You'll Hear It: Full Album Deep Dives with Jazz Musicians - What Makes This Track Great?

Episode Date: January 14, 2021

On this week's episode, Peter and Adam break down what exactly makes a tune sound so amazing. Today, from Stan Getz and J.J. Johnson at the Opera House, it's "Billie's Bounce." Listen to the full tune here!Interested in more music advice? Go here to browse our catalog of jazz lessons and courses available for purchase. And be sure to check out our All Access Pass - every course from Open Studio on every instrument.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Facebook | Twitter | Instagram See acast.com/privacy for privacy and opt-out information.

Yo, Adam. You know, what's up, Peter? You ever heard that before? No, what is this? Oh, you're in for it now. I'm about to tell you what makes this track great. Okay. I'm Adam Anas.

And I'm Peter Martin. And you'll listen to the You'll Hear a podcast. Music advice and inspiration coming at you. Coming at you today, we're sponsored by Open Studio. You know what I was thinking, Peter? When I say we're sponsored by Open Studio, I feel like some people might think that Open Studio is some company that, like, supports the show. Yeah.

And we're just hawking their products. But really, we are open studio. We are open studio. There's not really anybody telling us what we can and can't do sponsor-wise. We just have our own selves as sponsors. I know that's weird, but it gives us a bit of freedom. And so that's why we've decided to expand our format to this longer form. We've already heard from some of you that you're loving the longer-form format, which I'm very happy about.

This is by popular demand. It was by proactive popular demand, both for ourselves and for our dear listeners, as we say. Like our dear leaders. Our dear leader. No, no, no, wait, we're getting off that. We are the dear leaders. But, yeah, this is not only sponsored by Open Studio. This is an open studio production, as it were.

And we're excited to be here in 2021 and experimenting or just really realizing some of the different ideas that we had that we could never quite force into the shorter format. I mean, we could have, but, you know, we care too much about our dear listeners. That's right. But it's just so fun. Like, you know, the stuff that we like to listen to and you guys that we all like to listen to is, It's an endless well, as we say. And not the creepy kind where you're storing dead bodies or anything, not that kind of creepy well,

but just like an endless well of beautiful goodness of music. And it's always amazing the tracks that I hear about. Someone will be like, have you heard such and such? I'm like, what? How did I miss that? I think I've heard it all. Same with you. We're very cocky in that way.

But I thought today would be fun. I mean, you especially, but me too. But I thought it would be fun to do kind of. what makes this track great and we could do a little bit of analysis and breakdown. But I thought, you know what? Why do it like we normally do it where it's like something we both know and that everybody knows? Some kind of Herbie Hancock standard. Exactly, exactly.

Kind of blue. How many times we got to listen to that? No, but I wanted to find something that. I had that queued up for next week. Okay. Good to know. Good to know. But I wanted to find something.

And I came in here kind of 95% sure, but you've heard a lot of stuff, you know. So, but I've kind of figured that you hadn't heard this track. I mean, I've heard. I don't want to say most music but I've heard like of jazz I mean like 99%

No I'm just kidding Well you know what it is This record I just know For some reason You know Was It's just under the radar You talk about hidden gems

The whole thing And sometimes a recording Especially a live recording Like this is Is under the radar For a reason In that it's good Great musicians

But it's nothing like Really special Compared to some other things from that same era or with those same combination of musicians. So it's easy to be like, well, that's fine, but why are we going to spend a whole much of time talking about that when there's this other representation that's better audio quality or better night or whatever?

Can I make it just a brief aside here that I was speaking of just finding hidden gems and listening to music and being a snob about listening to music? I saw this video of Questlove, like a day in the life of Questlove, you know, the drummer. And, you know, one of the most famous musicians of the world. Yeah, you've heard of them. He, he, he tries to listen to 100 new songs every day. I think I saw that same.

What's that about? While he's driving into NBC, it's part of it, right? Oh, screw you, buddy. Come on. A hundred new songs a day. I don't think he said he tries. I think he said that's his routine. That's his routine.

Yeah, he's crazy. What is that all about? Diabolical. That's diabolical. And then he has, like, I think he just uses pretty simply like Spotify. He's got a program somehow where it suggests up, but it'll never suggest the same thing. twice or something like that.

It's incredible. Yeah, I mean, if you don't want to go deep into like the comparing mind, don't compare yourself to Questlove. You're not going to win that fight. I know. I know. It's not going to happen. That's crazy, though.

So, okay, so speaking of Hidden Gems, I don't know what you just played at the outset there. Oh, yeah. Oh, so you totally never heard this. It's still going, by the way. Oh, cool. You want me to start it again. Oh, swinging. I'm going to start it again, but not yet.

I'm just going to introduce a little bit. Should I say who it is? Yeah. Yeah, yeah, yeah. What is it? I mean, it's obviously it's Billy's bounce. This is Billy's bounce. This is Stan Gets and JJ Johnson.

Come on. From live at the Opera House. This is like the, what is it, Sanford City? Somewhere on the West Coast, some opera house on the West Coast. 1957. What do you remember about that year? Well, I remember that it was quite a cold year. Uncharacter.

No, I have no idea. I have no idea either. But this was a good year. Are we talking like steaming, relaxing and working as kind of a reference point? Yeah, yeah. I believe saxophone colossus. So that's 56 maybe. Sometime around that.

I mean, you know, we could. We could put it all in there. Yeah. But yeah, of course, Stan Gets on Tanner, J.J. Johnson, trombone. And this is one of the jazz at the Philharmonic productions, Norman Grant's. Who's on piano? A gentleman out of our northern neighbors Canada named Oscar Peterson. Oh, see. Yeah.

So this is peak Oscar. This is 57, you said? Yeah. So this is when he was doing all like the Irving Berlin song, all this songbook like phase, right? That's good stuff going through here. Yeah, yeah. So Night Train was a little before this or right around that? Right around this, I think.

Yeah. Yeah. So as opposed to what was Oscar's bad phase exactly? He said this was his good phase. No, this was his songbook phase. Oh, songbook phase. Where he was doing like the music of Gershwin and the music of, I don't know why I started in this boy. Oh, come on.

The music of Nirvana. What? I'm going to do the music of Gerswain. Yeah. Yeah. So the cool thing about this is this is really the Oscar Peterson trio, I believe from around that time with Herb Ellis and Ray Brown. Oh, man. Plus Connie Kay on drums.

What do you know about Connie K? on the drums. Not talked about enough, a wonderful swinger. But I don't think that, I mean, maybe he was playing with Oscar Peter. But I mean,

Herbales, Ray Brown, they and Oscar played together a lot in different situations over the years. But I believe that was like the trio at that time. Certainly there was a lot of Norman Grant's productions

that included that either as accompaniment, you know, or in line with Ella Fitzgerald and all the different illustrious jazz stars of the day. I just,

I want to have a little Herbie Ellis appreciation here because every time I hear an Oscar Peterson trio record these days, like in my later years I don't know why I'm saying the later years in my 90s but

but as I'm dying and I hear and I hear an osteopoeia but I and I'm like oh that's amazing it's usually with Herb Ellis somewhere I'm involved so I don't know if like what their chemistry was but I feel like they made each other swing so hard that was yeah that was a great combination and this kind of

you know it this is an interesting recording because it has all the potential of kind of being a thrown together all star in probably a difficult sound room for a small group. An opera house doesn't sound great. Yeah, yeah. But this recording is so great. And it's one of the first jazz records I really heard. I got a big shout out to Roger Davenport, our friend, trombonist. Jeremy Davenport's father and kind of one of my second father's musical I grew up, very influenced by him. And like when we first were learning to play jazz, he gave us some great jazz recordings.

And this was one of them. He just, he loved JJ Johnson because he's a trombone player. He's a classical trombone player, but, you know, everybody loves all trombone players just because JJ's like, he's kind of like Wint Marsalis with the trumpet, no matter what style you play, just his virtuosity at the instrument, it was sort of a lot of insider stuff. Well, that's funny, because all trombonists love J.J. Johnson, but all dads love Stan Gats. That's a fact.

That's right. My dad loves Stan Gats. Yeah. I mean, Stan Gats. And I didn't appreciate him until I had a kid. And I was like, man, this guy. So you started doing your dad jokes. As soon as I was a dad, I was like, man, this cat.

Yeah. And so, of course, known for a little bit later from this, but for the, you know, Stan Gets and Jobim, you know, those recordings of, you know, such a classic thing and associated with Stan Gats, but we forget what a swinging, bebop and blues inspired saxophone as he was as well. Have you ever heard, have you ever heard Stangets with the Oscar Peterson Trio? Have you ever heard that record? Of course.

And that's very much coming out of this style, I think, that we hear on this, but even maybe a little bit more, I would say on this recording because it's live, they're cutting loose a little bit more, which is interesting. All right, well, I want to hear it. Okay, let's listen to it. All right. You know what I mean? This is how we do it.

Okay, got to stop it right there. Got to stop it right there. Okay, that intro, it's so random in a way because it's not like a chorus and it's just like it's kind of playing the first phrase and then like answering it and then like answering it again, which could be a no-no, but like Oscar, like he's setting the vibe, he's setting the groove. He's playing so sweet. Like he could literally start just playing a major scale up and down with that groove and it

would be fine. And shout out to the recording engineer for throwing up a sure SM7B on Oscar's vocals. I know. And I think it's the same one picking up their piano. I know. Yeah, you can hear it clear as day. Yeah. And I mean, actually kind of badly recorded piano. I think the horns are recorded pretty well. I mean, it's a live recording. It's 1957. Yeah, what are you going to do? But you're getting the vibe for sure. So you can play it from the top. Okay. Connie Kay catches that. Ooh. He has the perfect fills. And a lot of them. Yeah. Now, Ray Brown is not really walking.

so they are fully, which is such a great, like, you know, structural thing that he does there. Connie Kay's hitting those bombs on the basement. Let's listen to it from the beginning, just one more time, just through the heads. And just everybody check out what Oscar Peterson does on some of these fills that... And that, that... Yeah, yeah. In between the melody from us. Oh, my goodness.

Check out Connie Kay's bass room. Ah. Oscar's starting to solo. Okay, what's your reaction so far, I'm sure? This is my favorite Oscar line. It's just perfect. If you don't know what this is, So it's just, here we're in the key of F here.

He does this at the end after the 2-5. So here it's a bluesy double stop. Bluzy double stop. Based off the fifth, I have start with G and D. And then we do this little turn around the G, A, flat, G, F. Back to the G. And then he does the same thing with D and A. Oh, yeah.

Classic Oscar. And a little foreshadowing. I know you've never heard this before, but you're going to hear Oscar, as he can do, forces in that $2.000. I'm in it to five all the way from the beginning. And so they start playing that later on. Thank goodness. They're like, okay.

I guess if Oscar. So you can check out, I'll pull it back just a little bit. We could sit here all day on this first. But the way that they're phrasing this melody is so slick. And I love tenor and trombone. And the way that they bring the melody down, they could have played it up. Like the second part of the melody,

they bring it down into that tenor trombone. Actually, let's check that out again. You know what? This is our show. We can do whatever we want. Again, we don't have a, no sponsors. We got tie on our hand.

Yeah. We're going to. Okay, confidence. Can you come in confidently, Oscar? Yes, you can. Unison melody, except just a couple places. See, they go down there. They're phrasing it right together.

Okay, check this out. Okay, I just want to stop it there. What's your reaction so far? Swinging. Swinging. Damn it's swinging, yeah. And also Stan Gets has the smoothest eighth note ever. So smooth and like, but it's swinging so hard.

It's pretty intense already. Yeah, it's already. Like, where are we going to go? Where are we going to go? I have to be like, you know it. I don't know. It's very suspenseful. But can I just say I just love, that's my favorite bit of language so far.

And so on this solo, I would say, you know, Stan Gets, I've always thought, because I heard it so early on, I didn't realize this, there's so much like prototypical, prototype bebop playing, like almost omnibook type level. but he's executing it so well like if you want to get B-B-Bop vocabulary Also it's 1957 What else is he supposed to play? Post-Bop, come on But then the way he layers in the blues We're going to hear the blues

I don't want to give it away though Because this is your first time I'm so excited to spell this out for our letters This dude is so excited here, man On the two chord On the G minor 7 So this E-F-D-B-flat A-G Everybody go learn that

That's such a cool little piece of language Yeah Basically surrounding The G-minor 7 Oh, so nerdy. He's so lucky that Oscar Peterson to get mad at him for not doing to make that into a dominant too.

Yeah, he's lucky. Oscar could have gone ballistic on him. Exactly. Woo! We got there, we got. Right, B flat sound. That's what I'm saying. He's doing a lot of this kind of bebop stuff,

but he's throwing it a little bit of something that's not, you're not necessarily thinking about with Stan Gats, a little bit of the old school. I'm sorry. Am I allowed to me? No, okay, I go. Go to my bad. No.

Go. Go. A little bit of old school walking the bar kind of tenor stuff. He throws in there. Walking the bar. I know what you mean. You know what I'm saying? Okay.

What do you hear J.J. Johnson doing? I was so focused on Stan Gets. Can I hear that again? Yeah. Yeah. I want to line it up so you can hear me. I heard some background.

Something like that. Yeah. Yeah, a little phrase there. But it's kind of busy. It's a little busy. And it just works. It's like how you didn't really hear it the first time. To me, that's the perfect background.

It's like a comping. He's comping. You know, and he's not like, you can hear it clear. He's on the mic. It's not like he's at the edge of the stage. You probably wouldn't be able to hear it. He's on, like, and Stan gets just charges ahead. And I think it's that whole energy of how, like,

they start out at 11 in terms of swing and energy and just make, well, I don't want to give it away. No, no, no, no. There's a good chance they're going to maintain it. Can we just talk a little bit about this swing, grieve, and why it's swinging so hard? Yes. So listen to how on the one each member of this rhythm section is.

The one is so clear and emphasized, and it just helps propel the music forward. Check it out. see if you can play a little bit from maybe this beginning of Stan gets his solo. Listen for the one, beat one. Even when they're off the one, it's all to bring you to the one later. That's a lot of background. This is fifth.

And Oscar Peterson soloing on top of that. He never stopped solo. And Herb Ellis is like comping heavy. Well, Herb and Ray are just quarter-node machine. Connie Kay, too. All right, so hold on. So I want to point out something. So you heard Oscar, for all of those people who say, like,

you should only play root position voicing. You tell me then how Oscar Peterson can get away with. Way down there. Come on now. It sounds great. It's a whole different timbre. Yeah. And so, and then, you know, Stagas is doing,

he threw in earlier that, you know, one, minor three, you know, whatever they hell. He's doing a lot of, like, stuff, vocabulary. driven things that if you want to learn some slick stuff you can learn it here but then there's a lot of blue stuff he's doing a lot of you know straight

diminished scale really slick usage because of his rhythmic feel yeah we'll pick it up there it's really a lot of what we call stock playing it's like a whole what was that a half step up maybe yeah yeah a flat minus d flat 7 and Oscar doesn't play but it still works

you know he doesn't try to like catch it he heard what it was oh man it doesn't matter if the rhythm section gets it. Like sometimes that rub is what's so good. Exactly. JJ back with the background. Different backgrounds. Yeah. Do you do that?

It's rips. It's rips. It's a lot of polyphony going on. Yeah. You know what he's doing a lot of too? For all our pianists out there, you, like if you wanted to throw, especially on a blues like this, you hear Oscar doing this all over the place, either this or this. Even if it's just on the F, right? and it's not like a C7.

You can throw this C7 sharp 9, right, as a little, just a dominant, like a little 5-1 within it, right? You hear it going to the B-flat, and then when he gets back, I mean, not every time, but you hear that all throughout this. He's basically like resolving the one chord over and over and over again, even within the one chord doing little things like, like making little resolutions or at one time he went like, something like that, right?

Yeah. He is doing these resolutions within the one chord to resolve upon itself. Try to listen for that as we go through here because he's not going to stop. Well, how do you know? You never heard it. He will never stop. I've never heard him not be able to.

And it works. I thought he was going to end the solo that. Oh, Oscar? No, never. Rhythm section. All right. That's classic there. Can we just talk about that entrance there? That's how Stan Gets ends his solo, right? And JJ Johnson picks up that baton and keeps going with it.

Like such a, I mean, it's almost a cliche, but it's for a reason because it's just such an easy way. Imagine for a second that you didn't have to create anything as you were improvising. Imagine if you could just took something that someone just did and play it over the course of four, eight or 12 bars. as JJ will be. And I think it's a very astute observation for you hearing this for the first time because as I revisited this recording, I realized, you know, like everything that goes into

it's a live recording. There's high energy, obviously. Yeah. You know, the swing starts with a kind of intensity that's almost startling in a way. And then Stan Gett's kind of plays just this continuously swinging, phrasing solo. Oscar Peterson is just, you know,

playing a lot of these. I mean, it's just like, Chorus is cascating. I mean, Ray Brown is just relentless with the beat. Connie Kay's dropping the bombs. So I think that, like, you can just feel like, JJ Johnson came in totally open. It was like, whatever.

I mean, if Stan Gets had been like, he would have been like, boy, up. And then, like, he was totally in service to like, whatever was going to happen. That's right. Preconceived of, like, where am I going to come? And so there was a certain arc and intensity.

And I think that that also speaks to the backgrounds that we're going to see, not to give it away again, but there's going to be some more backgrounds and stuff. Don't spoil it, man. And I didn't know there. No, but you know what, though? So this is a great point, though.

I think your reference to being open. All right, our inclination, when things are going well, it's like, okay, well, what can I do to either not mess it up or to make it even better? So you're, you're- Oh, that was such a great. So I got to really come up with something so cool now. So your instinct is maybe Stan gets, you know, ends with and you're like, oh, okay, you know, something impressive. Yeah. But to be open to the moment, by the way, which is what's happening throughout all of this.

Yes. Oscar is being open to the moment. Stan Gets is hearing Oscar do things like, you know, that stuff and expanding on it. This is the essence of the music we make. This is why we improvise. If we were just going to do things prescribed and think of them the chorus before,

then don't bother showing up. Right. Absolutely. And I think this way that they're playing on here, this is just one style of playing, even for them, for these musicians, but there's like an acceptance of playing on top of each other because the appropriateness for this form and the way that they're playing harmonically

and they're really big ears and stuff it works. There's this collective improvisational element that doesn't always work. Sometimes there needs to be more of like space and then you fill in and then you're back and forth, but this is not the time for that. Let me guess. Can I guess the order that this came in the concert?

I don't know, but yeah, guess because I want to guess too. Because it comes at the beginning of the record. Oh, shit. But I don't think it, I don't think they started. If they started here, that would be incredible. Because I was going to say, this is either the opener or it's the closer. Right.

I think it's later on. The only thing is maybe it's like the beginning of the second set. It almost has that feel to it. Like they're coming out and like they've already established the bar. They went to the bar. At least Dan Gats went to the bar. Yeah, possibly a couple drinks. Yeah, yeah, yeah.

All right, so we pick it up there. The JJ Johnson's solo. Stop that, not that. I don't even know what the notes were, but he was doing, Duncan, uh, dunka, uh, drum film, Dunga, uh, um, um, so we're talking about before on our live podcast. podcast the importance of transcribing drum solos or at least like listening and being able to sing drum solos that's why can you back it up about 10 seconds you can hear that here that was a slick way to

come out of bib whew I want to know this now or something like that yeah woo that's so happening man So again Do you go Oh, sorry, here we go Oh Oh That's such a JJ John

Yeah Yeah Yeah He almost Yeah definitely had like Some Clifford Brown Influences In his phrasing

I feel like On the tromb Can we just make a note here too About especially here On the beat After the four chord There's a lot of E natural going on

Yeah Can we just say that Don't be afraid of that I know what you're thinking. You're on a blues, right? And everything's got to be E-flat. Not the case. Both Stan Gets and now, J.J. Johnson, both played a ton of E-natural over that F-cord, right?

Especially when they're heading down. Right? That's right. They're not scared of the major seven. You shouldn't be either. But do it like they have hip. Yeah. Yeah.

Just jabbing in there right at the right times. This is actually, both these solos are, for those you, they want to transcribe on. any instrument, these would be good ones. And there's a clarity there, especially like how J.J. Johnson's playing in this area that you can really get some great vocab stuff on this. This guy was pretty good at the trombone. I know. It's not an easy

instrument. See, the trombone doesn't suck as it turns out. My goodness. It's good. Oh. Oh. You like that six. He loved the six. That's pretty high on the trombone. Yeah.

I feel like. You might as well just put a clavinet in Oscar's hands, right? Is this going to be like... I know, it's just like... This is never-ending string of eighth notes, right? It's just like, yeah, why does it just give them? Pure funk at this point. That's great.

All right, so I think it's one more chorus of J.J. Johnson. Then, a little quiz for you. Okay. Into the unknown. What do you think is going to happen next? Piano solo. No. You were wrong, sir.

Bass solo. No. Drum solo? You're not going to guess. Okay. Yeah. I don't think. Backgrounds?

But check it out. So Gets comes back in. And it is a background, but it's not like a traditional, like I'm going to come in and play in the background. He kind of comes in and picks up on what J.J. Johnson's playing up in there. And then rifts on it, so he's still giving room for J.J. But J.J. doesn't shy away from it.

So they're kind of playing together. Yeah. And to me, and like, what I don't want to give it away, but I'm just saying. Like to me, this is like, it's so free. It's happened so many times, but in another way it has it. It's usually like, oh, let's wait. Your soul's done.

Let's go on the next thing. I just love the fact that they're open to something, and it's like an organic flown. It's very modern way of trading off. It's not even trading. It's just like, it's kind of coming in and getting on top of somebody. For sure. For sure.

But in a legal way. I'm going to take it back a little, because so you can hear how Gats comes back in. Just blown away by what's going on. Oh, I know. Yeah. Wow. Oscar Peterson is doing his own solo anyway. Huh.

He's playing exactly. Exactly that background. There's your E-natural. Plenty of them. Polypony going on. So what did you think of that? That's what you're expected, right? It was not at all what I was expecting.

That was awesome, though. So they just, like, it almost happened seamlessly. It looks like Stan gets took, what, maybe eight bars before JJ came back in. Yeah. And I heard somebody say some. I don't know if it was like to get, you know, it was like a decision was made. I heard something said. Maybe it had nothing to do with it.

Back it up. Back it up. This is, again, it's our podcast. We do whatever we want here. Okay. I like your stuff. I love the way he's like breaking up that scale. It's so cool.

But this is like the kind of background still. You know what say something? It sounded like, thank you very much. Wow. That's just listening right there. Yeah, they're definitely just trading back and forth. This similar language. Yeah, but it's like they're not, it's not like,

oh, we have to play right together. You know what reminds me of it's like old school and not even just old school because we still play like this in New Orleans where you're actually so long at the same time. And you're listening to each other, but it's not like one person's playing backgrounds to the other. And you're not trading per se. It's almost like you're trading at the same time.

It's almost like this podcast. It is. It's like if you're talking on top of, like it's hard to talk. I want to try to say something at the same time. I mean, you're going to trip up. I know because of just you're not trained in this like I am. Exactly.

Exactly. Because if we've done this before, it's a matter of talking. not at each other. Well, it's a matter of talking, but with each other. With each other. While we are at each other, but with a screen. It's a theater game.

Well, okay. Man, that's amazing. Yeah. So it's like, I mean, not what just happens. No, no, no. That I was doing like mimicking. They're never doing that. They're not mimicking, but they are, they're having a conversation.

They're presenting something. And it's so complicated. Because at one point, Stan gets, it's like, but. And there's like kind of out of time bluesy stuff. Yeah, yeah. And but JJ Johnson could have played that along with him or joined it. But he just keeps like, bo do,

and it's just, it's almost like the way that Oscar Peterson's going to be like, I was going to say it. I think they're like, Oscar Peterson's already song. And Oscar Peterson's like, I don't care if you both solo.

You can bring a whole big band. I'm like keep solo. I was solo from the intro. Like, we were going to give you a solo, Oscar, but you just took a nine minute solo. I know. I think Oscar Peterson knew he was getting a solo.

So he's like, he was just like, that's great. That's great to hear, though. So let's hear the ending. Come on. Okay. But the way they slide back into the melody.

Dynamics, man, on this last course. Ray Brown? We'll just give it up for a second. You know, part of the swing feel on that is Ray Brown and Connie Kay's right foot playing together. Yeah. Like that feathering the bass drum, that bass drum was turned up a little loud. Can you go to like somewhere in the middle maybe on Stan gets a solo? Listen for the bass drum and the bass.

That's a lot of bass It is Every beat That's beyond feathering right Yeah that's that's Pummeling That's pummeling Yeah

That's what I'm saying It's the opera house It's some weird It's a bone Whoa So but check this out There's so much stuff As many times

As I've heard this Check out the end What Ray Brown plays Well first of all The dynamics Like how could you be swinging That relentlessly And then come down

At the end That's such a cool thing It's like Connie Kay Breaks it down Before they even get to that Guys, we're going to keep it at 10 for about eight minutes, and then I'm going to need you to take it down to about a two. But to be able to keep the swing going, that's very hard to do that. Yeah, wow.

And the way they just slide back in. I almost think there was an edit on this. Man. It's not. It sounds like it. You only notice Connie Kay's not feathering when he's not feathering. Right, right. But check out how he changes the dynamic right there.

Ray Brown leaves the line. Oscar Peterson doing the same thing. He's still solo. Check out the note that Ray Brown ends on. Ray Brown plays all the way up there that's that harmony. He knows that. He ends on it. He's like, bo-ba-da-bo-da-bo-d-da.

And then after the time stops, he's like, and he plays a really cool line going down. Man, I did a little bit of a... Let me just sound like that. Like, try to test it up. And he's playing the rhythm of the melody, Ray Brown. Yeah. Yeah.

I did last week I did a YouTube video for Open Studio By the way, brought to you by the studio But I did this YouTube video on deeper dive into some Ray Brown stuff And what's amazing about everything he does Is it seems like it already existed It seems like the obvious choice to be like

And then Or whatever he did down You know what I mean? Because it's all so simple What he's doing there is so... It's the placement of it though But that's what makes it so sophisticated Like being simple is the hardest friggin' thing to do.

I know. You know? And he's so good at it, man. Wow, that's, thank you for introducing me. That's great. It's a good record, man. The whole record, I want to dive back in. I actually haven't listened to it recently that much.

But I listened to it so much at a young age and had the LP and everything that it's kind of just one that's with me. And hopefully for the listeners, hopefully this is a new one maybe like it was for, like an Adam discovery. This is a discovery for everybody. But there's nothing like a great live album, especially from this era, from any era. but when it was just like going for broke and you really could, you know, feel the vibe.

I mean, that's the energy that we're going for, right? And so oftentimes the best studio albums were, we always compliment by saying, like, you could really feel that energy like they're playing together, you know what I mean? Right. Trying to recreate it. Yeah, usually the only thing that holds back live albums like this is the actual sound, but this sounds great.

Yeah, cool. Yeah. Well, there you go. That's how we do it. Man, this was fun. Are you available next week? We'll come back and do this again here at the U.S. I know.

I know. It's my shot again next. week. Thanks everybody for listening. Until next time. You'll hear it.