You'll Hear It: Full Album Deep Dives with Jazz Musicians - Which Keys Will Please?

Episode Date: March 13, 2023

Peter and Adam get into some gear talk about the pros and cons of the biggest piano brands on the market. 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

Hey, Peter. Hey. I'm looking for a new piano. I'm thinking maybe something like this. That's actually not that bad, but I was thinking more like this. I'm Adam Manus. Peter Martin? I'm Peter Martin.

You're listening to the You'll Hear a podcast. Music, commentary, conversation, commiseration, and advice. Coming at you. Coming at you today, sponsored by OpenStio. Jazz.com. Go to Open StudioJazz.com. For all of your... It's for communist.

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Dopeo. But go to open studio jazz.com and check out everything from Ron Carter to Adam Manus. Coming at you. What are we talking about today on the pile, though? Welcome to the pie. First of all, we've got a bunch of new. I know I'm always saying that, but we're constantly growing. That's not true.

Sometimes we plateau. but producer Caleb has been telling us lately we've been growing growing to love us folks have been growing to love us didn't they already though come on well though but more people are growing to love us and the idea is that we welcome in everybody to the pot here we're also a YouTube channel so check us out on the YouTube leave us a comment there a subscribe all that stuff that doesn't matter because today we're talking about pianos tell me about the piano you're playing right now so this is this is the key this you're very proud of it we're very proud of it we upright mono piano which sounds like poopie poopie it doesn't sound very good it

sounds like a poop but we you know we've been looking at spoilily it sound good though well it's I do my best but we've been looking at possibly a new piano yes here at Open Studio an additional an additional piano to we have the lovely Bosendorfer in there yes and we were looking at a Steinway B that we might bring in because it's freaking gorgeous this stunt maybe. And we just thought we could talk a little bit about maybe some of the big differences between the major piano brands, at least in our experience, and what you might look for in a piano.

And we're going to present this kind of in a what bears are best, brown bear, grizzly bear or polar bear. So this is going to be what piano is best? No. No? We're not going to do it like that? I mean, it's a preference, though, isn't it? Everybody has their preference.

What's better? A Storian Clark upright or a beautiful brand new Steinway D from. from the Hamburg factory. Well, it depends. Actually, it doesn't depend in that case. No, obviously. But we're going to be thrown out some pianos that are more in the same kind of general category, I think more personal preference.

All great pianos, though, right? Yeah. So, I mean, let's start first with, like, actually, let's start with our preferred pianos because it doesn't have to be the best, but if I'm going to, like, walk into a theater for the first time for a gig. Yes. And I see a Steinway B on stage. I see with my little eye. I'm a little excited.

I'm a little relieved. I'm a little bit, I'm like, okay. Now, it depends. It could be a crappy Steinway that's in bad shape and is beat up and hasn't been taken care of. But if it's a nice place that is somewhat, you know, well taken care of, you can kind of assume maybe, oh, maybe that's going to be a good Steinway. And then if it is a decent Steinway, even a decent Steinway at a theater stage, like, okay, this is going to be a really lovely evening. Steinways are known for their, I mean, obviously the brand name. I mean, I think it's the most recognizable brand name of, I mean, it's the Cadillac of piano names, right?

Yeah. But like the way we used to talk about Cadillac. But I think it's also, they're known for their concert-sized pianos, which is traditionally your seven-foot or your nine-foot. Right. There's been some other ones, you know, but that's the B, which is the seven-foot, and the D, which is the nine-foot. And they're actually both a little bit small in that, but that's what they're commonly referred to. And those are probably both the most recorded, especially in jazz, the most recorded pianos that you might hear, especially the bee is very good for a studio size piano. It's really good.

And I mean, neither one of those instruments is really homesized, I would say. I didn't have a bee for a while on loan in our house. And it was just, I couldn't even open it up because we live in not a teen. The living room wasn't teeny, but it definitely wasn't. They're loud, man. They're loud. There's a lot of power. They're meant for the concert hall.

They're considered concert grants at that size. Well, the bee we were looking at last week was in someone's home in like their little music studio. This is a piano teacher who has this bee. And it was too loud in that room. It was too much piano for the room. It was too much piano. For sure. So that's another thing that you always, I think, want to think about before we even get down to breaking down the different brands is you got to get the right piano for the situation.

Absolutely. This is not like getting a violin or a trumpet or something where you can move it around and play it outside. It's going to sit in one place. Yep. It's going to live in one place. You've got to think about, is it a studio situation? Is it a home situation for most people? Or is it a home studio situation?

If you're blessed with that kind of a setup, that's going to be a very specific kind of requirement. Do you want something that's going to be able to be a little bit more durable in terms of like, is it being played heavy constantly like a jazz club, for instance, every night, kind of like performance situation where it's going to be played heavier than solo piano? Yeah, let's talk a little bit about that. So just before we even get into the other brand. but about the sizes. So like, you know, yeah, I think for a club, for me, the seven foot, no matter what the brand is,

is the right size. Because if you're, if you can have more than, say, 75 or 100 people in a club, it's big enough that that's gonna fill the room without you having to really reinforce it a ton and then you get a really thin bass sound. Yeah. You know, the chords sound kind of thin and tacky. A nice seven foot piano in a sort of medium-sized club. is a right fit. For a larger stage, like anything that can hold more than, I would say, like,

three or 400 people, I like a nine-foot piano, man, because it's for the same reasons. Like, especially if it's a, if it's like a theater situation where there's very high ceilings and it's a big room, having that big board really helps so that you're not pushing, you know, that you can really play in a way that is dynamically satisfying to you and the audience and that you still get a nice big tone and sound. Yeah, I agree. I agree. I mean, I think that there's probably some exceptions for smaller concert halls if the sound is really good. Like if there's a great resonance. Yep. Older concert halls for sure. We talk about, you know, the Sheldon concert all around the corner from here. They've always had bees in there that work really well. Even though it's not a team. I mean, it's like a 700 and 50. Yeah. But again, it's, you have to, I think the size of the stage matters to. That's true. Because you don't want to have just physically sometimes I find like a nine foot Steinway or like a Bosendorf or a Fazziola. which actually make instruments larger, their largest concert concert.

10, 12 feet or something, yeah. You don't want to take up so much of the stage where it could get in the way of sort of the connection and intimacy between the players sometimes, even if the hall can accommodate that much. That's true. A more intimate hall with a smaller stage would be as perfect.

That's true. I guess I was thinking more of like the sort of modern university hall. You know what I'm talking about? Enormous stage that can be used for plays and stuff and orchestras either. But I find too sometimes I was in situations that I mean years ago when I was playing with the Jazz at Lincoln Center.

Here we go. Orchestra. You ever heard of that. But like it was almost always these larger halls, but not always huge halls, but, you know, but they'd always have a nine foot piano in there, which was great. But with a big band, sometimes you're physically separated. It's like harder to like orient the piano in a way that you're, you don't have that connection with the rhythm section sometimes.

Yeah. Unless you go, you know, Oscar Peterson or Ahmad Jamal trio style where your back is kind of there. But I don't know. Sometimes the nine foot can physically separate you from in a way. Yeah. Yeah, depending on the situation. Yeah. Yeah.

Well, what about our home setup? So again, I think it depends on the room. I think for a larger living room, you could get away with a seven foot piano. Yeah. Like for a big, like if you have a big home with a big living room. Especially some high ceilings. You get a seven foot piano there. Like you're not going to want to go full stick on it all the time, probably.

And you're probably going to have to do some like either thick draperies or rugs or something and get your corners like some sound absorption. you don't get the weird corners bouncing, you know, the sound bouncing back from the corners in a weird way, is you really have to try it out first, though, to see what's going to work. Maybe a medium-sized living room and sort of an older home or like a New York Brownstone-style living room. Yeah. Like, I honestly, I don't think for me personally, I've never heard a grand that's under five foot nine. That sounds good. I don't.

Like, I won't go under six foot, really. If you really want some, even if it's a smaller room, like even if you have it in a large bedroom or something. Yeah. Six foot should be the minimum for me. Like, I've never heard a 5 foot 3, 5 foot 5, 5 foot 7 piano that sounds decent. Right. And I was just trying to look here. I'd rather get a large upright before that, honestly.

Well, you know what? So at home now I have a Steinway S, and I was just thinking this was bigger. This is actually 5 foot 1. What? I didn't, I don't know if that's accurate. That can't be. And I like that. This is your brown Steinway?

Yeah. No. That's what it says. Steinway S grand piano, length. five foot one. I mean they probably call it 5, six or 5, four, because you know, they're always adding a little bit. Well, I mean, really 5 foot. This is not chat GPT.

This is the, yeah, 5'1. I got a chat gt. 155 centimeters. It's too short. It is, but you know what? For the room, have you seen the room? You have it in a very small. It's actually great. And even that piano, I have to keep the lid down most of the time because I don't have great sound absorbing in there.

Yeah. But that's a solid little piano. I mean, Steinway's, although that's what we started saying they're known for their concert grants, they make some excellent smaller pianos as well, even uprights. I don't think they're making them anymore, but I've played some older signway uprights that are really nice. I think an upright in the smaller room can be great.

You know, I don't actually love most spin-it uprights. I like my uprights a little bit taller as well. I have a Yamaha, or no, I have a ball win, sorry. I love a Yamaha, the studio apartment, Yamaha with a damper pedal in the middle that brings on the felt. But, yeah.

I like my uprights, like my power forwards in the NBA. tall and strong and effective. That's right. Yeah, yeah. You want it to, again, you want a big soundboard so that you can have some control over the tone. And the upright, what's great about that

is it can't be too big of a soundboard unless it's like a big upright gram. Well, but I remember having this like 54 inch. Is that kind of the tall? Like a young Chang actually back in the 90s in New Orleans and upright. That thing was good. That was a strong piano.

Yeah, man. But if you think about those big uprights, the sound board and the spacing on them and the scaling of them is very similar to a baby grand. Sometimes even bigger. When I first started playing. playing with the trio at this place, Thurman's here in St. Louis, Joe Jackson for Jackson's piano has put like an ancient Steinway upright that was huge. And like a tank, it was so heavy.

Didn't I break a hammer on there? You did break a hammer on it. It sounded amazing, though. I mean, it sounded like an upright, but it sounded, I mean, it's not better than that. It's not better than that. Yeah, that was a great piano. Okay, well, let's talk more about brands. Because, you know, here in the studio, we use a bosendorfer. And honestly, this is the most time I've spent with the bosendorfer. I've seen them on gigs, of course, but, they're not common here in America. No, no. I mean, they're around and people know them

and you can certainly buy them. I love them. I can't even say I prefer. I mean, Steinway, I'm Steinway artist. I love Steinway's. That's my jam. That's what I have at home. But Bolsendorfer is a very different kind of instrument.

He's looking at it and understand how it's constructed. It's not, you know, a lot of the Yamaha concert grants, I should know this better, but I feel like, like, well, they definitely feel like and look like they're modeled closer after a Steinway. You know, Bosn-Dorfer is not copying a Steinway. It's its own thing. It's its own thing.

And I love that. It's got its own personality. It's not for everybody. It's hard to, for me, it's hard to play because I don't think I have a reference for it. Yeah, you have to kind of just put yourself in another place. But I look at it like just as a different, like you drive a Cadillac, a really well, you know, a Cadillac and then you go to a Mercedes. It's very different.

They're both maybe luxury car. I don't know what I'm talking about because I'm that. Yeah. Are they luxury? I guess. Cadillac is the Cadillac of the competition in the modern era, honestly. But maybe like BMW to Audi, I don't know. Like they can be very different.

Yeah, it's a whole different feel. Yeah. But I mean, obviously, Bosendorfer, I mean, you talk about your three really premium priced and quality handmade instruments, Bosendorfer Steinway, and Fasioly, which I wouldn't say is mass market, but it is available everywhere now. You can get one. You can get one. You got enough bread.

Yeah, you're going to pay a little more. I'll say about Arbozzi here. Like so I don't. And sorry. And I should say Yamaha too, because they're larger grants. that are handmade or in that same category. Well, I want to talk about Yamaha, because that's probably the piano,

other than Steinway, we've all had the most experience with, probably around the world. So the Bosendorfer is interesting because when I hear you play the one that we have, and like I said, this is really the only one that I've spent significant time with,

so I don't feel like I have a real feel for the brand at all. But when I hear you play it, I love it. And then when I try to play it, I'm like, I can't play this freaking thing. Like, I can't get around on it in a way that I'm comfortable. I feel somehow exposed on it.

Do you know what I mean? like it feels very immediate somehow in a way that like Steinway gives me this like I can hide a little bit I can cushion my way through you know what I mean like not not hide but like the bosendorfer there's no there's the action is so fast yeah the action is fast and different like it's and from a Steinway action and from a Yamaha and it's the sound I mean I always think like don't underestimate the sound and how we respond to that both as you're evaluating an instrument and this really goes beyond brand because you could be like okay so they're saying Steinways are the best and then you there's a lot of flat Steinways the ones that are not set up correctly even from the factory I mean it's a big shout out

to Steinway but sometimes or when they're being transported if you don't have a local technician that really gets the regulation right before or really after it comes into your home that's a big thing you know for the new more nuanced player I want to talk about that a little bit but go ahead Yeah, but I mean it's just to say that like how your visceral reaction to the sound of the instrument Beyond just kind of you know adjustments that need to be made like you've got to sit and play the piano and be like moved by it and you know you might not be comfortable with it You might not it might be like wow this action is really stiff a lot of that stuff can be adjusted But if the sound you don't love the sound something about the soul of the sound Well this is what I was going to be hard to change so one of the things with the Steinway that we just looked at and we actually looked at this piano before years ago yeah and we didn't get it

then, but we're, and then a pandemic happens, but we're looking at it again. And I was, I had, the piano get COVID? Is that what you're saying? No, no, no. We're afraid to touch it. I had memories of the piano that were incredibly fond from our visit out there four years ago. Yeah. And it's because the soul of the piano, the sound of it, the sound board itself is, had, it's such a good, strong vibe. And we just tested it out there with Cheryl. The decay of the sound was like, massive. Like puts it to shame. Like it's horrible.

But it was so round and deep and big the sound. It was so good. Now, let's talk a little bit about, you know, if you have a piano, what are some things that you're looking for? Because you're right. Like, the one thing that really can't be adjusted from the instrument is that soundboard. Like, you can't. I mean, I'm sure there are things you can do to like, you know, make it somewhat better.

But the soul of the piano, the tone of it is based on the piece. piece of wood that is resonating in there. Right. And that is kind of, you know, set. There's not a lot you can do very cheaply besides get a whole new piano. Right. And I think, you know, my understanding is that that's one of the most temperamental, you know, to weather, to humidity.

Yeah. You know, even more so than time. Everyone's always worrying about the temperature. It's like the humidity because that's a huge chunk of wood. Yep. And just like a tree or any, any other kind of of that type of wood, it's susceptible to expand things. Yeah.

With humidity. And you don't want it to be changing a lot. So I think there are things that can be out of whack that would keep you from like being able to identify the real true sound of the instrument. So we don't want to make it like, oh, no matter what's how. I mean, like, if the regulation is so often, strings are popped and everything,

you're not going to be able to get to the soul of this. Anything, any of that stuff can be repaired. I think that's what you're kind of referencing. Whereas the soundboard, it can be replaced. That's pretty much all you can do. Yeah, the one, this Steinway B that we were looking at, the sound of it, the sound of it was so intense and beautiful. but it has some irregularities in the action.

There was some unevenness in the dampers. There was some unevenness in the base range of the keys. And so, but, you know... That's more adjustments that we think could be taken care of. Right. Our piano... It's not a new piano. We're not looking at a new piano. Yeah, it's not new.

Our piano tech, Cheryl, was like, you know, don't worry about that. That's something that I'm going to spend a couple days with making that whatever you want, essentially. But see, most people don't do that and they don't... That's called regulation, by the way. Right. Super important.

Most people never do it. Most people never do it. And you know, for most people what they're doing with their piano, they don't need to. They just tune it once a year, maybe. Right. And that's it. Yeah. And most people aren't going to necessarily appreciate or be able to tell the difference, which is fine.

But before you go buy a new piano, go get it tuned and regulated by a really great piano tech. That's right. And you might have a new piano. Yeah. Yeah. So one more I want to talk about Peter is the Yamaha. Yes. It's the most prolific piano.

It's in like every other club and venue and theater. I mean, it had to have made more pianos than anybody. I mean, it's Yama. They've made more motorcycles and leaf blowers and pianos. They make ramen noodles, the Yamaha Corporation. I'm not kidding. It's insane, man. But they make a...

Drums. They make a damn fine piano. They make an incredible piano. Like there are... Another one is if I show up at a club and I see a seven-foot Yamaha, I'm like, okay. Like, this is gonna be... Yeah, there's a standard that that's gonna. And it can really, I really believe, well, I know I've played some Yamaha's,

I'm trying to think like seven-foot's, I don't know, but for sure, the nine which is there's not a lot of them and for a long time they may still be they're pretty much in the same price range of a Steinway in Bosenorf for that the nine foot handmade I forget the name of it but it's the handmade concert a beautiful piano it's a beautiful piano every bit on the level and a competitor to these you know to the top brands but the mass produced the C-7s yeah no they're really they're incredible they're consistent you know a lot of you know technicians and players will say that for certain

The studio situations, the way they record is actually superior to anything. Yeah. You know, they're more stable. They've been known to be more stable in terms of tuning and things like that. So I think that, yeah, I mean, I've had many happy times with Yamaha. I got a chance to open for, well, no, this was crazy. The first time I really met Chick-Korea back in the mid-90s when I was playing with Joshua Redmond, he was playing solo piano on this tour for like a week in Italy.

And he opened for us. We were really opening for him, but he played. He was, Chick-Aria's like, I'm going to play first because you guys are a whole band. It doesn't make sense. And that's just the way he was. But I got to hang with them, have dinner with him almost every night, and play on this Yamaha, beautiful, nine-footish concert grand with one of Yamaha's top Japanese technicians

that was traveling with him and to each of the venues that are bringing their piano. And they'd have another piano. And Chick was just like, Peter, if you want to play this, you're welcome to it. I was like, oh, I'd be honored, of course. Yeah. And so I played on this piano.

each night set up now it's a little bit of an unrealistic thing you've got one of the best technicians in the world yeah setting up one of the best pianos for one of the best pianists treat yourself treat yourself yeah you know and so that's not to say that like basically you're never going to play a yama hama'all that's it's set up as well as that that's so great though but that's why chick sounds so good man that's why you're saying hold on he sound great a way what do you say but it's no he sounds great anyway but it's the details like that's why keith here also traveled around with a piano so you know you're saying if they didn't have a great piano they wouldn't sound so good no i'm saying that even though they sound amazing on anything,

they still require this top-level instrument because they know that... It pushes it over there. Like, how can Chick sound that much better at this point? Right. You have to even, like, up your tools that you're using. And then later, I got a chance to play... Well, the first time I played a Fazioly was in 1994.

That's a great... So Faziole is an Italian maker that is really a bespoke... Like the opposite of Yamaha? Yeah, yeah. I mean, talk about... Although they're making more than they've ever had. And I want to say... Did he say they're making $500 or $1?

100 a year. It was kind of, I think it was maybe 100. This is a couple of years. That would be a lot for them. I got to meet Paolo Fazioli. He came to a gig we were doing because we were kind of like, we're in Cremona Italy, which is like right up the road from where his factories in northern. So for those who don't know what Fazioli's are and the reputation

much to tell them. Yeah. Well Fasiole's are this like just tiny maker that got this huge kind of reputation very quickly because the pianos are amazing. They have just they're incredible sounding. They feel like a Fazio that's the first piano

I ever played where I was like I can do things on this piano I can't do on any other piano like technically I could execute things like it's that well set I mean the sound is amazing you can hear as a listener but there's also something that's just incredible so apparently the first time Harvey Hancock played it he was like wow I love

this I want to buy one or he was just like I want one and the Faziole was such a small company they couldn't even give him one he's like no no I want to buy one he bought one and then that certainly put them on the map but even before that I remember in 1994 playing on a Faziole at the Umbria jazz

festival in Perugia and Paolo Fazziole was there. He was a lot younger and he'd been making pianos but I don't think it was really known outside of Italy and he was just placing him and he had a relationship with the folks at the festival. But now they're all around the world. You can buy them anywhere. They're super expensive. More than Yama

I mean more than Yamo, more than Steinweys, more than Bosenorphers. They're like the most expensive pianos, but they're just amazing and they're popping up at some really good concert halls. I I think Juilliard has a couple now. Lincoln Center has at least one. So they're not only around, but they're making a little bit of inroads because great classical

artists, great jazz artists, Herbie Hancock being, of course, the most prominent is really put them on the map. And I mean, look, you go back to 94, what is that, 30 years? You know, I mean, like they've, it's not an overnight sensation at all, but those are just incredible pianos. I've only got to play. Why are we getting one of those in here? We should be getting one of those in there.

Yeah. I've only played one pianist, great pianists here, classical pianist Peter Henderson. owns one. Yes. I think a six foot one. That's the only one I'm sure there's other ones around St. Louis, but that's the only one I know is in a home here at least. Dude, it sounds so amazing. Talk about a great home piano. Yeah. It's unbelievable. We should go do an episode from Peter's house. Yeah. Just play the Fazioli. But you say, Pete, get out. That's right. Give us your Fazioly. Well, this is really fun, man. Yeah. This is like pianists are not known for gear talk. Because, you know, we're talking about $120,000 to $400,000 instruments here. Exactly. So it's tough.

We'll do keyboards on a future episode. Yeah, I mean, honestly, I'm not like a, I have some keyboards, but I'm not like a huge gearhead with the keyboards. Like, they're guys who are like, it would be fun to talk about. I do. I love the nth. I have this nord. I'm kind of mad about it. You want to know what chat GPT says with the top piano companies? Hit me! Number one, Steinway and Sons. Yep. Number two, Yamaha. Yep. Number three, Kauai, which we didn't mention. Well, I've had hit or miss experiences with choir. Mason and Hamlet is not on here, but that's, that's a, that's a, yeah. a piano that I used to really like

people who love, like Mason and Hamlins, love Mason and Hamlins. Yeah, that's a classic. Kauai, I've had some amazing experiences on a Kwai, and I've had some, I don't know if it was consistent for a while. For Baldwin. Baldwin, I've had some horrible experiences on it. I had a lot of old now.

They are old. They stopped making them years ago. They used to make a great teeny spin. I thought they made the best spin it. The Akrosonic, man. Acrosonic. Balwin Accrosonic is, by the way, go buy yourself a Baldwin Accrosonic. For a hundred bucks.

For like, yeah, for like a thousand bucks You can get this beautiful, soulful little piano Usually made in the 60s or 70s And put it on If you have a free wall, go get a Baldwin acrosonic Paint it some cool colors I mean how many ball and acrosonics over the years Have you put on to the back of a pickup truck

And move from somewhere Oh my God Just there's so much fun They sound great and they're fun to play Number five, Bolsendorfer Number six Fazioli I don't think this is in order of certainly not price But that's chat GPT throws something on there

Before we go, I have a chat GPT for you. You ready? Yeah. Peter Martin is a jazz pianist composer. Wait, what'd you ask it? I asked it. I just put in Peter Martin pianist, and it says, I'm familiar with the name Peter Martin as a jazz pianist composer and educator.

He was born on August 30th, 1970. Nope. In St. Louis, Missouri. Nope. I was 1970. It's correct, but the rest. And August, actually. And began, and what was?

And not in St. 17th. 17. And began playing the piano at a young age. He studied at the first. the Juilliard School and has since performed with many renowned jazz musicians such as Chris Bodie. No, it said jazz musicians. Witten Marcellus.

Yes. And Diane Reeves. Peter Martin has released several albums as a band leader including something unexpected. That's correct. And in the PM. He is also known for his work as a sign man on many recordings, including those by Joshua Redmond and Betty Carter. Yes. I never recorded with Eddie.

I didn't think you recorded with her. Besides, his performing career, Peter Martin is also an educator having served on the faculty of the Juilliard School. Not true. and the Jazz Studies Program at Washington University and St. Louis. Definitely not true. There is no Jazz Studies Department.

He has also conducted numerous... You know, it's funny about that, but Washington University is about half a mile from my house. I know! So Chad GPT is kind of weird. Overall, Peter Martin is a respected figure in the jazz world known

for his virtuosity, creativity, and dedication to the art form. I would say all that's true. Dedication, yes. And he's also the CEO of Open Studio, which is the sponsor of this podcast. If you want to go on a deeper dive of anything we're talking about here,

go to Open Studio. RadioJazz.com. Peter, you know, we got a new course from Chris Parks in the works. Chris Parks has been a game changer. If you don't know Chris Park's YouTube channel, things I learned from Barry Harris, just stop listening to this. Go check out that YouTube channel. It's all these beautiful little theory nuggets.

You know, Chris studied with Barry Harris for decades. Does he know Barry Harris? Did he know Barry Harris? Yeah, they were... I didn't know that. They were like... I'm making a joke. Yeah.

It's his whole thing. Yeah. And it's really amazing. He's one of the greatest, I think, educators of Barry's. systems that there is and we're so proud that he's here with us at open studio pro he teaches uh five different classes now at open studio pro three in the afternoon and two in the evenings during the week and it's he's one of our most beloved they love them over there i get comments on my youtube videos like you should be more like chris parks and like i got to be me i got to me he has a great

video on our open studio youtube channel as well well i just asked uh chat gp2 uh what is the best online jazz education community. Okay. And it gave four of which number two is Open Studio. Open Studio offers a wide range of online jazz courses taught by top-notch jazz musicians including Peter Martin, Christian McBride, and Gregory Hutchinson. Members have access to hundreds of video lessons. That's a lie. Thousands. They have thousands. Play along tracks. That is true. And other resources. Ultimately, the best online jazz education community for you will depend on your goals, learning, style, and budget. It's a good idea. to explore each of these options and others to find out the one that best fits your needs

open studio jazz.com and until next time you'll hear it