of on the spot because this is from a Christmas record. Yeah. And I actually produced it with Diane. Reeves and we did all this stuff really right at the last minute. It was like, let's do a Christmas record. We were getting the tunes together. Did I do string arranging on this last year? No, but we did play some of the, no, we did the, uh, some similar things.

Okay. Yeah. Okay. But this was basically, uh, Diane and I were looking for some songs that weren't traditional Christmas tunes. Yeah. So it was like, you know, the kind of in the jazz and she had some great lyrics on it. Uh, but I, uh, Nicholas Payton did a great arrangement, but it was kind of a like a funk

vibe and we're like let's see what else we can come up with and so we just stretched out i probably changed the chords a little bit more than i should have because it's great the way the thad jones version but we just wanted to update it i liked it i mean that that change is so hip i love that a child is born beautiful melody sits really well in the piano yeah really fun to play there's also a great op version oh yeah there's an oscar peterson solo piano version on youtube uh find that because it's really awesome yeah go to youtube dot com yeah yeah you've ever heard of it yeah google all right Our next one is classic jam session 3-4. When you're ready to play some blues in 3-4.

It's Wayne Shorter Footprints. That's slower than anybody ever plays it. I know. Plus, like, people don't normally play this the correct way. Like with the... Boondon... D-D-D-D-D-D. And then those changes are played wrong so much because of the real...

Well, let's talk about the last four bars of the... Yeah, that's what I was talking about. Meets. Footprints. Oh, I saw Herbie Hancock play that at the Newport Jazz Festival. I saw Harry Hancock, and he was killing, and he waved to me during his solo. No, he didn't. Peter Martin, always trying to hand out the FOMO.

All right, here's this next one, I don't know. Oh, man. But this is Ellis Marcellus. Yeah. But it's not his tune. Whose tune is it? James Black. James Black.

The amazing drummer composer under the radar. Yeah. If you're not from New Orleans, as we say. But great composers. It's called Monkey Puzzle. Yeah. So, yeah, I mean, this tune's actually kind of a jam session standard in New Orleans. Is it really?

Yeah, I could see that actually. New Orleans has a lot of these kind of tunes, you know, swinging at the Haven by Ellis Marcellus, this tune. A couple other James Black's tunes, 12s it, and, you know, just like really hip tunes that they kind of developed. I mean, James Black was around 60s, 70s, up until the 80s, but, I mean, such a four set of the drums. He loved playing in three. He loved playing. He's got some slick tunes. tunes in five and seven and just a wonderful composer.

That's very cool. Yeah. All right, well, we're going to go out on something even more obscure. This is as obscure as it gets. This is by a relatively unknown trumpeter named Miles Davis. This is called All Blues. Yeah. So until next time.

You'll hear it.