You'll Hear It: Full Album Deep Dives with Jazz Musicians - The Keith Jarrett/Rick Beato Interview

Episode Date: March 6, 2023

Adam and Peter check out Rick Beato's interview with Keith Jarrett. Jarrett is an American jazz pianist and composer. He is considered one of the most influential and accomplished jazz musicians of his generation. Check out Rick Beato's interview here.Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open StudioLet us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Instagram

Yo, Adam, Yes. Have you heard the interview? So are we talking about the film where those two actors went to North Korea? No. Are we talking about Rick Biodo and Keith Jarrett?

Exactly. Yes. I'm Adam Menace. And I'm Peter Martin. And you're listening to the You'll Hear podcast. Music commentary, advice, and conversation coming at you. That was on the fly. That's an improviser right there.

He just made that shit up. Yeah, man. Well, I'm excited. I'm inspired too. We're sponsored by Open Studio. Go to Open StudioJazz.com. If you want to go on a deeper dive of anything we usually talk about here. If you want to jump, is that like we are actually jumping off the deep dive or if we're jumping off the low dive into the deep end?

No, no, no, no, no. At Open Studio, we take you out in a boat in the middle of the ocean. You can't see land. There's no land for miles. Right. And then there's a huge trench. The Mariana trench. That's a thing, right?

Yeah. We pull that boat over the trench, but with piano and music. And then we dive super deep. No, we throw them off the boat and there's a bunch of sharks around. We weigh you down with theory. Those sharks are like, our various jazz YouTubers that we won't mention. Oh, boy. Circling around you.

And then we throw you a life vest, a life, what's that, the circular thing? The life preserver. Preserver. That's funny. Life preserves. It doesn't preserve it saves. A lifesaver. We throw you a packet of lifesavers.

Okay. Which is an Open Studio membership, in fact. So go to Open Studio Jazz. For information. But you know what, Adam, we don't talk about this enough on here. I feel like we do. No, no, no. Open Studio is the sole sponsor of this here podcast.

True. And the reason that you don't hear about a bunch of other random me undies, big shot to me undies, but random sponsors. Yeah, is because we like to talk about music. We like to have commentary. We like to have discussions about music, things like practicing and Keith Jared and all these wonderful things. And so as you will hear, the podcast unfold. And if you are new here, welcome in on YouTube or wherever you're listening to this or watching it,

we pretty much go straight through because that's the way we like to do it. We don't want to be hawking a bunch of stuff, but we do hawk a little thing called Open Studio membership. What are you most excited about? Because every week, there's something new about the Open Studio member experience that I'm amazed by it. Sometimes it's a member showcasing their talents

or a story of progression. But what's kind of been striking you recently? I mean, there's so much to be excited. I'm still excited about my course here in Great Harmony, which just was released a couple of weeks ago, I still get daily feedback from our members on that, which I'm super stoked about. It's all about understanding sort of the nuts and bolts

of the harmony of music, and I'm digging people's reaction. And I'm excited about bringing on new instructors, like Jeremy Siskin. We've had Jeremy over an Open Studio Pro for a while. We're talking with Jeremy about a possible course at Open Studio, so I'm super stoked about that. I'm super stoked that we get to talk to people like Ron Carter.

Yeah, that was fun. It was really good. So yeah, go to Open StudioJadowncom to learn more. But today, Peter, this has been an interesting weekend. I've listened to more Keith Jarrett this weekend than I have, I think, all year so far. Because friend of the show, Rick Beato. Yes. Former guest on the show.

Former guest on the show. And, of course, famous, amazing YouTuber. Yeah. Music YouTuber. He actually reached out to you a few weeks ago. Yes. And he told you that this was going to happen. So we kind of knew that this was going to be released here.

Yeah, I was keeping very cool. quiet about it because I wanted the the I mean I was so excited about it and we talked about it and so there's been anticipation and you know I think that Rick really did a wonderful service in terms of just like what you were saying how it led you to listening to Keith Jared that was myself this is the kind of video and interview that just leads you down back down that beautiful place let's set it up here so Rick interviewed Keith Jarrett and now for you those of you don't know Keith Jarrett retired from playing in I believe it was 2017 does that seem right 2018, after a couple of, I think he had one or two strokes that left his left side paralyzed.

So he can't play with his left hand. And so he retired from playing, and he hasn't really done too much. I haven't seen a lot of interviews with him or heard a lot of interviews with him or read a lot of interviews with him. He's been kind of quiet. Right, exactly. So this was kind of amazing, especially to have video of Keith, especially have the video of him at the piano. Right. Playing the piano was amazing.

So maybe we could start with one of those clips. Well, and I was thinking I might even just kind of throw this up there, which is this video here, the most beautiful two minutes of music. Oh, yeah. I believe this is what led this one here to this interview happening because, and I highly recommend we'll have links to both these videos in here. But this is a video that we'll just watch a little bit. Check some sound going. We'll even jump back to the beginning of here. Has perfect pitch.

But basically... Of how to start it. The video is called the most beautiful two minutes of music. But this two minutes of music actually happens 34 minutes into a 64 minute improvisation. I want to just say this right now, I promise you, if you sit through my little introduction, it'll be completely worth it when you... And it is. We're not going to go into all this to see it, but you can check this out. But this is the video that led to the interview.

that's what I wanted to show it. Someone on Keith's family or Keith or his wife or his manager or something saw and showed it you know and Keith got to see it and was really intrigued by that and it kind of led to an invitation. Subscribe to YouTube channels. Yeah I don't I don't know I don't I don't know if he does but but it just shows the the serendipitous but sometimes purposeful I think connections that music commentary and music sharing and that YouTube and certainly this online medium can make that I think is super exciting. I mean, look, it goes back to the same thing like with radio and then records and all these

kinds of things, but there's sort of an immediacy and a connection that's really just very joyful and tender in a lot of ways, but also, I mean, I imagine Keith Jarrett sitting and somebody presenting and then him seeing kind of getting a view to maybe how other people see him. Other people see. Like we talked about this with Ron Carter where it was like he was sort of surprised. during the pandemic when he started looking at YouTube and it's like wow everybody's talking about me on here I've just been you know that's nice yeah that's nice and so they have a view that's very different than all

of ours in terms of how the appreciation for what they have so let's set it up a little bit because we obviously we're not going to watch the whole Rick Beato video although we do encourage you I'm sure most people that are listening it's 48 minutes and it's a it's a fat I mean you're going to you're going to want another 48 minutes and if you're watching us on YouTube there's a good chance that you already follow Rick and you've already seen this video but we can talk about a few of our highlights here. So Rick went up to Keith's home and he's and Keith has a barn famously. His studio, yeah, yeah. His studio barn behind his home where he has, you know, pianos and all kinds of instruments and space. It's a recording studio. Right, right, right, right. And Rick talks to him

about that process that he made that studio in the 70s out behind his house. Right. And why he did it, that's fascinating. Yep. But I think the most fascinating thing, Peter, and I know, you know, you and I we're talking about this is seeing Keith play here. So again, he's lost the use of the left side of his body. So he can only play with his right hand, but he does some playing on this video. Right. And it's really good. It's really, really good.

Like, it's better than it has any right to be. It's Keith. I mean, it's just with one hand and the musicality there. I mean, I was so inspired by seeing this because I'd been hearing, we'd all heard about, it's been public knowledge about the strokes and that the reporting has been all, that he couldn't play or wasn't playing at all. That's what I was hearing for years now. And so you start to really appreciate,

obviously everything he did up to a point. But then when you see that he is still playing, he is still Keith, the music is still there. He's never going to be apparently, as he was, I'll concertize it. Maybe he will. I mean, people have had recoveries, whatever. But just to see the human and to make that connection.

So we're going to check out. Should we go, no, we're going to go here. Can we do that? Bam. So this is a part, well, let's just let's just let it play. How you're getting back to doing some playing. I just come in here. I doodle around.

I would have to call it doodling. How do you have to adapt then for playing as far as accompaniment? So I got to go back to that line. Because there's all this great key. We could analyze this. But those that know his music, like there's a lot of little things in there.

But like the way that Keith swings, which is very much in here, it's so hard swinging, but it's so personalized. Like all the great players. You know, just very much linked to the way he frames. raises, obviously, master, you know, finger technique just off the charts.

You can almost hear the rhythm section with him or his left hand. Yeah. As, you know, that he's playing off of something. Something is there. Yeah. Well, his time. Like, I was going back and checking some stuff on the solo piano stuff, obviously the trio stuff. The quartet with Dewey Red, I mean, like, his time is so good.

And so that, you know, is so relaxed here. But, I mean, that's just like very, very bebop. you know but you got it looks over like you dig you catch that and you know who knows how much concentration and energy more he's needing to put into doing this i mean it's it still has that effortless sound fairly relaxed yeah yeah so um i don't know man it's it's it's it's just it's It's just fantastic. And to be able to have this, I love what Rick did to bring him to a place where he was comfortable to do this and to play like this. Because we haven't seen something like this from him for a long time.

Yeah, before we get too much into how great it is to see and hear Keith, we should shout out Rick for this. He did a fantastic job. Not just with the interview, but with the entire setup and the sort of story behind it. I think this is one of his best videos, at least for us. I mean, I know where this is our wheelhouse, but he's, you know, Rick is obviously now, like, such an experienced storyteller at this medium that I couldn't imagine a better choice for someone to do this than him. Absolutely.

And I think, well, you know, it helps that Rick, Rick is a, like, just lifelong fan and really knows Keith. You know, we've talked about that before. That's what I'm actually talking about the pot here when he was on a couple years ago. And it's like he's very, so he comes from that place of knowing his music, knowing, coming up during that time, being a fan. But I would just encourage folks, as you watch this, some people are going to be a little bit off put because there's like a really long introduction before the interview starts.

No, it's good though. It's worth it. It's worth it. I mean, and especially because this, I think, is going to be a great interview and kind of check-in point for folks on Keith Jarrett that may not know the history. So even if you feel like, oh, I know all those records or whatever, the kind of background that Rick does at the beginning is great. Maybe we'll skip up to this part. Let's see here where it's some just cool stuff where he's talking about. triads versus force and this kind of things that I'd never heard him talk about.

I said, yes. Jack and I shared that ability that we remember words. Oh, it's a little bit further. Okay, all this stuff is great. I mean, it's just, here we go. As a pianist, I was more interested in, I mean, I guess I was Bocke in. Yeah. Bocke in. A lot of counterpoint. The movements of the inner lines that you were playing. That was what I did the most of. For example, the tune, Country is a good example of what I was thinking when I was thinking of a kind of simplicity. Okay, we have to stop there because we can't play that.

But country is like just incredible, was kind of a big hit for him. This record, my song, of course, is incredible. And even that, I don't know if you've ever, I don't know if there's any video footage. I remember seeing this years ago on, like somebody had a VHS of this. I tried to find it at one point in YouTube. Keith Jarrett played this song on S&L in like 1978 or 79 or something. 78 is when the record.

It was probably around that time. Incredible solo piano version of this. So like this was really something interesting that he talks about. But afterwards here, we're going to skip ahead a little bit because he gets into really, you know, sort of talking about and describing his approach. American approach? American approach, which I'd never really,

you know, I know he had the American courts. I'd never heard him talking about this. And demonstrating him. This is writer. I would say you're right. I think it's American. Yeah. And no one was doing that.

No. This is your own language. Steve Swallow with Gary Burton. And that language, they kind of adopted that. And then later on Pat Mathini did, too, this Midwestern thing. Now, being from Allentown is kind of like being from the Midwest. Yeah, that's right.

Right? Would you agree? Yeah. It's a church-related thing. Yes. And Charlie. So Charlie's thing. And, Charlie, yeah.

And honestly, Ornette's music has that, I don't want to say country. Is it country elements to it? I think so. Yeah. I wouldn't have called that song country if I wasn't thinking of it. Right. I love that. That was very like, that's Keith right there, which is great.

So what he's talking about here, maybe we can just break down a little bit musically of the sound that he's talking about. Yeah. So there's a couple of different, like, well, there's two main cadences, right? You have your perfect cadence, which is how to approach a tonic from fifths, right? So like a C-7 to an F, right? Obviously, that's like the main sound of Great American Songbook standards. It's also the basis for like a 251. It's not like Keith never did those, but what he did that you don't find in things like Gershwin tunes or Jerome Kern tunes or those sort of like Great American song where standards.

And a lot of the jazz from like the 50s are these plagal cadences that are built in fourths. Did he plagiarize them? He plagiares them. And Jacob Collier actually talks a little bit about this too. So that's the perfect, right? G7, C7, F, right? Moving in fifths. Down.

Or like everything has a fifth. this is the sound it's really the sound of the 70s isn't it when you hear this? So imagine doing the same thing but from fourths. Right? So resolving to that F from B flat

and then resolving to that B flat from E flat from a fourth up instead of from a fifth up. So this becomes it's just a different way to get to that place

and I think Keith with those, I think that's what Rick is talking about with his originals and even into the standards later that you'll hear them talk about, he uses those plagal cadences more than anybody did before him, certainly. I think that's part of his signature. Oh, that's great, great.

So there's so much great stuff in there. And right even before this, he talks about more about this American style. And it was super excited to me because it's like the type of thing that I'd always heard. I mean, you talk about coming from facing you and certainly before too, but like facing you, his first ECM record, classic solo piano, where he gets into all these great vamps, there's all this improvised stuff, and then Cohn concerts, my song,

I mean, so many great, like, I'd always felt these connections purely through his music and never really heard him talk specifically about it as much as he does here, certainly not in a video interview, but to hear him kind of like affirm something that theoretically I understood,

you know, like the way you're explaining it and could kind of play some of it, or at least be able to identify, but to hear it sort of brought together as like a thing is super exciting to me. And I think the way, it's a very interesting and organic way for us to experience music and what's so fun about music theory or commentary

when you don't think about it in advance. It's not like, oh, I want to learn how to play the American style. It's more like, oh, I've been hearing this thing and then you get a label for it afterwards. You're like, oh, yeah, that is what that is. It's funny they talk about country is the label for it Because to me that sound, and especially when I hear Keith play it, it's more of a black American church sound. Exactly.

I mean, I know it's in country as well, but I feel like it came to country from the church first. Well, I think when he says, like, that's why I called it. That's, but like, Keith's not thinking about, especially at that time, and I'm putting my own opinion on this. This is no, like, I could be wrong on this. But I think he's not thinking in terms of country, like country in Western or what the genre. Yeah, he's thinking of like something that's, like, even in jazz, when we talk about. This is why labels are bullshit. Yeah, that line was so country the way.

You know, it's like a freedom of expression and a certain connection with gospel, really, and blues. Yeah, yeah. You know, that's country a lot of times. But then the industry thing of, like, country is, is like, you know, some Nashville dude in a pickup truck. That's a different thing. But there is overlap there, too, I'm sure, you know. Yeah, that's not what he's talking about. Actually, look at that.

That's a plagued. It's a plague of cases. It's there. But then he gets into, like, the next segment we wanted to kind of show is something that's really cool here and it's basically Rick is playing him Solar, Miles Davis Solar so this is more like a stand, like a jazz

standard which with Keith was great with solo piano with trio later in addition to the great American song book like this is this actually Miles tune or is it somebody else? It's credited to Miles I believe it could be Bill I mean it could be Wayne I mean who knows but anyway yeah it's Miles but the idea is like Keith apparently had never heard this before and they talk about that this is

from a concert that I used to have a VHS of live in Japan from like the mid 80s. I think it was at Suntory Hall. And I always remember it because Keith's wearing like what we used to call shopping mall Reeboks, which now are apparently very much back into the vanguard. I believe producer Caleb is actually wearing a pair now. Actually, Caleb's kind of dressed how Keith

is dressed in this video almost completely. Exactly. So it's come full circle, you know, but this was a very mid-80s kind of look. But anyway, it's just an incredible concert. It was recorded and I remember I remember when we, when I first saw this, I was like, oh my God, this is HD or whatever. I thought it wasn't.

But it was some of the best video and audio. 540P or whatever. It was just some of the best quality I'd ever seen. But apparently Keith had never seen it. So Rick sat him down and I mean, sat him down. They were already sitting down, but it was like, I want to play you something. Keith, have a seat. Have a seat.

I know I'm in your home. But he played him this. And it's so fascinating. At first I was like, oh, this is, this could go off the rails. Keith would be like, why, you know, why are you playing this or whatever? But it's just fascinating to it. doesn't remember this at all. Yeah. This is your version of Solar, okay? He says, oh. It's from a live concert. Keith's here, you know, at first I'm like, I'm thinking he's

like, yeah, whatever, you know. But he's listening. This is such a great word. Forth there. Yeah. Yeah. He's like, yeah. He's appreciative in the most, like, just peaceful and direct way, you know. The same way we are, I think. Standing up here. He's standing up if you can't see this video. And apparently Keith was just listening to this. He wasn't watching it. Like, we can see it on here now. But he was just listening.

He looks like he's digging it. Yeah. I mean, we're all digging it. Yeah. And he's kind of listening like we are. I know. His reaction is at the same time, you know. It's objectively amazing.

Yeah. I mean, we could, yeah, we could go on and on here. It's just to say that like this. You know, that whole performance, which I hope is available now. Again, I'm not exactly sure if this is where this is located, but the whole concert is just fantastic. And to see Keith, like responding, like, like, like, like we're saying, like, he's very much. He's digging it.

He's into it. Yeah. Yeah. And a lot of people, you know, there's a lot of stories about. There's a lot of people that don't like to listen to their own stuff, first of all. So that seems out, this seems like out of the ordinary. Right. But sometimes it's a lot of kind of.

maybe false humility when people like, oh, I think it might be. You know, not with me. I don't really enjoy. But I mean, some things I enjoy listening to. No, I know. Some people legitimately can't just, it's just too much, right?

Like, they don't want to get in there. And the fact that he had never heard this or didn't remember it or obviously, he doesn't seem like he's sitting around his house, listening to his own stuff. No, he's not. Yeah, yeah, yeah. But then also Rick plays him this wonderful piece

that I'd never heard before with the, towards the end of the video. I mean, they listened to, like, this whole thing that he had written for the Eastman, win ensemble or orchestra that he played with. It's a beautiful piece and I think that

Keith really in the same way like with this just as appreciating it. I love the fact that he's just listening like he's very objective seeming to me. It's not like oh look what I'm doing. It's like he's always been very much about the music obviously

but it's been off putting to a lot of people especially some musicians because he's very specific about like his demands on the piano. I mean it's legendary the stories and the audience. Look at who his main mentor was in music. It was Miles Davis.

Yeah. Miles Davis also gets flack for having this confidence of like, listen, I'm doing some stuff here. I know what I'm doing is interesting and good and different. Yeah. I know it's at a higher quality level than almost everybody else, if not everyone else. Yeah. And I'm not going to fake that. I'm not going to pretend like I don't know that.

Right. It's part of why it's so strong and powerful. And I think Keith sees that same power, has that same kind of power that Miles does, where it's like, listen, I know. I know what I do, you know, and I know that this is good. There's nothing wrong with that. Nothing wrong with that. And I mean, you know, Keith gets into talking some about the, a lot of people think he doesn't care about the audience in the same way.

They used to say about Miles, right? Yeah, they said the same thing about Miles obviously cared about the audience. He's trying to make the best music possible for them. Right. But I think that they both were coming from that place, and Keith has talked about this like, and talks about a little bit in this interview. Well, he talks about the importance of the audience and how they're part of the process. And I think that's his thing why it's like, come on, let's have the sound in a certain way. Let's not take picture. Let's honor this time together.

Not because it's like, look at me. It's like listen to the music. What did he say? Something like what you might not know is I couldn't have done this without you or something like that. It was something like that. Exactly. He's in there. And then he talks about, oh, so much great stuff in this.

Check out the interview. Yeah, watch the whole thing. The deer head in. He talks, I didn't realize about, I mean, I knew that he has those great recordings from like the early 90s. I don't know. Live of the Deer. Oh, man, some of the greatest trio stuff. Man, I have so many.

He has such, he was such a performance. prolific recorder. Yeah. I have so many holes. Another great thing. Oh, and they show his prolific recorders on the wall. I know he's got literally recorders. Yeah. The bass recorder. No. So one of the things with this interview, and I think one of the things that's great if you, from other things that Rick has, Rick Beato has posted on Keith is that like this is a basically like this is basically like a listing recommendation. Yeah. For a lot of, especially 70s Keith. Because Rick is obviously steeped in 70s. All Keith, but like you could tell Rick is like that's the emotional connection. of him as a young musician discovering this stuff.

And so, yeah, for me, like, this has been a playlist, essentially, all weekend. And I can't wait. And I mean, I've heard of this stuff and heard this stuff, obviously, but, like, really going deep, being inspired by hearing Rick talk about it, being inspired by seeing Keith. So if you're sort of like a superficial Keith admirer or you have, like, a one gear of a Keith Jarrett fandom, check out this, the beginning. especially the beginning of the video for some great Rick Biotto recommendations on where to start for this stuff.

And I mean, I think it's such a, one of the difficult things with, especially with so much being available now, in terms of like his entire output, for such a prolific and multi-talented artists like Keith Jarrett where it goes everywhere from solo piano to duos, trios, classical. But his multi-piano concertors are some of my favorite readings of that. handle.

He's got his second album is like a singer-songwriter album. Yeah, singer, yeah, exactly, that stuff. And of course, the recording,

I think most people know him for a forest flower with Charles Lloyd, which was like super early on, like he has a really huge output and it can be, and then there's all these great live recordings, a lot of which kind of come and go, but they're available on YouTube, like stuff from the 80s and the 90s.

His stuff from the 70s is hard to classify. Yeah. It's just amazing music. But it's such, it's such important stuff. And then he's even, Talk about like live at the deerhood. That's a great one.

We'll listen to that. But he did these like live at the blue note. I love live at the blue notes. Yeah. And I'm not a big fan of the sound in the blue note, but somehow those recordings in him. Man, that band sounded so good in there. It was so great.

I think it must have been because it was kind of small for them. They must have been tight within each other, you know, like super close to each other. Because they're usually that trio with Jack and Gary are playing these big halls, you know. It's how I associate them. Yep. That's how I saw them.

Yeah. But like, yeah, live at the blue note, that must have been amazing to be. Yeah, yeah. So I've only seen, I've seen Keith twice, and one of the times live was I'll never forget. I mean, you know, there's always these moments that come along, but being a big fan of his, you know, coming up, I remember seeing him. And this was like mid, late, we get kind of like maybe 96, 97 at the Istanbul Jazz Festival. I stayed over an extra day because we played. Just to watch it, yeah.

And, you know, I was going to kind of hang backstage. And like, before he got there, they were like, everyone had to. to leave backstage. He can't have, you know, he's got these little things, you know, but I was like whatever, so I went out and sat and the audience. I knew the guy, the festival promoter, because we played there. And anyway, it was with the trio with Gary Peacock and Jack D. Janette. And it was such an amazing concert, like to be able to remember sort of what the vibe was and to see, especially with a group that has so many great live recording. So you go into that situation kind of with a certain expectation. You don't know exactly what's going to be played,

have an idea about kind of what it might be like. But so it's almost harder to sort of surpass that, you know, but it did. Like to be in something that's, you know, it's like if you go to see a sporting event and like you've seen it on TV a lot, you kind of know the players, you know their moves and everything. But then when you see it live, it's sometimes very hard to transcend your expectations. But this did, you know, and that's excited. Same.

I saw him in a big theater in Newark, New Jersey, probably 2002. And, you know, I mean, I still remember. couple of moments of him playing a chord from that concert. And it was just like, how do you play a chord like that? I know. Like how can a chord just like like resonate your whole body? Una coda. Una coda. Man. Anyway, thank you, Rick for that video. And thank you, Keith. I'm hoping, man, that with this renewed interest or that with some interest, maybe Keith gets a little bit of a urge to make some kind of recording in there of a right-hand album. That would be amazing.

I mean, with the trio, even if not with the trio, but certainly, Just hearing what he was doing there, I could listen to that for 50 minutes. Yeah. You know. All right. Well, thank you guys for making it all the way to the end of the video. We remind you, we are, don't stop listening now. Don't stop.

Look, even you. You got your hands on the dial and everything over there. We, I know that would be something you might be interested in? I'm just ready to go here. This is ready. We are sponsored by Open Studio. Please come and check out our community. It's an amazing place.

If you're looking for an inspiring, supportive, interactive community in order just to get better, playing music, getting better play. We're always talking about jazz, but jazz is really the foundation for getting better just musically. It's not the only foundation, but it's the easiest, most fun, and bestest, as we like to say. And I think, no, I don't think, I know we have built the number one meeting place for just great artists, great teachers, great tutors, great students, great community of jazz artists. And we're really excited.

We have a master class with Keith Jarrett coming up this Friday. Did you know about that? I wish we did though I wish we did we did we're gonna try to do that we do not by the way we do not but it's an idea but Keith if you're watching yeah that's right until next time

you'll hear it