You'll Hear It: Full Album Deep Dives with Jazz Musicians - What's In Your Ears?

Episode Date: November 25, 2024

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Pretty good. Pretty good. It's pretty tight. Pretty tight ending. Just like we planned it. Just like we never talked about. I'm Adam Mammis. And I'm Peter Martin. And you're listening to the You'll Hearer podcast. 1, 2, 3, 4, 6, 7, 1, 2, 3, 4, 7, 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, that's in 7. It is in 7. Wow. Wow. I was figuring about that. You wrote it. Were you not aware of that? Yes. It's been a while.

I'm good. Yeah. Music explored. Sorry. How are you doing? I'm good. Explore, brought to you by Opistudio. Go to OpisiduJazz.com for, oh, you jazz lesson needs Peter. I'm not quite OCD, but I'm just OCD enough that I have to finish the phrase once you start. So you're OCD, you're not OCD don't. Caleb, cut that out. I'm doing well.

How about you? I'm good. It's a beautiful September day here in St. Louis. It's gorgeous here in St. Louis. 75 degrees. Only problem is it's November 20th. There's that. No, November 19th.

Happy November 19th day. Is this a holiday? I didn't know. I wasn't aware. Yeah, it's called you'll hear it day. Called you'll hear it recording day. I think we should start it if it's not already official. We should start an official, this is you'll hear it day.

This is your day to hear it. It is. It's actually a special day because we're introducing a new feature, which we haven't done in a while. Which always gets a new theme song. Wait, wait, wait, wait, wait, hold on. Is it a new feature or is it a feature we haven't done in a while? It's a new feature. Okay.

We haven't added a new feature in a while is what I do. Oh, okay. I see what you're saying now. But this is it's a new feature. But this is, so the name of the feature is... We don't know yet. Okay. It's stuff we're checking out.

Okay. That's the working title. I feel like this is an old feature, though. We've done this before. But we've never done a, like, a sort of a check-in. Well, maybe it's been a while. Like, kind of on just new stuff, things we've been listening to. Things we've been listening to.

Okay. I like this. Yeah. Well, let's start up with... Am I interrupting you with my playing? So, fun things that have happened on the pod in the last week. Yeah. We've had a little bit of role reversal.

I don't know what you talk about. Today, you are dressed more. as I was earlier, a little bit more open and flamboyant. Right? And I'm a little bit more tight-knit. Careful. A little more professorial a little bit. Because we had some...

I took it as a little bit of blowback on the episode the other day. What you're talking about? You got a lot of compliments on your attire. Yeah, like a tie. You were a tie. You were a tie. Well, no, but I also feel like we got to text each other. If it's a tie day, you know, it's a tie.

I didn't get the text. Man, you know what? I like a tie. I'm going to say it. I love a tie. What about NASCAR? Scott. I'm going to text you on that next ask. I told Caleb a couple weeks ago, I'm about six months away from Ascot territory. Like, I'm getting there. I got to get, I know,

no, I might start flirting with scarves and ascots because I do like a look around the neck. You know what I mean? It's a good look. I like a tie. And yeah, I did, I saw, I saw the bus driver comments and I felt it. I was like, I get that. But it was closer to sort of like, well, we can get into that later. But yeah, what's where you're wearing now. Part of my problem today was I was up early this morning. And I had to go out to West County, which is always quite a journey. And it was cold. It wasn't cold, but it was chilly. We haven't had the heat on in her house yet. So the house is a little bit cold. And so I put this on, but now it's warm out. So I feel a little bit more buttoned up. But I'm excited for what we... You ever see footage of like old baseball games and everybody's

wearing like a full suit with a tie? And now everybody's wearing like sweat shorts and just the jersey of their play. Which is both. if they're fine, but some part of me, I'm like, let's put on a suit and be a person. Could you imagine, let's go on a t-shirt? Could you imagine us going on a Cardinals game with a suit on? We would get patted down. And we'd be flagged as security risks if we did this, like a top hat. And no, but it's kind of like, used to see. You get into like make baseball great again territory, buddy. Be careful. So, but like it's kind of like, you know, people used to dress nice on the airplanes.

Now, it's beyond just your everyday attire. It's like a race to the bottom. It's like put on pajamas and bring a blankie and a pillow for a 90-minute flight. I'm like, really? I mean, I know it's an early flight, but you need your full bedding accoutrements for the flight? Put in the comments if you bring your full betting accoutrements for a 90-minute flight, because I fear you, I like it when the people, they show up in slippers and sweatpants to a two-hour flight to, and snacks. I'm like, is this a survivalist? Or is it just a flight to LaGuardia? What's going on? We've got to give a little bit of grace because flying can suck. Flying sucks. Traveling sucks.

Airports. Yeah. What was that? Was that Gray's music? That was a little bit. That was some sad flying music. But you know what I mean? Like people are stressed.

They're anxious. Whatever brings them comfort I'm okay with. But also, you know, sometimes feels good to put on a suit. That's right. That's right. Okay. So what I thought we would do, what we thought we would do to present for you guys. And this is as much for each other, I think, too.

It's just like different things that we're checking out. We always talk about like back in the day where, you know, you'd be like, man, did you hear this record that I got? Did you hear this new thing? But sometimes the new things are old things. You know, it's like, is it new to us? I'm always interested when I discover something that maybe has been around for a while. And actually, all this stuff, I didn't even check the dates on any of this. I don't think any of this stuff is particularly new. I'm not sure about yours. I don't think so either. So this is... I have one that came out this year. Okay. And then, yeah, all the other stuff is not as new. But I think that's about appropriate ratio, Peter. Like,

if you look at what your favorite musicians, like people are very public with what they're posting. And we're, we're going to start being a little more public on our Spotify channel about what we're listening to for sure. But like, there should be a good mix of a little new stuff and a lot of old stuff. Because there's so much old stuff to get through. So especially as you get older and you're not as like swayed by popular music. Right. I think like a good mix is one new album and like three older albums because he's got the whole history recorded music to go through. I'm still trying to get through my like Bach cantatas. You know what I'm saying? Yeah. Yeah.

Those aren't new. No, they're not at all. It could be a new recording of them. For sure. But I'm just trying to like get to the basics. Right, right, right. Okay, well, the first one that I picked, maybe we'll just go back and forth,

and we'll have a link to the playlist for this, if you guys are interested in this music, is from a band I kept hearing about it. And I had heard that I'd never really check them out. Like, did you have groups like this, artists that, or bands, that you're like, you know what they sound like. You know you've heard them,

but you've never sat down and really explored them. Absolutely. Yeah. And so I always like to give kind of a good listen. And this is Ezra Collective. And I've been hearing about them for a few years. And actually this record's from 2020. I thought it was a little bit older.

But I'm always interesting to see what really anybody, especially a newish type artist, would do with a classic. Because I love, like, so we're going to listen to Footprints. Of course, that was the reason we played footprints at the beginning of this. You can hear, what we did with it, a little impromptu thing. But the idea is like, what are you going to do with footprints?

Wayne Shorter was still around in 1920, the composer, and what is he done with it? You know, it's like, you better bring something different. Don't worry about trying to be better. Don't be worried about trying to duplicate. Just like, what are you going to bring to the party? Yeah, you better have a perspective. And I love Wayne Shortter. I love this period.

I love this composition. And some of you may be surprised that I really have been enjoying this track. but let's check it out and then you can let me know what you think. I'm feeling the dillabit. Yeah, for sure. It does. Stagger, stutter, stutter, stutter.

I love it, I love it. It does sound with the footprints. It sounds like something you'd hear like coming out of the new school practice rooms or something. Really? You know what if we did a dillabit to footprint? Right, right.

Actually, you know what I thought of about halfway through listening to that? It's like, I bet this came out of a live jam situation. Right. Like I bet they just found that groove and then it sounds like something that's like, oh, we found this groove. And the horn players are like, let's play footprints over this. You know what I mean?

Right, right, right. This sounds good, man. The sound of everything is really killing. Yeah, and I think that that kind of stutter on it, do, do, do, do. It's interesting because it starts out, there's such an underlying kind of dance groove element, but that definitely breaks it up. You know what I mean? Absolutely.

It breaks it up in a very, like, a lot of people just, like, get irritated by this. Yeah, it's nice. but it opens things up in a way that they can solo and even like the trumpeter, Big Roy Hargrove influence, you know, interesting kind of harmonic things. I like this too. Like, this is not music that works,

even as I kind of pull it down and talk over a little bit, works really well in the background because it's a little bit like, it doesn't fade into the back in a good way, I think. But it just, it sounds fresh. I like their take. I'm assuming these are UK London guys. Can we take a correct?

They've got to be. I mean, it sounds like they're from. UK? London. We don't know, but I'm going to say that it sounds like that. When I like it, when people sound like they're from a scene, you know. So it's so funny. Can we take it back to our conversation last week about, you know, who killed jazz or whatever?

Yeah. And then, like, one of the arguments is, like, there's no innovation in jazz. How can you listen to that and say, like, the rhythms have changed in 15 years? That's right. You know what? 20 years, I guess now. And you can find the influences. Jay Dilla and Chris Dave changed the,

way people play the drums, which is crazy. Yeah, absolutely. It's not crazy, but it's like, there is innovation. There is innovation. And like, there's still, there's young people, and it doesn't matter what the age is, but young people coming up with a new perspective on and making a connection with Wayne Shorters music. Like, that's cool. Like, not that you can't do your own stuff or do new stuff or whatever, but it's like when you take, I mean, the same way they're taking the J. Dilla, you know, influence on that specific beat and that interpretation of like setting that up and then floating footprints on top of it. Is this the most innovative thing ever? No, but it's fresh sounding. It's like their take. It's something that I think has some artistry

involved and I can understand why this gets a lot of listens, you know. And count me among them. Can I take it back, Peter? Can I take it back to 1964? Yes, sir. This is something I've been listening to, I've got a couple of Clark Terry things on here because I just did a concert at Jazz St. Louis with the great Anthony Wiggins, St. Louis-based trumpeter, flugel hornist. And we... Whigs? We did a little bit of a tribute to Clark Terry honoring Clark St. Louis legend here. Yeah. Playing a lot of his music. And this wasn't on the show, but I was listening to this a lot

because this is my favorite, I think this is, well, it's one of my favorite recordings of Clark Terry. This is with McCoy Tyner. of all folks. It's one of his incredible early albums on Impulse called Live at Newport. And we talked about this last episode. So there are, I think, five of these.

Inception, reaching forth, Knights of Ballads and Blues, live at Newport, today and tomorrow, and McCoy Tyner plays Ellington. They're all amazing and they're all like just casually slamming.

This is the first track of Live at Newport. It's called Newport Romp. Obviously, just like a blues they put together. and this has Clark Terry on the trumpet and Charlie Mariano on the saxophone. Check it out. Mickey Roker. Mickey Roker on the drums,

bodcransh on the bass. Transcribed most of this solo a long time ago. So we were just also talking about Now He sings, Now He Soms. Yeah. Last episode. Yes. There's a little connection there.

You're going to hear some. I'm already hearing it. I just want to get to... This is a good-sounding live record, too. sounds so good. I want to get to where Clark comes in because it's so killing what he does. The one and only Clark is. Smatern't know of applause. How's a damn good soul?

Carhartcapping. Come on, Newport. It makes us feel a little bit better about us. Get it together, man. Clark Terry is always bringing the blues to the party. Prime Clark Terry right here. 63 is when it was recorded. 63, July 63 is when it was reported.

Released in 64. I know Clark doesn't get the same kind of love that like Miles or Freddie Hubbard or Lee Morgan yet. But. Y'all should go check out all of his albums, especially during this era. Thanks for bringing this.

I haven't listened to this record in at least 25 years. Dude, it is so good. And Clark's playing on it is just so magical, man. I could listen to him, especially with McCoy, all day long. There's some kind of vibe they have that's really, it shouldn't work, and it works great. Clark Terry,

influence on, I just heard it was reminded, on Miles Davis, of course, famously. But Winton Marsalis. Now, Witten does talk about Clark, but a lot of people don't make that connection. But, I mean, you really, I almost hear, like, in Witten's playing of today, and really for quite a few years, more Clark Terry than I would say Miles Davis. I think because Clark was such a showman, he was such an entertainer. Like, the mumbles thing and the two-horn thing. Right.

You know what I mean? And the blues is always there. Sometimes he doesn't get as taken seriously as Miles or Freddie, who are these intense characters. You know what I mean? Yeah. The dude is playing. The dude is playing. You know what I mean?

Like he is, he's playing some intense stuff and worth your ears for you. Good. Well, good. Well, thanks for putting that all up in my ears again. That's a nice thing. The next track I've got is, I don't know a lot about this. I mean, I know a lot about, this is from Kurt Rosenwinkel and Jerry Allen. These are both artists that I love.

I adore Jerry Allen. And I think it was released, I know it was released recently, or at least if it wasn't, I missed it somehow. I don't even know when it's from. But this track, I love this song by Billy Strayhorn. I love something. I love the way they play this. I love how fresh. This could be from last week.

I mean, it wasn't because Jerry hasn't been with us for a few years. But it could be from 20 years ago. It could be from 10 years ago, which is probably when it is. It doesn't matter to me. It's timeless. It's a classic already. Let's check a little bit of this out. It's such an interesting combination.

Jerry's touch. Right into that melody. Searching. Mysterious. brooding and resolves. Beautiful. Yeah, but this will be in the playlist. You can check it out.

This is a weird way to listen to it, my apology. But I wanted to hopefully introduce it to some of you just for that sound and see if you love it as much as I do. What a loss, Jerry Allen. What a contribution for real. And Kurt Rosenwinkle, someone we have not, we've talked about here on the pop, but not enough. We have a little bit, but probably not enough.

Also incredibly influential. Both these musicians, incredibly influential, like your favorite artist, favorite artist kind of vibe. Yes, and I want to dive into this because I didn't know about this duo, so I'm super, this is the only track I've been obsessed with just listening to this track over and over. And Kurt Rosenwinkel, another graduate of Performing Arts High School, whose name is escaping me in Philadelphia, with some incredible time. We talk about Dallas.

Was at school with Joey D. and Christian McBride, Questlove. I know. That was Kurt Rosenwinkle. That was nice. And some other great players, too. It doesn't end. Those are just the superstar.

Well, I got another duo for you. This is Larry Goldings and Melinda Sullivan from their new album, Bigfoot. We've talked about this before. So Melinda Sullivan, incredible tap dancer. Larry Goldings, of course, like incredible keys player, pianist, of course, but also like on the synthesizers, on the organ. And they made this beautiful haunting album together. And this is Do You Like from Bigfoot.

Do You Like? And Larry was telling us when he was here, he's going to be. got an Open Studio course coming out on Oregon, that Melinda was doing all of this stuff. Obviously, no tap shoes, like a lot of socks, some very bare feet, different kinds of shoes, different ways of creating beats. And Larry, just a master of colors. Oh, man. Sound creation.

Sound design. On acoustic instruments, on synthesizers. Such an innovative track. And just the fact that they're doing this, that a tap dancer and a keys player of join forces to make an album like this. that groove, come on. It's so innovative. But, you know, when Larry is here, he's teaching B3, like, you know, Jimmy Smith style.

He sits down at the piano. He sounds like monk when he wants to. Larry Goldens is a wizard of artistry. He's playing with James Taylor. He's playing with Steely Dan. Like, it's this incredible mix of the past blended into the future. Yeah. It's awesome.

Awesome album. Everybody should check it out. It's called Bigfoot from Melinda Sullivan and Larry Goldings. Great stuff. Okay. my last track is this caught my eye, what was recommended to me, and then when I saw the name of the tune,

I was immediately like, oh, yes. So Kenny Kirkland wrote a song must be at least 30 years ago now called Dieenda. Beautiful composition. I think it was on Brand for Marcellus's record. What was the name of the ride? I can't remember. Quartet record with Kenny Kirkland and Bob Hurst,

Jeff Tane Watts. But this is by a string quartet, by the name of Quartet Ebenet, which has been around for a minute and done some really interesting things. Oh, yeah, I know this actually. Yeah. And like they do some really...

This is killing. This is killing. They do some jazzy stuff. And sometimes when a string quartet goes jazzy... It's not ever great, but they make it work somehow. They make it great. No, they do some stuff on the same record.

They do milestones, boot, dude, and they're like swinging out. Yeah, I know that's there. And they're great just string quartet of classical music, European classical music as well. But this is Kenny Kirkland's Deenda. And those are like his exact voices

he starts with. String quartets make everything sound better. They can. They really can. We'll just go up to a little bit of the improv from the first violinist. They really nail Kenny's harmony, which is tricky, you know. You know what, a timeless... Come on with the Berkeley. You know what I'm saying? I mean, these are hard changes to solo over. That's good. He's really nailing it. It's great stuff, great stuff. It's so great. It's so rare, but it's so cool when a string player can blow on changes. We did that project with Jeffrey Kieser, which had Zach Brock on it.

And Zach's amazing. He plays with Snarky Puppy and has his own projects. And it's such a cool sound when it's done right. It's just so hard, I think. Rhythmically, it's so, you have to be so careful. Yes. Because the bow changes everything with attack and release. Yeah, exactly.

Totally different than any kind of saxophone or piano or anything. Yeah. And that's from the quartetta Béé's milestones. record is actually the name of the record. Cool. All right, I have one, and this will be what we can go out on. This is something that you can't find on Spotify, but I found that on...

I see it right here. YouTube. No, we're not going to listen to that. That's just a bonus. We got a Clark Terry Bob Brookmeyer bonus in there. Oh, got you. But we're going to listen to... So I'm putting together, Peter, an episode,

and hopefully this will be in the next couple weeks. I'm going to say it now, so it actually happens. But I've been texting with Jeffrey Keiser about doing an episode on Memphine. pianists. Oh, Memphisonians. Memphisonians. Menphinians. Mephinians. Pianists from Memphis, Tennessee. Got it. So there's Phineas newborn. I mean, there's literally five or six people that are just incredible. Mulgrew, Harold Mayburn, James Williams. And then Jeffrey Keiser, who is from Wisconsin,

is an honorary Memphian. It's the Memphis of Wisconsin where he's from. That's right. And so I've been listening to a lot of Jeffrey Keezer's catalog. And one of my favorite eras for Jeffrey Keezer was when he was playing in Ray Brown's trio. I saw them live back in the day. It was an incredible show. One of my favorite albums from back then that I used to own on a CD is Peter, a CD is a, it's a compact disc. It's a compact disc. It's a small, I don't know, five-inch disc.

Yeah, I'm about to throw it after you here. That's an album. Oh, that's really? The mini, well, that's a compact disc. It's a compact disc. This is from... We're playing cornhole! The Ray Brown Trio.

Cornhole. Cornholio. This is... Cornholio. This is from the Ray Brown Trio. This is Ray Brown on bass. Kareem Riggins on the drums and Jeff Keezer back in the day. Yes.

G.K. G.K. on the piano. This is the first track up there. It is unbelievable. Keezer's playing on here. It's unbelievable. Whole album's crazy. Kareem.

Yeah. This is great record. Limited edition. Anyway, I love Jeffrey Keiser in Ray Brown's band. Yes. Because he has, they have such a lock together. Yeah. And I felt like they brought out, with Korean Riggins,

they brought out a lot of, as a great trio will, they bring out the best of each other. You know what I mean? I got a chance to sit in and sub for Jeff Krezer with this trio. Nice. That was Greg Hutchinson on drums. And that was a little hard,

hard shoes for me to fill at that time. I'm sure you did fine. I'm sure you did fun. Give me a Frappuccino. You can hear in the background. Non-fat Frapichito. Kareem? Frapetino for Kareem?

Kareem Achito. I definitely hear this. Do you hear it? You'll hear it. Me?