You'll Hear It: Full Album Deep Dives with Jazz Musicians - Special Guest: Rick Beato Part 3

Episode Date: November 20, 2019

It's the finale of Peter and Rick's multifaceted interview. This time, they talk about some of the copyright challenges YouTubers face.You can check out Rick's YouTube channel here: https://www.youtube.com/user/pegzchWatch "It's Time for a Major Change" here: https://youtu.be/kqk_XZhZAhAAlso be sure to take a look at Rick's video on the melodic minor scale: https://youtu.be/kmRcg6ByrvESee what Rick's up to by following him on Instagram: https://www.instagram.com/rickbeato1/?hl=enWant every Open Studio course for free? That's right - over 300 hours and 1200 lessons can be yours with free lifetime access! All you have to do is enter Open Studio's 2019 Holiday Giveaway. Go to https://learn.openstudiojazz.com/giveaway/, or watch this video of Peter for more info: https://youtu.be/KsdhVXE5ovILike 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.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Hey, Adam, you've been replaced by a guy named Rick Biato. This dude knows everything about music. In fact, his YouTube channel is called Everything Music. Sianara. I'm Peter Martin, and you're listening to the You'll Hear at podcast. Daily Jazz Advice, coming at you. Very excited today for part three, our conclusion. You know what?

I'm not even going to say our conclusion. Adam's not here. So it's my conclusion of my discussion, my remote interview and discussion of all things, music with Mr. Rick Beato who has one of the largest music. He doesn't have one of the largest music

channels on YouTube, but he has one of the largest music channels of somebody that really knows music, if not the largest. So we had so much fun in this discussion. We hope you enjoyed this conclusion today. As always, we're brought to you by OpenStudio. Go to OpenStiojazz.com for our

Big Black Friday giveaway. We're calling it Ultimate because it is the ultimate, so check that out. Here's the rest of the interview. Enjoy. I'm wondering Rick if, you know, I mean, I'm totally an agreement about ECM and just this general, we talked about this the other day offline, but, you know, the general kind of pervasive attitude in a part of the jazz community, you know, that leads to all the jazz police jokes that we have overdone here on the podcast. But I mean, this idea of like keeping everything in a museum and protecting it so much and it's so, you know, it's so important. It can't even be on YouTube. and we can't even play a, you know, a little part of it. And it has to be, you know, it has to be the perfect experience.

And then, you know, the reality is there's not even that many people that know about or want to hear this anyway. So what exactly we're protecting? But I think that, you know, maybe one of the pathways is like folks like you that are, that have a nice little platform on YouTube, even when you talk about these recordings. You know, talking about, you know, belonging and spirits and like, like this stuff that, you know, it's kind of the same as when we were kind of up, you know, some older musician or someone, like, man, you need to check that record out. But we had to go buy the record or whatever. And so it's like now you talk about it and it becomes like this special, mysterious thing that they have to do a little bit of legwork to go check out. Because we're always, you know, we're doing the same thing. We're always playing stuff. And we just put stuff on there and see if they're going to make us take it down or not. That's how we learned what you could and put on the podcast. Well, the podcast, it's a little easier. That's what I do. Yeah, the podcast is a little easier than YouTube. I'll tell you that. We can let a lot more stuff slip into the podcast. But, you know, somebody like you, especially if you mentioned this and you've done this,

I know before, to an audience that's not coming to you for like, what are the top 10 jazz albums or whatever? Maybe they're coming for the, for like, like on your, you know, top 20 drum fills and you've got that great Tony Williams. And it's so funny because like I know Tony Williams. I had to sneak that in there. Oh, man, you did. But it's like nobody, these people don't know Tony Williams. This is the rockers that are listening to this, but they need to know Tony Williams. and is and Billy Cobham and

yeah yeah and I mean most of those other drummers those great genres that are playing the Phil's new Tony Williams and we're getting stuff from him you know lifetime and and whatever absolutely yeah but I mean this is like it's such a a great passing of information you know even when they do block things or whatever

it makes it even harder for people to find it but I love that aspect of YouTube and like I was telling you the other day you know my my dad is you know he's a classical musician retired symphony player but he plays bluegrass and He plays a lot of it. He's just super talented guy.

But he, you know, he's always sending me links of like, he doesn't know how to link to an actual YouTube video. But he'll say, go to YouTube.com, search for this, click on the top video that comes up. You know, this Oscar Peter said, well, you're going to be amazed. I just don't have the heart to tell him that the same thing doesn't always show up the top for him as me. But it's always good stuff I'm seeing anyway. You know, I did a video early in my channel.

When the first time I ever had anything blocked related to, well, it was a jazz thing. What kind of a jazz thing? And I didn't know that blocking was the thing on YouTube. I told a story about meeting Michael Brecker in 1999 at Avatar Studios in New York. He was walking down the hall. I was working in Studio D on a record. And he was in Studio C. I didn't realize it.

So I'm walking down the hall. And we passed you. So I said, oh, my God, you're Michael Brecker. And he, and I told the story about meeting him there. Then he invited me over to listen to some stuff. And he was doing a record with Elpin and Pat Mathini. And, geez, I forget who. I think it was, I think it was a record from 99.

I think they didn't have a bass player. Maybe they had, was it organ, guitar, drums, and sax. I think it was. Anyways, so. So he, I told this story, well, I was telling this story driving in the car while I was driving to Starbucks and it took as long to get from my house to the Starbucks. And I finished the story. And then I played, I was telling about the Klaus Ogerman record called Cityscape that

came out in 1984. And it's Klaus Ogerman arrangement, string arrangement with Michael Brecker playing this particular thing. You can see it. You can listen to the piece on YouTube. now at the time you couldn't. And the first two minutes of it are just some of the greatest minutes

ever on a jazz recording. I consider it jazz, but it's really kind of a blend of modern classical music and jazz. But Brecker's playing is just so outstanding on it and beautiful, and the writing is amazing. Anyway, so put up the video. I tell this whole long story, and YouTube takes the music out of the video. They mute it. And they didn't take it down. They said because of copyright issues,

you're the music has been muted so i talked this whole long story and people are writing in the comments what happened on the music so he means i go listen to it and and they used to just mute the music right they mute the audio so i reuploaded it as a rant then and uh that i couldn't believe that that they would block that i'm thinking i said how many people are buying this record um that they should be happy that people are talking about talking about it. Right. Right, right.

A little sample. When you think about it, Peter, who's ever going to play that Klaus Ogerman arrangement? Those arrangements on those records, he did that in a gateway of dreams. He did another record that records on. And they're just amazingly great records. And I was thinking that he finishes the orchestrations. They go and record in the studio. He picks up the scores and he goes and sets him down on a somewhere on a shelf in his

in his house. And that's the only time that will ever get played. Right. And now neither of them, you know, Klaus died two years ago and Michael's been gone since 2009. And, and that's it. But those scores must exist, those parts. And it should be played again by someone else. It shouldn't just have one performance.

Right. Because the recording is not, you know, Brecker's part sounds phenomenal. But the orchestra, you can't, the mids are not clear on it. You can't really transcribe exactly what the strings are doing, but it's beautiful. So, you know, I don't know. I don't know. I don't know. I don't know why I went on that tangent, but that, if anyone knows anything about that record or knows where those orchestral parts are, get somebody to, I wish Chris Potter would play it or somebody.

Some young saxophone player would make a recording of that again. Yeah, man. They could just directly upload it to YouTube at this point. How about that? That's what would happen. Exactly. Oh, that's great stuff, though. Great, great stuff. I think, I think, I was just wondering if there was maybe one video. I know I mentioned a couple. Is there, I put you on a spot a little bit here, like something from your channel that you think our listeners maybe that we could link to that you think of might be of some special interest. It doesn't have to be jazz related or it could be sneakily jazz. as you mentioned. But is there something maybe that's a little bit under the radar that you'd like to see percolate a little bit? There was a video called It's Time for a Major Change. That was one of my sneaky ones that I did that's analyzing a Pat Mathini tune,

but it's Brecker playing on it, Brecker McCoy, Pat. And I just analyzed the bridge of this song called Song for Bill Bow. That's all major chords moving in whole steps. and I think that's a that's an really interesting video to see how they weave through these chord progressions. I talk about jazz players. A jazz kryptonite, I call it, is our major, just major triads moving around with no sevenths. Right, right, right. That for most jazzers, it's like, where's the major seventh? Where's the dominant seventh? You know, it's like, you got to be able to play over triads.

Yeah, man. I love that. And Methini is an expert at that. He can wind through any set of changes and play the most melodic, you know, and he's not just arpeggiating the chords. Right. He's playing lines. He's playing phrases that just all the notes work perfectly over this, you know? And so I analyze what they play and talk about it and things.

So that's a, I think that's a cool video. Yeah, that's an awesome one. We're definitely going to link to that. And then one more I'll throw in there. You might laugh at this one. but because it's, we were talking about by short, two-minute jazzes and how long I've been doing that. But your melodic minor scale, you know, like jazz versus classical, Rick one,

that's pretty close to two minutes, Rick. I got to say, man. The pacing on it's really good. It felt longer. I had to go back and check on that. But that's kind of a fun one for somebody that literally has like two and a half minutes. But I think that's a really interesting area. You know, for me, because I kind of came up in the,

the classical and the jazz world. I love those, and I know you've done that on some other ones, too, but we're going to link to that one, too, because you have a really sort of simple and interesting take. And, I mean, I'm ashamed to say, like, that actually answered a question that I always had, that I understood musically, you know, the difference between the melodic minor and the Aeolian

and why they're classical and jazz people look at it differently. But intellectually, I could never quite answer it because I've kind of come from both worlds, so I was already, like, you were kind of my personal psychiatrist with that video, Rick. that's what it was a little bit bipolar because there was the two ricks but it did help me kind of you know come to come to terms with the two peters on that there's actually a great there's actually a great example of that in the uh in um eleanor rigby how mccartney uses dorian on the first part

of the melody uh and then he uses aeolian he uses the natural and flat six in the verse melody, which is amazing. And most people don't realize that. That and that's really where I couldn't think of any other in pop music. I can't think of maybe Sting has done it, but or and Paul Simon, but I can't think of many

other people that would do that would use the melodic, well, Dorian or melodic minor, you know, raise, sixth and flat sixth in the same in the same melody. And he uses it kind of in the same way that the melodic minor and natural minor are used in classical music.

Right, right, right, right. Well, and you know what, Rick, I want to just, for all of our listeners, too, just really recommend, I mean, something that we've talked about, Adam and I here on the, um, uh, Adams, my co-host, who's actually on tour in Japan. So he's losing out, he's losing out big time today. You know what I'm saying? That's, that's what happens when you take off. No, but, you know, we'll talk about.

about ear training and how much, you know, from quality pop music jazz musicians can learn. And like we have to get over. I mean, that's how I learned most. I mean, I had a lot of classical ear training too. But before I was, and even while I was like learning solos, everyone's always asking us, you know, what McCoy's solo should I learn?

What should I? I was like, can you, you know, pick apart the harmony and the time signature and all the things your ears need to hear in a classic Beatles song and then take that through a couple of different keys? And so you can do that, McCoy Tyner's solo with the left hand and everything can wait. There's so much stuff sitting there, you know,

that's already sort of in our consciousness and our ears. And I would just recommend everyone to check out many of your videos because you kind of are doing some more sneaky jazz training with some analysis of pop tunes and stuff that people can actually do and digest in maybe a couple of days. I mean, learning

a Macquarie soul is great and I did it a bunch. And, you know, if you've got a month to spare eight hours a day and I guess a sugar daddy to support you, you can do that, you know? But there's so much stuff. And, you You, I mean, obviously, I mean, of course, you actually get in front of the blackboard and go into Professor Rick as well and break this stuff down from a theoretical standpoint. But I would just encourage folks to check out your, you know, your analysis of pop harmony and stuff because there's so much, even as jazz players, that we can learn from that and develop our ears. And I know a lot of people, you know, came to you and see your ear training, you know, the amazing stuff with your kids and stuff like that.

But I think that you kind of sneakily lay out a lot of the actual, I mean, not talking about perfect pitch, but talking about. actual ear training in how you break down the music, you know? Yeah, it's a that that's probably the most important thing that the people can do for their playing, you know, in whatever, whatever genre of music you're, you're trying to excel in, but ear training is, is absolutely the most important. Being able to just hear a melody and play the intervals or transpose it, or hear a chord quality and know what it is, you know, is obviously if you're jazz musician, if you're playing with somebody and you're on the, you know, and you go to the, you know, third bar of all the things you are when it goes to E flat seven and somebody plays

E flat 13 flat nine, that informs you on the person's, you know, what they're, what kind of records they listen to. it tells you that you're going to play a dominant diminished sound on that or that they're they at least you know if the if you were playing peter and you play that i'd be i'd say oh okay so that's what peter's here in there but that if you play it a dominant you know sharp nine sharp five the next time around it's like okay altered so it could be really be anything so i'm going to be listening for those those sounds and the ear training is really important to be able to pick those things out it informs you on the people you're playing with it tells you what what kind of sounds you're hearing you might

play you might get to the first you know to the C major chord and play E over C and I say oh he's he's gonna was a Lidion augmented sound there oh that's cool okay that tells me a lot about your about you know your background and the kind of records you listen to and things like that so your your training is really really important absolutely I totally agree and I I think I mean you know kind of microcosm of that was that so what breakdown that you did where you totally fluffed over the swinging baseline, but you hit the stuff to be able to hear the intervals between what they were playing.

I love that approach because, you know, especially jazz guys, they get so caught up in like, how do I swing? And to me, like, that's, I hate to even say it, like, that's the easy part, but it should be, like, if you're being trained up as a musician and working on your ears

the same way, if you're learning a language, you're working on your vocabulary and how do you put a sentence together, like the feel and the accent and stuff, that's Yeah, it takes time to develop that, but that's the least theoretical part. Like who wants to see somebody breaking down the mathematics and theory behind a, you know, how to swing the so what baseline? You can't really, I guess.

But you can talk about the intervals and can you hear them and what happens when you go up a half step and how are you going to finger them in those things? And I can, you know, I see that coming through in all your stuff, which is great. Well, you know, just when I was watching a video of yours the other day where you're talking about the diminished scale and playing over dominant chords and just the way that you break up your lines, not just when you're, you would be showing how, what triads would come from the scale, but just in general, rhythmically, how you break apart your lines. I mean, it's beautiful. It's, you know, that's what's so great about your playing. It's not just the melodic things

that you play, but the flow, rhythmic flow of what you play. And, and, and, what, you play. where you leave space and your lines and everything is really amazing. Oh, man, thank you. Thanks a lot. Means a lot coming from you, Rick. All right, everybody. This is Mr. Rick Biato, the man. The man, the legend, the OG.

And folks, you know, of course, you can find him on his YouTube channel, everything music, which like I think I said at the beginning. I can't remember if that was the outtake we did. But I love it when something is like, you know, you put something together that has a title that's appropriate, you know, and that is like if you go on a deep dive in Rick's YouTube channel,

you will get everything music, which is what is the title of it. So we thank you for that. And check out his Biato Club. I haven't become a member yet, because I'm hoping I might be able to hook up something later with you, Rick. But we'll talk about that.

We're gonna talk about that in the next interview, hopefully. And where else can folks find you online? I'm sure they just put in Rick, Biato on in Google. Where would you like to connect? If you would like to connect with folks. You can follow me on Instagram at Rick Beato I. There you go.

Good stuff. I do a lot of guitar playing, more guitar playing in Instagram. That's kind of how I use it. Nice. Good stuff. All right, cool. We got anything else? So should we take it out of here?

Good, man. We're good. This is good. Thanks so much, Rick. And thanks everybody for listening. And until tomorrow, you'll hear it. All right, there you go. That's the conclusion of my interview with Rick Beato.

I had a great time. I want to thank Rick so much for giving up his time for this interview. Hope you guys enjoyed it. We are brought to you by Open Studio. As always, go to Open StudioJazz.com. And this is a great time to check out our offerings because we have an ultimate giveaway that by the time you're hearing this is going to be up and available. And this is to be totally free.

This is like, doesn't matter if you're a member or not. open to anybody. So go to open studio jazz.com to learn about all the details of that. I can't even talk about them yet because we're still settling what's going to be in there. But what I've already seen is truly amazing. So go check that out when you get a chance. And consider joining at some point. That would be great.

Openstudiojazz.com. Until tomorrow, you'll hear it.