You'll Hear It: Full Album Deep Dives with Jazz Musicians - This Week in Jazz - #30

Episode Date: February 8, 2019

Peter and Adam discuss this year's jazz nominees for the 2019 Grammys.Let 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, Adam. Why is every computer in our office at like a Dell PC from 98? Oh, man, remember Windows 98? That was my jam. I'm Adam Manus. And I'm Peter Martin. And you're listening to the You'll Hear It podcast.

Daily Jazz advice coming at you. Coming at you with a very special episode because today we are streaming live on the old Facebooks, the Book of Faces. The, we're screaming live or streaming live? We're going to do both. We're going to go from the mountaintops because it's this week in jazz. live. I don't know what that means, but that's exactly right. We have some friends already on here. Joe Muscarra. What's up, Joe? The wonderful Anita Jackson. We have my mother-in-law, Sarah Paige McCork-Cola. Nice. Hello, mother-in-law. What's up, love?

And so we're going to be taking your questions live and then airing this later on the podcast. We thought we'd just experiment and try to reach our users here. Well, we're going to air it later because we actually don't know how to directly put it up at the same time. If we could master that, it'd be good. So out there in Facebook, if you have a question for the you'll hear a podcast, now is your time. Right. And you'll be able to jump forwards in time with your question, right? You'll be ahead of the game. You will. You'll be able to jump forward in time and then get an answer in like a couple weeks.

My mind is blown. Can everybody hear out there? Good. We're talking to the podcast or the Facebook Live? Both. Okay, good. Okay, this week in jazz. Okay, this week in jazz.

What was happening? I've got something good here. funny man Adam Sandler pays a visit to the Utah Jazz. Are we doing another feature on the NBA's Utah Jazz? I didn't know if it was NBA. Okay, now that I go in closer, I thought maybe he went to a Utah Jazz Club, but it turns out, yes, okay, that one doesn't count.

No, but no, we had actually a couple of live events last week of note that would be fun to talk about because, I mean, look, jazz is best consumed and enjoyed and played live. Yeah, the Beast are All-Stars were live. Oh, well, that's true. I was thinking of another one, but that's a good one, yeah. Yeah, yeah. That was you and Tia Fuller.

Yes. Do you remember? I do remember. Oh, we did 10 sets. It was amazing. And Sean Jones and Montes Coleman and Jamal Nichols and Warren Wolf. That's right. It was incredible.

Yeah, it was a lot of fun. It was at the Jazz of the Bistro, Jazz St. Louis. Big shout to our friends over there. And we just had such a fun week. You know, it's always a pleasure and such an honor and blessing and all those good things to be able to play with the same group, especially when it's a good player. Look, it's a drag to play night after night with bad players. Let's be honest.

Exactly. But when they're good, it's a lot of fun. And so it's that that's the kind of group. We actually did this three years ago. So it was kind of a reprisal by popular demand, I guess. Some people had asked for it, including us, because we had a good time. And so it's not necessarily like a regular working group. And I don't know if you've ever done these kind of things.

I do them very rarely. But there is a little bit of a foundation for rapport because certain combinations have played together a lot. Like I've worked with everybody. You all know each other. We all know each other, but not in that configuration. It's interesting. But we did it once three years ago, so it's amazing how much of that kind of comes back. Yeah, no, man, it was great.

It was seriously a highlight of the young 2019 so far. Just everybody was so killer and it was fun to have right, you know, outside our door here. And yeah, good vibes all week long. Yeah, yeah, it was good stuff. And one fun thing, too, is like we all decided to, as opposed to kind of overprogram the sets, we all just said, well, let's bring in kind of a variety of tunes. we're going to rehearse them, but mostly original tunes. We just sort of did one sort of standard ballad medley,

not standard ballads, standards of ballads, medley each set, or not even each set each night. But otherwise it was original tunes, and then we sort of put them together in a way, and Sean Jones was graded in Tia, everybody, but it was like it wasn't just about, I want to have these tunes, it was like what goes together,

what flows good between our different tunes. So that took a little bit of manipulation, but once we hit those kind of possibilities, it was really nice. Yeah, you know, it's interesting because, you know, that's a band full of leaders. That's always an interesting vibe, you know what I mean? Like a band full of band leaders.

Right, right. It's cool. Yep. Everybody's really cool, man. Yeah. So back to The This Week in Jazz, the news. Yep. But have you ever played in Salt Lake City?

Yes, I have. And I've attended a Utah Jazz game in conjunction with playing a gig there. Is that true? Yep, absolutely. Yeah. And they actually have a nice little jazz scene there. Man, that's a great town.

That's such a nice thing. For food, too. Oh, yeah. You know what I mean? Good stuff. Skiing, food, jazz, and jazz. All right, so what do you got for jazz news? Well, this was an interesting thing that crossed my desk, as they say,

because this definitely came out in the news and it's about jazz. But I think that this news organization is a little late because it is, the title is when jazz was a public health crisis. So this, of course, caught my eye. But then the sub-tops. is in the 1920s jazz music was thought to cause physical illness or even disability. And then it's got this great picture, you know, just so that you really know it's the 1920s, for sure there.

But I was like, wow, this really, I mean, can we file this under breaking news? Probably not. In 1923, the Illinois Supreme Court upheld a ruling shutting down a dance hall that featured jazz music. The opinion shared by many in polite society, dog whistle, if I've ever heard one, made clear that jazz was considered not just a mere nuisance, but a danger to health and public safety. The court stated that the music is, and now this is from the court proceeding,

is not only disagreeable, but it also wears upon the nervous system and produces that feeling, which we call tired, that the subjection of a human being to a continued hearing of loud noises they're making this stuff. No, this is real.

Tends to shorten life is beyond all doubt. I love this, that like, not only, it's not enough that they said they don't like jazz. It literally has to be like it causes physical illness and it's even a disability. Now, if this is not the definition of a hater, I don't know what it is, right? Come on. Come on, man. Come on, man.

And then they even say it makes you tired. It's like the pre-itis, you know. The pre-itis. Yeah. And it wears upon the nervous system. That sounds kind of fun, though, actually. To wear upon the nervous system. Yeah.

And it's shortens your life. So, I mean, this just shows how far we've come now. It's like a respected part of society in the concert halls and all that kind of stuff. So there you go. go. And this is in the Daily J Store. I don't know what that is, where news meets it's scholarly match. So it seems somewhat

legitimate. What else did you see that caught your eye? For our This Week in Jazz, you know, I'm pretty sure that that's all the news in jazz this week. Oh, but you would be wrong if you thought that. I did. I had another thing. I was just being polite by letting you jump

in. I've done literally zero research. Okay. Well, so this is something that I kind of saw and then really caught my eye and I would have loved to attend up in Chicago, but I had another gig. This is one of those kind of gigs that I would pay to go see for sure. And it was a double bill at the Chicago Symphony Center, they called, which is formerly Orchestra Hall. They do a great jazz series up there, and I know Chicago is like one of the biggest cities in the

world, so I know we have listeners there, but also people traveling through that. I'd highly recommend it. But this double bill last Friday was the Joshua Redmond Quartet, kind of a reprisal of one of the classic Joshua Redmond Cortez with Greg Hutchinson, our friend Greg, our friend Rubin Rogers, and our friend Aaron Goldberg, and then Anach-Cohen's wonderful tenet

you know, Claire and Edison, Nott-Cohen with that great group that I saw that a few months back at the Monterey Jazz Festival. But apparently I heard from some of the participants and actually someone who was at this show and they said it was just amazing. And sometimes these kind of double bills are a little bit lame because they're not paired up well. And I have to say I've been, I mean, not

necessarily lame. They just, they're not quite as magical as I think the programmers think they're going to be. And so like I always sort of shy away from going because I mean either one of these groups could put on a great full evening of music, you know, Anad or Joshua with their groups. And you'd still want more. So it's a little bit like you're shoving them into half of a show. But apparently it went great. And I think it's because the pairing is kind of complementary with each other. The venue is amazing. They get a great, great audience. Unlike some of these symphony halls that do jazz concerts where it's kind of whack, you know,

like with the audience where it's like classical people there that are like, wait, this isn't the symphony, you know. Chicago, they have like a really good, I mean, there's a lot of crossover with the classical audience there, but it's a very well-educated and energetic jazz crowd up there. You know, speaking of Joshua Redmond, why don't we talk a little bit about the Grammy nominations?

Yes. That are pending. I mean, they've been released, but the Grammys are upcoming. Well, that's This Week in Jazz. going into the future now because that's Sunday, I believe, this coming Sunday. Oh, that's right. So some interesting jazz nominations here.

First of all, in the, I love this category. The, what's it called? It's called the Best Solo. Best Contemporary instrumental album. So that's Best Moose Jazz album. Let's just put it out here right now. Okay, so Christian Scott made it in there

with the Emancipation procrastination. Yeah. The Emancipation Procrastination. And then there's also, That's not a smooth jazz record. No, and then there's Julian Lodge from modern lore. I thought it was laggy. It could be.

No, it's not. But there's, those are two definitely, and then Marcus Miller, laid black. That's definitely in the smooth jazz category. That's going more smooth jazz. But good smooth jazz. Yeah, but these are all. Steve Gad, too. Steve Gad, yeah, these are all, that's a good record.

I think it's Jad. Steve Jad. I thought it was Steve Gade. But these are all like jazz tinged artist in that category. And then you can go down and when you see the actual jazz categories which are like Oh, so in shaded, smooth jazz. I like it. Well, that's an actual category.

Look, the best improvised jazz solo, that's a Grammy category. I know, I know. Well, I mean, remember when they expanded things about 10 years ago? So, but isn't still the big one is the best jazz instrumental album? Like, that's the one. That's the one. And this is a nice, this is Tia Fuller,

a Diamond Cup. We played some of her music last week. I think she might be kind of a favorite because... She's definitely a favorite of the podcast. Yeah, well, you know what's great about this? this. Well, I mean, it's great that she was nominated. She told me that, well, I think we talked about the episode the other day, actually, was that it's only the second time a woman has been nominated in that category, Best Jazz Instrumental album. In 61 years. In 61 years. So that's, I mean, think about all the people that were great artists that were overlooked during that time. Mary Lee Williams jumps out immediately in my mind, but many others. So that's great that she's in there, but it's too bad. It's only the second, but hopefully the kind of a nice string is coming up. But I mean, this is, look, Wayne Shorter, That's a stacked category. Yeah, yeah.

Fred Hirsch Trio, Brad Meldow trio, Josh Rebman, Ron Miles, Scott Colleen, Brian Blade, and the Wayne Shorter Quartet. Yeah, and that Josh Redmond, you know, that quartet is a real cooperative thing with that still dreaming. That's an amazing band and a great record. But Tia's record, I haven't really checked.

Have you checked that one out? I need to get on that. I haven't heard that one yet, actually. Maybe we should do a little analysis of that later. Yeah. Or introduction, as it would be. The Fred Trio, that's a great record. We've gone over some of that stuff

with our friend Brian Field. but um and then the wayne of course so yeah that's that's gonna be an interesting one and then the um the vocal best vocal jazz album i think this kind of uh you know has been a little bit of a trend recently where it's so tried and true and there's not like not a lot of new blood in there i would say cecile um salvant is sort of the new blood although she's uh been nominated and maybe one already hasn't she i don't know but i mean she's i wouldn't even consider her that much you know up and coming kate mary she's great That's a good album.

I checked that out a little bit. Yeah, I haven't heard that one. Gary Versace fan. He's tasteful. Gary Versace. No, he is, actually. Versace. Is it really?

Yeah. Versace is the other guy. But Raoumi Don, always great. And that's a cool record with those great Vince Mendoza arrangements on there. I actually saw that live. Freddie Cole, always great. You know, of course. Kurt Elling.

That's a cool record. So, yeah, I mean, that's good stuff. Look, you got the right people in there for sure. and then the best improvised jazz solo this is cool Regina Carter is on there and this is the one where it's just for a specific soul on a track I love that it's kind of a bogus thing That's so inside baseball

Yeah yeah I mean this is basically like What it should be is to give more diversity Of the number of different artists that you can get in there But we see some duplicates How do they tally that? Do they play it full of room of jazz nerds And count the woo? Yeah exactly Or it's like Fred Hirsch is on for a track on there But he's also for the album

So it's like is he only good on that one track or the whole album? Same with Brad Meldow. But that's fun. I mean, you get a couple more people in there. So yeah, that'll be fun. Are you going to tune in? I think the Jazz Awards are given at like 945 a.m. in the pre-pre-shel. I don't think you're going to West Coast time. You can walk in there for free. There's free drinks. Yeah, exactly. But it'll be fun to hear about that. Absolutely. Well, good. I think we covered not only this week, we went into last week and we're even going into the next week. So that's pretty good. Yeah, man. We didn't really get any Questions off Facebook, though.

What? I know. Come on. Got a bunch of friends, Bjorn, up in here, Spencer, Joe, Anita. Come on, y'all. You got to have some questions. We're going to do that in the next episode for tomorrow anyway, right? We'll keep it going?

I think so. All right, let's keep going. Until then, you'll hear it.