You'll Hear It: Full Album Deep Dives with Jazz Musicians - S-Tier Swingin'

Episode Date: February 28, 2022

Adam and Peter discuss and breakdown a world class, or as they say "S-Tier", performance they attended at JazzSTL featuring Christian McBride, Benny Green, and Greg Hutchinson. In this episode, they revisit watching three masters create a truly memorable experience playing the music of Ray Brown and break down exactly what made the show such an exciting and powerful experience for the audience. Click the link below to find the live stream at JazzSTL and watch for yourself!Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open StudioWatch the gig: McBride, Green, and Hutch Live at JazzSTLLet us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Twitter | Instagram

Hey, Peter. Hey. Hey, were you at Jazz St. Louis last night? I was. I think I saw you up in the balcony. I was up in the balcony. Oh, was that the veranda? It's definitely a balcony.

Okay. I just like saying veranda. Say it again. Veranda. I'm Adam Manus. I'm Peter Martin. And you're listening to the You'll Hear podcast. Music, jazz, explained.

You want to try that again? Okay, jazz, explain. I'm trying out music. You know, we can't just be limited to jazz. It's a problematic. Yeah, exactly. I'll say it and play it like it is later. Yeah, yeah, yeah.

No, you know, I'm just, you know, I like to, I'm workshopping it. I'm giving it a floor run. No, Peter, you get it, you definitely get a mulligan today. You've had a very, you've recorded like a billion things today. Right, you've been working your tail off trying to get. I'm putting my feet up. You're putting your feet up. I'm putting your feet up on the keyboard.

Man, this is the easy time. We just get to record the podcast. That's what we do. That's right. It's like bread and butter for us. I'm so, I'm low ridering over here. I can barely see you over the keyboard there. I'm just going to put my leg up.

I'm not going to put my feet up at all. We've got producer Caleb in the house today doing questionable things with the camera. He's got to learn, man. Kids got to learn. So we were, let's see. Yeah, so in the intro, you alluded to where we were last night. That's what we're going to talk about. Yeah, so I wanted to talk about a couple of things for this episode.

So you and I were both at the same show last night. It was a marvelous show. Bette Green. Beney Green on piano. Christian McBride on bass and Gregory Hutchinson on drums. And they were attributing one of their heroes and the master himself, Ray Brown. Yes. And I wanted to just get your thoughts on what worked about that show.

Because the show worked so well. It worked at such a high level as an audience member. As a musician, I took my nine-year-old son. He was in, yeah, he was completely, like, entranced by the show. You know what I mean? That's so awesome. And so, like, what is it about that? what they did. Why was that so right? Why did that feel so good? And I just want to get your thoughts.

I have my own. Yeah, I want to get your thoughts too. I mean, the first thing that comes to mind and maybe this is, no, I mean, after I give you my mind. No, I'm just kidding. Fair enough. Fair enough. I asked you first. No, no, go ahead. The first thing that comes to you mind. Well, no, so what I thought maybe we can kind of center this around is a couple of things. Like, to me, what stood out was the biggest thing that set them at the S tier, if you will. Yes. for straight ahead performances was the level of presence with each other, with the music and with the audience.

Like, in other words, they were so connected with themselves as they're playing and the music that they're playing and then with each other on stage, the other musicians they were playing with, and with the audience that you just felt like you were in such safe hands that they weren't playing at all,

egotistically. Like it was just serving, not even, I don't want to say serving the music because that sounds so cliche and it's, I don't think it's true. They were serving the evening. They were serving the concert. They were serving the moment. You know, serving humanity. Am I overstating it? They kind of were. At least everybody in that room. Hey, listen, we'd like to blow a lot of smoke. But it is true. Like, you know, playing music is a bit of a service to to other humans. And that's what they were doing. They were truly being of service to, to not just us, but themselves and each other. And that to do really be like every time one of them would solo The other one would always be like Benny Green

You know what I mean point at them Like they were part of the audience or a host of it Each one of them was And they were calling out stuff to each other And to the audience and pointing things out They were completely in it There was no wall built up between the stage and the crowd Right

And I mean aside from anything that happened musically Of course it was swinging Of course the playing was world class But to me that is what really brought it to the next level. And that's what's so inspiring, man. Like, that was so inspiring. Yeah. I mean, I think that it's a very nuanced observation because the service element to the moment, to the music, to the humans, like the communal kind of thing there, you know, like it was really like, it was almost like, oh, this is a potluck dinner, but don't worry, don't bring the food. We're

going to provide all the food. And what they're providing is in the spirit of, you know, you're coming to somebody's home and there's warmth and informality there. Yet the food that you're getting is like this Michelin three, what's the highest Michelin star? It's three stars. Three stars, which is weird. You couldn't go to five stars, really? Come on, Michelin. It's hard to get one star.

I know. One star is great, yeah. But it's like the actual deliverable of the music is like a three star, you know, or of the food. But it's like, it's super informal. It's not fussy, but it is high, high, high level. And so I think that that is a. service. Like that's you are providing like the best of that. I mean, it's like you get on an airplane, you know, traveling again and stuff. It's like, you know, the flight is an airplane is an airplane. So

if you're on a Boeing 737, um, it is what it is. You're in a seat or whatever. It's a big tube. It's a big tube. But sometimes the crew is like they're, they're friendly, but they're keeping your safety and they make it a better experience. You know, so like you can take the same thing. So Christian McBride just has a bass. Yeah. Greg just has drums and, and, and Benny Green's playing the same Yamaha that we've struggled with over there. Big shout out to Yamaha. Yeah. But that piano is difficult, not in his hands. It can be.

So that's a service like when it's not like, oh, let me explain to you why I'm having problems with this piano. No, it's like, no, let me just play and lift your spirits. And so, you know, we sang with your son, with your boy who's nine, like him enjoying and stuff. Like, he's not worried about the chord chains or anything. He can hear his dad play all that stuff at home. But I think that when you hit a kid like that with this very sophisticated music, actually, but his toes probably tapping. He's like, this is cool.

This sounds fun. this is good. And he's like, that's important. And he's also seeing and hearing three very extraordinary human beings, like, really be open with what's going on. And to me, like, when I see, I see very good musicians a lot. Yeah. Whether they're local or coming through, you know, in various venues or whatever.

And there's a lot of really good musicians who still have like this big wall in front of between them and the audience, right? That they're in their head about something. Yeah. They're trying to impress or they're trying to overplay. or, you know, to make you like them or something like that. And it doesn't like mean I don't enjoy those shows or that they're not good musicians at all. But there's some other level there where those three are so, I mean, they're proven, obviously.

But they're so comfortable with themselves and with each other that to me, like those are special nights. Right. When you get three masters like that who are just super in it and comfortable and open. And then the audience, too, shout out to the crowd because that can make a difference. You know what I mean? And we know his performance. But even as a crowd member, I was like, oh, this is a good crowd. Yeah, it was a good crowd.

I mean, it was packed. It was sold out, but it was also just a good quality. Yeah. And a combination, young folks. Totally. Your son might have been the youngest, but there was a couple other children. Teenagers. Old folks, teenagers.

Yeah, there was a group of teenagers right in front of me. Yeah. And it was, although they did get a drink. I was like, fake much, fake ID men. But it was like, it was just, it was really the way I think a jazz club should be experience from all sides. It was a communal experience. There was a sharing. I mean, was everybody the same level of jazz audience with their sophistication like an Adam Manus sitting up there? Being able to analyze every note. No, but you didn't need to be.

If you were, you would even be more geeked out on it. Yeah. But I think for us, and it was funny because we came in, Kelly and I, the beautiful Kelly Martin, we were able to go out on a very rare date that we haven't gone out in a long time. Well, may I say you made a handsome couple. We could see you from the balcony from all the way off. was the other guy had come sit with her for a minute while I had to go use the bathroom I got Caleb I had Caleb come and sit with her and then that's when you saw from afar um date night that's a rare thing yeah we we had to like you know reinvent our we're we're we're empty nesters we're going on date night we're trying to hold it together um I have a little practice but you know it was it was it was good

it was good so it became a matter of like men we talk about being in the moment with music like that kind of playing as long as you keep your ears open forces you into the moment effortlessly which I love. Because I was thinking the whole time I was like man I I'm so sorry I missed this all week because I was out of time

instead of thinking as soon as they started playing I was like I'm so glad to be here in this moment with these people with these musicians in this like what a and I mean I think part of this too is like we haven't been able to enjoy live music and I've been playing a bunch of live music and I do enjoy that but there's nothing like sitting back

not at the piano and enjoying some music Yeah can we get into a little bit of the nitty gritty of the music itself and what made it so great. Yes, please. So my number one is, and this is going to shock you, Christian McBride is a monster on the, I mean, he is an absolute, he might be the best bass player I've ever heard.

I'm seriously, right? Yeah. Like, he did some things last night that I didn't know were possible on the instrument. I know. And I've heard a lot of bass players. And I mean, what do you think about the level of that along with the level of how easy he makes it look? He makes it look.

Actually, you know what? So my nine-year-old son said, he's like, we were talking. talking about how great it was and during the first tune and he's like and he's like and it looks like they're just oh I'm just ho-hum that's what he said he's like it looks just ho-hump because he's up there doing all this what we know is incredibly physically hard to do yeah doing some really high-level musical things and he's smiling and looking around and yeah you know like kind of like you like looking over at hutch and and they're talking back and forth and he's just he's just sitting there like having a great time but he is man I'm telling you what and I know he gets a lot of in in our circles

he obviously gets a lot of acclaim. But for good reason, man, he is unbelievable. The sound, the walking, him is a accompanist, him as a soloist. There's no better soloist. His harmonic, like, ingenuity on stuff that's like, it's kind of hard from the base standpoint, especially when you're playing a title. He's leading that stuff, though.

Yeah, but when you're leading a titled Ray Brown, I mean, first of all, most bass players, great bass players would just wilt under the weight of that. Yeah. But, like, Christians able to both embrace it, reference it, in that space, but be himself and even take it to a next level, dare I say. I would totally agree.

Yeah. And then again, we're talking about listening and being in the moment or whatever. He caught everything. Everything Benny threw at him. I know. He was right there with him. I mean, like I said, just completely open to what was happening in the moment because he's so effortless with everything musically and technically, he's just able to just be up there

and just be, you know, just the unbelievable cat that he is. I mean, he's a genius performer. Like, it's so easy to listen to. to him and to quickly identify, okay, he's a genius basis. Right. And he's a genius, you know, musician. He's a great entertainer, though. But he's a great entertainer, and he's a great performer because he has that ability

to make it easy for everybody around. Like, he's constantly accompanying, right? Yeah. But then he also makes it easy for the audience to hear everything that's happening. Totally. Like, he's collating a lot of things at the same time. He's like, it reminds me, like, remember back on like Madman where they'd have, everyone would have, like, their secretary.

And of course, they were all female at that time. time. It was a very sexist setup. But like, tell me more, Peter. The women, I mean, I know from this period because my grandmother was like, she was a secretary at a bank at a time when like that's the highest you could go in, you know, as a woman. But she kind of learned how to run things so much that she actually got promoted up to like, not a VP, but like something a little bit higher that they'd never done with them.

Because she had that ability to like bring everything in and like, but I'm thinking about those secretaries on Madman. You know how like they could be type fixing this thing. I mean, they were making everybody else look like a genius when they maybe even didn't deserves me. In this case, Hutch and Benny Green are also doing that. And so that's why I think it's so special because everybody's being like this genius level secretary, helping out, but then performing great themselves. It took you a long time to get around to that metaphor, but you landed it. I'm proud of you for landing. Well, no, just because I think people look at like

somebody with Christian and if you don't really know, I mean, nobody's going to look at it and be like, oh, he can't really play. Even if you've never heard the man. Of course. Yeah, you're going to be like, okay, he knows how to do that. But even the storytelling and stuff like that. That was part of it, man. But all the little things that make things just easier. Now, I've played with them a lot so I can, I mean, when you experience it, you know, if you just keep your ears open and you actually experience being able to do what they call, like somebody else making you sound better.

Yeah. What they're really doing is it making easier for you to tell your story. Yeah. But somebody they can do that constantly while they tell their story and while they're like communicating with the audience and bringing everybody together. I mean, that's a lot of things. It's a lot of things. That's a lot of things.

Yeah. I mean, there's a reason why he does a lot of cool stuff and gets asked to do things in the international and national spotlight. It's because he's the man. And I don't want to like just focus on him. And like I say, but I'm just thinking like. And yeah, and that's no disrespect to Hutch or Benny who are equally is great. They're all kind of doing that. But I was just reminded last night hearing him live in that space and hearing him play the base.

What a special. There's like I can't think of another basis that's on that level exactly. Right. Brown. Yeah. But I mean, I mean, no, that's still with us. Ron Carter. I honestly can't think of anybody.

I know. And also who has those unbelievable personal characteristics that he's warm that Christian has. He's warm. He's super knowledgeable and intelligent. Yeah. He's an amazing orator, like all of this thing. Like, he's a great storyteller. Like, hilarious joke teller.

Like, this guy, he's the whole package. He should start a podcast. It would be good. Can we get him on our podcast? We haven't had him on here? No, dude. We're going to get him. We're going to get him on.

We'll have him to a remote. He was in town for a week. I know. We'll have them to do a remote. Well, just one other note on the gig last night, side note, I was going to wait to ask you after, but how did you feel about your parenting skills for some of those stories that were told, especially by Mr. Greg Hutchinson. Dude, can I tell you? Yeah. So Benny tells the first story about Ray.

Totally like, like, G. I mean, and Benny is an angel, right? Yeah, he literally had a halo came down. He's like so respectful and like, you know, when he's got that soft, spoken voice. Oh. And then Christian tells him tells the story, which was really hilarious. Kind of PG. But still.

PG. Yeah. And then Hutch's. somehow manages to tell a story about Ray Brown that involves Hutch accidentally taking ecstasy and like maybe hook it up with Lalo Schifrin's wife? I couldn't get the context. But what was funny was, you know,

my son has no, he gets really embarrassed about that kind of stuff. So like as Hutch starts... I was embarrassed. As Hutch's energy starts changing through the story, my son, Ivan just goes, oh, oh, I can hear him on. And you're trying to pull him in and like give him a hug and some support. He's like, don't touch me.

He starts cringing. He's like, no, no, no, no. I'm like, buddy, if you're going to be around Hutch? Yeah, he wouldn't be the first person to cringe at a Hutch store. I loved it, man. I thought it was great. Oh, it was great. And I mean, yeah.

So, well, okay, I was glad to experience it with you. And like you say, everybody there at the audience. It was a special night. It was a special night. Shout out to all three of those amazing performers. And shout out, again, to Jazz St. Louis, if you're listening for Hocon. And you know what? Shout out to, like, them and all the musicians that, and you and I certainly do this.

But for them, I just want to say, and for them, and for everybody coming out, it's like, music is important, you know, and it's like, especially in this day, and I just came off doing a, you know, a bunch of gigs, we were in the studio, and it's like, I mean, it's not about, you kind of hit it on the, at the beginning, it's like a group thing, the audience, musicians, everybody together. So, like, there's a little bit of a risk that's mitigated as best we can, but there's a risk to go hear music live, not to be in a room with a bunch of people.

And, you know, I was playing with the symphony in Colorado the other day. It's like a bunch of people on stage. There were a hundred people. Yeah, and it's like, you know, you're up there. But I think this stuff is important. And I think that, you know, everybody, I really appreciate people valuing that. I don't think anyone's trying to be reckless.

We're all trying to navigate this new kind of thing. But we, like, this stuff is like, it's like breathing air and stuff. We've got to do it. You know, and sometimes the air is infected with someone. We're trying our best. But, I mean, I really appreciate them coming to town. Totally. I know what that takes to do that.

And to get up there in the audience in Missouri. Yeah. And to bring this music, man. And to work their ass off as they're doing it. Exactly. Exactly. That's great. And they came together with no rehearsal and played together in years because nobody's been doing anything and killed it. Killed it. Well, thanks.

Not the audience. No, nobody. Killed the music. Kill the music. Boy, well, on that note, you'll hear it.