00:00:00:00 - 00:00:21:16
Unknown
So Bridget breaks up with him and he moves from Cape to Springfield. Wait card or Girardeau? Girardeau, if you remember correctly. And he starts working in Branson. I'll tell you about it. Yeah. Today we're talking about an incredible album, recorded in 1949 by one of the most influential jazz musicians that ever lived. 040, it's got to be Charlie Parker.

00:00:21:18 - 00:02:09:09
Unknown
Great guests, great guests. But think trumpet. Trumpet, 49. Oh, dizzy. Again, I like where your head's at, but I think East Saint Louis. 000 miles. It is miles. But it's cooler than that. Cooler than this? Yeah. In fact, it's the birth of the cool.

00:02:09:11 - 00:02:28:19
Unknown
I'm Adam, and I'm Peter Martin. And you're listening to the you'll hear podcast music explored. Explored, brought to you today by Open Studio. Go to Open studio jazz.com for all your jazz lesson needs. Peter. Yes, sir. It's a big one today. It's one of the classics. I want to touch it. Touch it, put it in your hands. I want to fondle the LP.

00:02:28:19 - 00:02:47:08
Unknown
Well, let's not get, We're talking about Miles Davis is worth the call. I know, look at that. I don't think it was originally printed on white vinyl. Maybe, but we've got it on, the reprint here on white vinyl. So this is a really, really interesting album. Maybe a bit controversial. Yeah. For some, I love this album.

00:02:47:08 - 00:03:12:20
Unknown
I grew up listening to this. I bought the CD at Borders in Sunset Hills in 1997. Nice. And I listened, to or maybe 98 when they did a reissue, but I listened to, the hell out of this album and I've been learning about. I assumed that it was mostly, the great Gil Evans, who, has done some arranging on it, but there's a whole story to this album that's very, very interesting.

00:03:12:22 - 00:03:35:01
Unknown
And it starts with Miles Davis right across the river here in East Saint Louis. So this album was recorded in 1949, late 1949, early 1950. There were three different sessions. Miles Davis was 21 years old. He had moved to New York. He had played with a, alto saxophone and by the name of Charlie Parker. I think I'm saying that Charles Parker.

00:03:35:05 - 00:04:04:08
Unknown
Charlie Parker. Ever heard of him? So Miles succeeded, Dizzy Gillespie and Charlie Parker's band in New York, and they quickly started making some of the greatest bebop ever recorded. This is Eric revolutionary. This is Miles with Charlie Parker. And by the way, John Lewis playing piano, who we'll get back to in a minute. This is perhaps.

00:04:04:10 - 00:04:21:17
Unknown
Better known for the fact that.

00:04:21:19 - 00:04:26:14
Unknown
The leader.

00:04:26:16 - 00:04:46:00
Unknown
Who had.

00:04:46:02 - 00:05:00:14
Unknown
How great he.

00:05:00:16 - 00:05:07:14
Unknown
Here's Miles on the trumpet. Yeah.

00:05:07:16 - 00:05:43:13
Unknown
I.

00:05:43:15 - 00:06:01:05
Unknown
But. So, Peter, what do you hear in that? In young minds, by the way, he joined Charlie, Charlie, Charlie Parker Band when he was just 18 years old. Right. So here he is, right after he got to 19 or 20 when they recorded this track. But but it's an interesting story, Miles with Charlie Parker, because he quickly kind of became a little frustrated.

00:06:01:06 - 00:06:32:14
Unknown
Right. And I mean, the thing is, it's like you all, you're already here. I don't know, I hear Miles's sound, you know, like, of course we're projecting in the future because we know what he became. Yes, but that, the kernel of that or maybe even more than just the kernel of that is already there, that warm tone, you know, the idea, I mean, it's definitely swinging and it's and it's also, like, more harmonically adventurous than I think a lot of people realize.

00:06:32:16 - 00:06:51:11
Unknown
Not all this stuff that they recorded then. And, I mean, it was so there was some haphazard recording going on, and then there was some really clean type sessions that, like you can hear on this track. So there's, there's it's definitely variable. But I mean, I know the stories about Miles being frustrated and feel like he couldn't keep up or feel like he was trying to go for something else, but to me.

00:06:51:16 - 00:07:11:13
Unknown
But he was just an awesome bebop trumpet player. And you hear that heritage. I think it everything that he did all the way up into the end through, you know, like there was an an honesty and an authenticity to his playing. Obviously stylistically change like, but to his core sound. And, you know, when we talk about trumpet players, it's like their sound is everything.

00:07:11:13 - 00:07:33:00
Unknown
Yeah. I mean, of course, for us his piano sound is important, but I mean, for trumpet players, it's like that connection. That's their voice, their sound. It's interesting when I hear Miles playing with bird, I hear someone who's already kind of looking forward, like looking past where they are, as Miles is always seemingly two steps ahead of everybody, always looking forward, always looking ahead.

00:07:33:03 - 00:07:51:19
Unknown
We're talking about bebop here, which is the most forward thinking. It was music maybe ever like way ahead of its time. Just a huge uptick in, what it meant to play, to improvise. Yeah. And, I already hear and just in that solo miles doing some stuff that would, like, kind of foreshadow where he's going to go in the future.

00:07:51:19 - 00:08:10:11
Unknown
Yeah. So, yeah, I hear all that miles, he gets a little frustrated playing with bird. He quits. Charlie Parker's band in 1948, but that was a pretty long run, right? Yeah. He was like 3 or 4 years. Yeah. Three and a half years, maybe. Yeah. So he had kind of befriended an arranger named Gil Evans. Yeah, by this point in 1948.

00:08:10:13 - 00:08:32:11
Unknown
And Gil Evans had an apartment on 55th Street. Yeah. Right up from 52nd Street, where all the jazz clubs were. And Miles and a bunch of other musicians started hanging out at Gil Evans apartment. Now, Gil Evans was arranging for a pianist and bandleader named Claude Thornhill. Right. And a lot of that was Roger Thornhill. No, that's North by Northwest.

00:08:32:13 - 00:08:55:10
Unknown
Claude Thornhill, his brother, had this impressionistic style big band. And a lot of the players from that. Claude Thornhill, one of the incarnations of the Claude Thornhill band, would go on to become the Miles Davis nonet would be on these birth of the cool sessions that we're about to listen to. So this is sort of early Gil Evans arranging for Claude Thornhill's orchestra.

00:08:55:12 - 00:09:42:08
Unknown
This is Buster's last stand. Check this out and you're going to hear some again, more foreshadowing, some forward thinking.

00:09:42:10 - 00:10:11:22
Unknown
Boom boom boom boom boom. So all of these very crisp, clean voicings. Very little vibrato. Claude Claude Thornhill's orchestra used French horn use tuba. In fact, Lee Conant, Bill Barber, junior Collins, Joel Shulman, Sandy Siegel, Stein, Gerry Mulligan, and Gil Evans all kids that a law firm or is that the. Sorry, they all came out of Claude Thornhill's orchestra and were on these birth of the cool sessions.

00:10:11:22 - 00:10:33:16
Unknown
They're all rehearsing at Gil Evans apartment. Yeah. And they're working out all these arrangements. Miles is really, really loving this change. He loved the slower tempos. He loved being able to use the mid range of his horn. And I think he. Miles, always the contrarian, is like, let's do something different. Yeah, right. We're we're four years in. Yeah.

00:10:33:16 - 00:10:51:19
Unknown
Yeah. Like to give off like let's he's already excited to change it up which we're going to see Miles do every step of the way. And here he goes. It was never a 4 or 5 years. Yeah. And he's got to switch it up. Yeah. And this is the first time. Yeah. And I think that I think there was a relative amount of space that he saw on this.

00:10:52:00 - 00:11:15:12
Unknown
We wouldn't like these tracks that we're going to explore today. I wouldn't say that they're super sparse or anything, but compare it to what Byrd was doing. And I mean, in all these tracks, we need to frame this by everything we're going to hear today. I believe certainly most of it was originally recorded as 78. So there was like a three or 3.5 minute time limit depending on some other things, and a lot of the early bebop stuff as well.

00:11:15:14 - 00:11:38:03
Unknown
So there's always that compression that we're kind of the technological parameters that they were dealing with. But I mean, in terms of like the tempos, the mid register and like the space, like later on, miles would really come to be a master of that, both in his playing and the way he would set up his bands, the way the arrangements would be set up, his choice of compositions, even in the stuff that was more dense for him.

00:11:38:03 - 00:12:04:09
Unknown
Yeah, it was very spacious. And so I think you're you're feeling the beginnings of him really like enjoying sitting in that. That's that's exactly right. And sitting in those like impressionistic tonalities. Yes. That Gerry Mulligan. Yeah. And Claude Thornhill and Gil Evans were, were arranging in Claude Thornhill's orchestra. So you're absolutely right that these were originally released as singles on 78.

00:12:04:11 - 00:12:28:12
Unknown
So the album birth of the cool. Yeah, didn't come out until 1957, a full eight years after these sessions were recorded. Yeah, they came out. I think there was like six tracks eventually had come out as singles along the way, but there was nothing that was like capturing all 11. So the birth of the cool album comes out in 1957 and it becomes influential.

00:12:28:12 - 00:12:48:05
Unknown
Yes, eight years later. Yeah, it's it's really, really incredible. I mean, it is like because that was like he was all I had done, all those records for prestige. Yeah. He's about to start with Columbia. He's already on and he's passed this. He's already gone into a whole other thing, but it's kind of like is a Seminole like West Coast jazz, even though it was recorded all, you know, from New York musicians.

00:12:48:05 - 00:13:09:11
Unknown
Yeah. It was it sparks this whole influence that happens, which is really, really cool. So here's the first track on the, this is move. This is Denzel best. Denzel best. This was a John Lewis arranger. So there's, three arrangers. Well, there's four inches total, but three main arrangers. John Lewis arranges three things. Gil Evans only arranges two of the tracks.

00:13:09:12 - 00:13:29:12
Unknown
Yeah, Gerry Mulligan, kind of wins this album. He arranges, I think, six, seven, 6 or 7 of these, but the majority, the vast majority. So this is move.

00:13:29:13 - 00:13:34:21
Unknown
To that tuba. Yeah.

00:13:34:23 - 00:13:43:02
Unknown
It was.

00:13:43:04 - 00:13:48:07
Unknown
Kenny Clark.

00:13:48:09 - 00:13:56:06
Unknown
Who pivoted?

00:13:56:08 - 00:14:06:20
Unknown
Up.

00:14:06:22 - 00:14:11:23
Unknown
And had.

00:14:12:01 - 00:14:18:22
Unknown
I don't know.

00:14:19:00 - 00:14:33:05
Unknown
I don't.

00:14:33:07 - 00:14:42:15
Unknown
Silicone. It's on the alto saxophone, then.

00:14:42:17 - 00:14:48:09
Unknown
Great solos throughout this whole album.

00:14:48:11 - 00:15:05:20
Unknown
You.

00:15:05:22 - 00:15:31:10
Unknown
It's Max Roach on the drums and Clark, I think Max Roach, I believe. No macros. Right. I'm sorry. Max Roach on the drums.

00:15:31:11 - 00:15:45:17
Unknown
Who? That great.

00:15:45:19 - 00:15:50:23
Unknown
French horn and tuba player. Those lines.

00:15:51:00 - 00:16:19:14
Unknown
So you mentioned, Kenny Clark and Max Roach. So because these were done in three separate sessions, there's a few different options for all of these tracks. And so I thought maybe we could just, list out all of the, the, the players on the album. I might highlight some people on the tracks, depending on if they have solos, but throughout the album you're going to hear JJ Johnson on trombone, Kai Winding on trombone, Mike Zahran on trombone.

00:16:19:16 - 00:16:40:02
Unknown
And again, these are all from the three different sessions. So they're, they're kind of splitting duties on all this. There's three different French horn players depending on what session junior Collins, Sandy Siegel Stein and Gunther Schuller. Yes. The third stream guy French horn, author of Early jazz. That's right. Bill Barber is on tuba on everything.

00:16:40:02 - 00:17:00:05
Unknown
Lee Conant is on alto saxophone on everything. Gerry Mulligan is on baritone saxophone on everything. Yeah. Al Haig and John Lewis split the piano duties depending on what session. And there are three different bass players depending on the session Joe Schulman, Nelson Boyd and the great al McKibbin. McKibbin. It's only those three that I. That I'm familiar with.

00:17:00:07 - 00:17:27:03
Unknown
Yeah, but that was was that Joel Schulman? What we just heard? That was Joel Schumacher. We just heard, and then two drummers, Max Roach is on the majority, but Kenny Clark is on, one of the sessions. Venus de Milo publicity. Israel and Rogues. Yeah. Rogue. And, was it Rouge? It's rouge. And then there is there is one vocal track that was actually not released in the original album that came out in 1972 with Kenny Haggard, Haggard, Kenny Haggard.

00:17:27:03 - 00:17:48:08
Unknown
I'm not sure I'm saying that name correctly. It's Vigoda hazard, and he just crushes on during that dream, and it's on in their dream. There's a Why Do I Love you? Which I don't have cued up, but the joy in that dream is is incredible. Yeah. So that was that move was arranged by John Lewis as I said, was, the arranger for three of these tracks.

00:17:48:08 - 00:18:10:06
Unknown
John Lewis. Like, that's the thing is, like, so John Lewis, JJ Johnson was already established. Yeah. Lee Konitz and Gerry Mulligan, still a very young Alhaji, relatively young, John Lewis, relatively young, Kenny Clark established Max Roach relatively young. Yeah, but had been around to, they're all going to have incredible careers. Yeah. After 1949.

00:18:10:06 - 00:18:35:19
Unknown
Like they just make incredible music. And in fact, John Lewis, who arranged that last track, is one of the founding members of the called the Modern Jazz Quartet and Modern Jazz Quintet. Yeah, this is Concorde from their 1955 album of the same title.

00:18:35:20 - 00:19:07:19
Unknown
Bill.

00:19:07:21 - 00:19:27:13
Unknown
It's John Lewis with the Modern Jazz Quartet. This is cool. On this, Gerry Mulligan does the liner notes on the original album. Oh, cool. And he, he's talking about all the different people that would come to the, 55th Street apartment to, Gil Evans place. During this period, he called, he said, John Lewis, our resident classicist, classicist.

00:19:27:13 - 00:19:46:14
Unknown
Awesome. Yeah. So, you know, Gil Evans was kind of the the older brother. He's 35, and all these guys are, like, in their 20s. Yeah, most of these guys are in their 20s. Yeah. Gil Evans is a little older. He's got the apartment. He's helping them. Even though he's not arranging everything here. He's I. Yeah, I can definitely hear his voice.

00:19:46:16 - 00:20:04:04
Unknown
Even in Jerry Mulligan's arrangements. I'm sure there's a lot of cross-pollination. I think it was just like a bit of a think tank, you know what I mean? Like, they're they're probably listening to music, talking about music. You know, Miles is, is I'm sure helping to lead all of this as well. Well, he says, Gerry Mulligan said he goes through everybody on here.

00:20:04:06 - 00:20:25:14
Unknown
And he says, and Miles, the bandleader, he took the initiative and put the theories to work. He called the rehearsals, hired the halls, called the players, and generally crack the whip. That's a 21 year old. Yeah, that's a 21 year old musician who is already taking control of his career. Yeah. And this would be a theme in Miles's life, his musical life for the rest of his life.

00:20:25:17 - 00:20:48:13
Unknown
Yeah. So next, I want to hear one of, Jerry Mulligan's original tunes for this, for these sessions. This is Venus de Milo, arrangement by the great baritone saxophonist and kind of, West Coast, along with with Chet Baker, West Coast jazz, I would say, like, not founder, but definitely one of the Mount Rushmore of cool jazz sound.

00:20:48:13 - 00:21:05:01
Unknown
This is Jerry Milligan's Venus de Milo.

00:21:05:03 - 00:21:14:18
Unknown
Who is?

00:21:14:20 - 00:21:40:16
Unknown
What I love about this album, Peter, is that all these melodies, they show up in the language. Yeah. You hear a lot of improvisers influenced by this album and all of these melodies from these tunes like shared language, shared language, know.

00:21:40:18 - 00:21:46:19
Unknown
Who?

00:21:46:21 - 00:21:50:22
Unknown
This.

00:21:51:00 - 00:22:20:03
Unknown
Who?

00:22:20:05 - 00:22:48:04
Unknown
Want to give a shout out to Bill Barber on the tuba we talked to in the in the Marvin Gaye What's Going On episode last week. We talked about how adding the bass to your string section, like one stringed bass, even if you have a bass guitar, adds this fullness to your your string parts. Same thing here. Obviously there's a bass walking, yes, but having that tuba as the low voice for all of these harmonies, I think it just adds some meat to the chords that you just don't get without it.

00:22:48:04 - 00:23:08:11
Unknown
Yeah, I really, really love it. And and Bill Barbara's killing on all this stuff too. Swinging. Yeah. And the way they have this around a lot of these arrangements, it's like the tuba. It's not even always on the root. It might be on the third. It could be a lot of different places, but having that bottom, you know, the harmony building up from that to be able to feel that resonances is a cool sound for sure.

00:23:08:13 - 00:23:29:17
Unknown
So we mentioned earlier the cool sound, the birth of the cool sound. We mentioned Gerry Mulligan was the composer of the the last track, Venus de Milo. Yeah. So he would go on to really like, solidify that West Coast jazz sound along with Chet Baker. This is Gerry Mulligan and Chet Baker. A couple of years later on a tune called Bernie's Tune.

00:23:29:19 - 00:23:48:09
Unknown
You can hear the direction lineage from the birth of the Cool Session. Yeah, smaller group on this lead.

00:23:48:11 - 00:23:57:00
Unknown
To super relaxed swing and.

00:23:57:02 - 00:24:07:07
Unknown
It's from 1952.

00:24:07:08 - 00:24:30:18
Unknown
So again, we're we're not in the bebop realm with that. Right? That's a whole new thing that's being developed. Definitely coming out of these versus the cool sessions. Like you can just hear yeah. All of that influence. All right. Next up we've got this is a tune called Budo by John Lewis or sorry, this is by, Miles Davis and Bud Powell.

00:24:30:18 - 00:24:46:14
Unknown
And I want to talk about that. This is arranged by John Lewis. This is Budo. Check this out. And then we're gonna listen to the inspiration behind it. So.

00:24:46:16 - 00:25:17:13
Unknown
Now.

00:25:17:15 - 00:25:29:01
Unknown
I. No, no, no.

00:25:29:03 - 00:25:50:05
Unknown
That's a snare. So influential. He wrote the book.

00:25:50:07 - 00:26:07:01
Unknown
I. And you get to keep those souls concise. You got no extra choruses. You got maybe three minutes total. Oh. Here you go. Know.

00:26:07:03 - 00:26:17:13
Unknown
Like. Oh. That's right. Yeah, yeah. Killing every every solo. Kind of just destroying.

00:26:17:15 - 00:26:29:16
Unknown
Okay. Wendy.

00:26:29:18 - 00:26:58:12
Unknown
I love these John Lewis arrangements, too. And every ranger has this, like, a little bit different style. Yeah. Oh, yeah. And having that constraint of the time for the arrangement. And they have the solos, the backgrounds, the short course is the melodies. Even coming back with the last A of the melody of a drum solo end.

00:26:58:14 - 00:27:03:15
Unknown
Bookends. Intro. Outro.

00:27:03:17 - 00:27:32:03
Unknown
And Max's. Right. So I know that. So that's Budo. And that is credited to Miles Davis and Bud Powell because Miles wrote this, in honor of Bud Powell, the great bebop pianist. And it's very reminiscent and in fact borrows from Bud's original composition called hallucinations.

00:27:32:05 - 00:28:02:14
Unknown
Right there.

00:28:02:16 - 00:28:20:13
Unknown
Oh. You can actually hear a little bit of breath in the cool. Yeah. Cool. In Bud Powell, this solo piano can hear some influence. Yeah.

00:28:20:15 - 00:28:41:02
Unknown
We got it. Bud Powell episode eventually. Absolutely. I mean, for whatever we're going to, you know, whatever can be surmised from birth, the cool is a little bit of a miles Davis reaction or counterbalance to bebop. I would say it's very much there's so much bebop in there, so much bebop feel. And it's not just like, you know, Max Roach.

00:28:41:02 - 00:29:09:03
Unknown
Al. Hey, you know, JJ, I mean, you look at the names of players in here, you got. Yeah, but I mean, the language, it just shows how strong and revolutionary that bebop line and like, how quickly it came in and just like, permeated. And then you have these different offshoots like this. Cool. The West Coast, you know, the Gil Evans and Miles Davis, things that they're going to be doing later on, you know, live at Carnegie, like, Sketches of Spain course, Porgy and Bess.

00:29:09:03 - 00:29:26:05
Unknown
But it's just it's all infused with the bebop language. Miles is playing, even when I. That's what I'm saying to the authenticity of it. Like, that's his OG language, right? That's that original language. It's like Charlie, like we think, oh, no, but Charlie Parker and Dizzy while dizzy was different because, like, he lived so much longer than any of them.

00:29:26:07 - 00:29:45:01
Unknown
Then Charlie Parker, I'm like, Charlie Parker. Had he live beyond 34, 35 or whatever he was? Yeah. You know, Clifford Brown, you know, I know he'd make it to 25, I know. So it's like they're almost like, frozen in time where Miles had this longer career trajectory, as did dizzy. Of course, it's a great point about the speed of the language taking over.

00:29:45:01 - 00:30:13:10
Unknown
Yeah, the music, because there was nothing like this in 1939. Yeah. You know, like ten years earlier. And there'd already been this sort of bebop revolution that happened in that mid 40s by Charlie and Charlie Parker and Dizzy Gillespie. Yeah. And now these younger musicians, Miles Davis. Yeah, are taking it into something new, you know, like they're they're already starting to spin it into some offshoots, into these little whirlpools off of the main channel.

00:30:13:10 - 00:30:30:05
Unknown
You know what I mean? It's very, very cool to see. Yeah. How are you feeling? I'm good. Let's be real. You're. This isn't your favorite, Miles Davis. I'm just. No. I'm sorry. There's a dart with an accusation. Like my way. This would. But I know this isn't one of your records. You know what we all do? We both have albums that I know.

00:30:30:09 - 00:30:55:20
Unknown
And I know that you weren't around this one. And so it's all kind of new, and you're like, yeah, it's good. No, but you know what's what's important? I mean, I've heard all this stuff. It's been a while. But you're right. Like, I think that it's a beautiful thing though, like when you talked about when you first got the record, like some of these records, I mean, I think there's some in the jazz world that are just so transcend transcendent, that no matter when you encounter them, they're going to have an impact.

00:30:55:22 - 00:31:09:16
Unknown
But even that, like even things that we think of like this, I'll be amazed. Sometimes I'm talking to somebody about a Love Supreme or something. I'm like, how could that record not just hits you here? Yeah. No matter. No matter when you're in college, some people like, oh, it's okay. I hadn't really checked it out. I think it matters when you encounter it does.

00:31:09:16 - 00:31:25:19
Unknown
Yeah it does. And like that's how you encounter it. How you encounter it. Like what you've heard before, that kind of what it is you're working on. If you're a musician or if you're a listener. Sometimes those first impressions, I mean, they're always important, right? Yeah. But what does that leads? Like what rabbit hole does that lead you?

00:31:25:21 - 00:31:42:07
Unknown
Lead you down next. You know. Yeah I mean for me, you know, I'm I'm 17 or 18 years old. When I first discovered this album and it was just a name that someone had recommended. You should check this out. Yeah. And I really didn't know much about the history. I mean, I think I might have read the liner notes once, but I just liked the sound.

00:31:42:09 - 00:31:58:20
Unknown
I had no idea. I thought I thought it just came out in 1957. I didn't really think about when it was, you know, about 1957. I don't really know what I'm saying. I it could have been 1857. All of these things were at that time I was just learning about. So they're just all these names and dates and things that are getting thrown at you.

00:31:58:22 - 00:32:16:08
Unknown
But I just fell in love with the sound of it. Yeah. Just these I think the strongest part about this, and we've already talked about it, you know, people talk about the arranging and the Gil Evans style of voicing and the impressionistic stuff. That's all cool. But these melodies for all of these songs, like the main melodies that, you know, bothered you, they did that.

00:32:16:10 - 00:32:36:07
Unknown
And the, you know, a David Early David everyday did it. All of these melodies are so singable. Yeah. And they're so swinging. Yeah. And they're not quite as intense as a lot of bebop melodies were. Yeah. Like they're a little bit. It's almost like a. Yeah. Is it like a refinement of the bebop language melodically? Because it's not like a rejection of it's not a rejection of it.

00:32:36:07 - 00:32:51:17
Unknown
It is kind of just like like I said, it's like a it's like when a main channel is going and bebop is this powerful channel of music. One of the little side swirls, I think, is this style. Right. But the same animals are like moving like the same, same water, the same energy. It just it's just doing something else.

00:32:51:17 - 00:33:08:22
Unknown
It's kind of like a little bit less intense and spun out into this thing. And by the way, you know, Miles, who is the one of the pioneers of spinning this stuff out. He quickly leaves and goes and does like hard bop or whatever you want to call that prestige, period, right? That kind of stuff. Right? And period.

00:33:08:23 - 00:33:29:16
Unknown
I love that period. And then but you know what else is interesting? So I think part of my thing is too, is that like because we talk about timing, because of of the Miles Davis recordings that I first listen to, I'm talking about my Funny Valentine, bags groove. It can't really get much for decoy. Yeah. Which I heard in real time pretty much when it came out.

00:33:29:21 - 00:33:47:02
Unknown
Like, these are records where the just because of the time and the recording technology and how they were engineered, like Miles is like to me, Miles, he's he's got a lot of facets to his music. Yeah. Some of which have nothing to do with even playing the trumpet. It's just about like, band leadership and, like, arranging and stuff.

00:33:47:02 - 00:34:09:10
Unknown
Absolutely. But his trumpet playing is so much based around his sound. And so those records, though some of the ones I just mentioned and the prestige period for sure, and even some of the Blue Note stuff he was on, like the Cannonball Adderley. Yeah. But like those records kind of blew. Of course, they did such a great job of capturing his, you know, sonically.

00:34:09:12 - 00:34:29:00
Unknown
His sound. And then so when we go back a little bit early, I remember it was jarring to me. I was like that doesn't sound as good. But then when I listened I was like oh no, it's younger Miles. He's playing, you know in these earlier styles, but it's very much the same thing he's doing. But they just didn't capture sound as like as you wouldn't Charlie Parker when he passed, he he was very rarely recorded really.

00:34:29:00 - 00:34:50:11
Unknown
Well, you know, for whatever reason, part of it was just the time when he was alive. And so for me, like, I fell in love with Miles's sound. So it always felt smaller on these records. I think that's legitimate. Yeah. That's legitimate. And again, if you didn't sort of have this early on, I could see where it's just like, yeah, it's not quite as good as like the My Funny Valentine or the sound is not there.

00:34:50:13 - 00:35:06:17
Unknown
And that's like Miles. I mean, Miles was a little bit of a late bloomer, I think in terms of like hitting his like because on those records, you know, I don't know. There's so many different ways to look. He's playing great on here. I don't know that he's the best soloist on this record. Like when you hear Lee Cohn Cohn it's kind of when you hear even the little short Max Roach.

00:35:06:17 - 00:35:22:10
Unknown
So like yeah you know and like what Max is doing to drive the time in miles is. But it sounds good. There's a lot of albums that Miles made throughout his career where you're like, is he the best soloist? I know? Train kind of steals some stuff from, obviously that's Johnny Coltrane, Johnny Coltrane, but you know what you're saying?

00:35:22:10 - 00:35:40:21
Unknown
Like, yeah, yeah, like I think he is. He's this impresario. He's like the the true maestro of all of this. Putting these people together. I mean, it says it right here in the liner notes. Miles was the one who was like, yeah, you were band leader together, getting the band together. Even at the young age. His real gift.

00:35:40:21 - 00:36:04:07
Unknown
He's got it. He's. Miles has a few incredible gifts. Obviously the trumpet is one of them, but it might not be as good as, first of all, his taste and his unwavering dedication to not being stuck or stagnant. Yeah, his incredible restlessness, I think, is a gift to us all. Yes. And then his leadership abilities, yeah, like he is, was always even now he's 21 years old.

00:36:04:07 - 00:36:31:14
Unknown
He's already a leader. The courage to like, say, yeah, I want to push back against Charlie Parker. Yeah. And what he's doing. I want to do something different than that. Yeah, that takes someone who really knows themselves and very, very confident about their abilities and what they see as their contribution to art. And he had that throughout his entire career was never precious about the thing he was working on was always looking towards like the feeling of what it was, the feeling of knew, that feeling.

00:36:31:14 - 00:36:55:06
Unknown
We just talked about the feeling of discovery. Yeah, that is Miles Davis. Yeah. And he brought this music and this sound and much of this band to the bebop territory on 52nd Street, you know? Yeah. Right, right around now when the record came out. But earlier, like when they were recording this stuff and that was a big deal because it was kind of like, you're bringing something cooler than bebop, potentially.

00:36:55:06 - 00:37:14:02
Unknown
And there's a great quote that I think it was Count Basie, like, I don't know if it's like the Royal Roost or one of those clubs there. And you know, these I mean, that was like a big deal on 52nd Street. Like, that was a nightclub district. And, I think Miles's band was like kind of opening or like the, the, what do you call it?

00:37:14:02 - 00:37:30:07
Unknown
Not like Count Basie was the headliner or whatever, but he's presenting a lot of this new, new kind of sound. And somebody asked Count Basie, what do you think of it? He's like, yeah, some of the solo stuff was kind of weird, but it's kind of kind of cool. All right, so he got the thumbs up? Yeah. Well, let's kick off side two of the original album.

00:37:30:07 - 00:37:45:03
Unknown
This is a tune by George Wallington, arranged by Gerry Mulligan. This is called godchild. And. This.

00:37:45:05 - 00:37:56:17
Unknown
Great orchestration here. Oh.

00:37:56:19 - 00:38:08:17
Unknown
And.

00:38:08:19 - 00:38:47:08
Unknown
La la la la la la la la la la la la.

00:38:54:03 - 00:39:07:14
Unknown
This might be my best solo on the whole album. And.

00:39:07:16 - 00:39:22:05
Unknown
It's okay. I.

00:39:22:07 - 00:39:28:18
Unknown
Love. London.

00:39:28:19 - 00:39:44:18
Unknown
I know.

00:39:44:20 - 00:39:53:09
Unknown
That there's.

00:39:53:11 - 00:40:15:13
Unknown
No.

00:40:15:15 - 00:40:41:12
Unknown
La la la la la la la la la la la.

00:40:41:14 - 00:41:02:00
Unknown
Gotcha! By George Wallington, arranged by Gerry Mulligan. So, Peter, you might have noticed we haven't actually listened to a tune arranged by Gil Evans yet. Right. There are only two, and one of them is your desert island track. So we're saving. Okay, but this next one is a tune by a composer named Cleo Henry. I love his solo with Snarky Puppy.

00:41:02:05 - 00:41:25:20
Unknown
He's amazing. Corey Henry is calling us Cleo, Henry. Oh, Cleo, Cleo, Henry, Cleo, miss Cleo. Henry. No, not going to do the voice. This is arranged by Gil Evans and Clear Henry is actually a pseudonym for Miles Davis. Pseudonym, a pseudonym for Miles Davis and Gil Evans. They wrote this song, but for whatever reason, credit it to a fictitious Cleo Harris.

00:41:25:20 - 00:41:50:04
Unknown
Cleo. Corey Henry. That's right. This is an incredible track called by Felicity Wilson. This is.

00:41:50:06 - 00:42:15:06
Unknown
An. Those close or open voicings, sir. Clothing. Clothing? Oh. Spiciness.

00:42:15:08 - 00:42:31:06
Unknown
Everything.

00:42:31:08 - 00:42:37:22
Unknown
That.

00:42:38:00 - 00:42:52:00
Unknown
And this is a Gil Evans arrangement. You. That right? This is our first Gil Evans. You can hear it. You can hear those. His voicings. It's incredible. And in fact, you know, we kicked off the show with Caleb Kirby and Bob the boogeyman. Yeah. So here playing this. But our little baby arrangement of this is not. It doesn't really do it justice.

00:42:52:00 - 00:43:02:15
Unknown
We didn't want to we didn't want to outshine. That's right. We don't want our Shane to be on until he's, you know.

00:43:02:17 - 00:43:29:01
Unknown
It was crazy, man. I met Gil Evans, I met Gerry Mulligan. I saw him play. I play on the same. I mean, like, I'm so privileged to have a can. A little bit of connection with this generation of I'm old AF. Wow. In the grand scheme of things, it wasn't that long ago. I seems like it was, I really wasn't.

00:43:29:03 - 00:43:50:07
Unknown
I mean, I remember when I first met Jelly Roll Morton, when I first got to New Orleans. That was crazy. Stop. That is a crazy. Oh, wonderful.

00:43:50:09 - 00:44:06:10
Unknown
Oh, yeah. Bix Beiderbecke used to teach driver's ed last night when he went on the road. And now he was on the road. Oh.

00:44:06:12 - 00:44:33:19
Unknown
That's John Lewis, I think. Our resident classicists. Man, they they pack in the economy of this, riding so many notes. But there's still space, and it's all within three minutes. It's crazy how long is this track? We're at 252, right. And. Oh, man. So you know what? Why do we record 11 minute jazz songs now? And I mean, sometimes I know, man, it's very warranted.

00:44:33:19 - 00:44:54:18
Unknown
But like this is great stuff, man. Really is great stuff. Like, it's not that you can't go longer than that. And of course we have, you know, the artistic license to do that. But what we should be doing, at least what we do three minute we do. So this album and this collaboration between Miles and Gil Evans, wouldn't be the last time these two would work together famously.

00:44:54:22 - 00:45:16:18
Unknown
Right? They would make some of the great music of the 1950s and early 60s, the biggest jazz records of all this time. The same year, they released this compilation of these singles that were recorded in 49 and 50. The birth of the cool, 1957. Yeah, an album, came out, featuring what was called like Miles Davis plus 19 with Gil Evans called Miles ahead.

00:45:16:18 - 00:45:21:21
Unknown
Man, it's such a great record. The Duke from Miles ahead. Oh, thank you.

00:45:21:23 - 00:45:26:07
Unknown
Oh.

00:45:26:08 - 00:45:36:13
Unknown
But again, just a bigger version of what we just heard.

00:45:36:14 - 00:45:44:00
Unknown
This is stereo and.

00:45:44:02 - 00:46:06:14
Unknown
Two and the great thing about this will not be the last Gil Evans that we listen to on the you'll hear podcast, right? Yeah, absolutely. We need but this is a great I'm glad you this is such on the record technology between 1949 957. Yeah. Huge hits the drums, the bass and okay. I'm shallow. I like good sound.

00:46:06:16 - 00:46:24:18
Unknown
Yeah. Sorry. See you see me. There's a great tune to the Duke. This is kind of an overlook of their collaborations. I think this is the least known miles ahead. Yeah, they're famous for sketches of the space. It's great. Porgy and Bess. Yeah, but miles ahead. Don't sleep on. Miles ahead is so great. Yeah, yeah, really, really cool.

00:46:24:18 - 00:46:44:13
Unknown
This is around the time to the miles. So super influenced. As you said in your notes, you're somewhere Claude Thornhill as well as was everybody on here. Yeah. Gil Evans of course. And then collaborated with Ahmad Jamal. Yeah, absolutely. Who? He probably wouldn't have heard one, though. He might have. Would he have heard? No, he wouldn't have heard Ahmad Jamal yet at the, at these recordings.

00:46:44:15 - 00:47:02:07
Unknown
But for sure, for the miles ahead, there's a lot of influence on that, the prestige stuff, you know, in terms of arrangements, in terms of, like architecture of the arrangements and stuff. But he spoke about it, and taking specific things to, on the miles ahead recording, in fact. Well, that Bob listening that we listened to just previous.

00:47:02:07 - 00:47:19:21
Unknown
Yes, has become a bit of a standard. Yeah. As is the next one. This is called Rocker by Gerry Mulligan. It's a Gerry Mulligan. I'm a rocker, yeah. Gerry not looking up another incredible melody here.

00:47:19:23 - 00:47:29:14
Unknown
Just gentle. Gentle.

00:47:29:16 - 00:47:55:17
Unknown
Gerry Mulligan's arranging throughout this whole album is really sweet. Yes, sweet arranging. He's known as the Marvin Gaye of the baritone saxophone, you know. Is that right? Yes. Yeah. By who? Oh, me. Okay. Tall a track. Tall, tall. Drink of water. Both of them. That's two tall trees of water over the.

00:47:55:19 - 00:48:12:07
Unknown
I love this tune.

00:48:12:09 - 00:48:32:12
Unknown
Incredible melody. There. So I just want to say one thing. This is so cool to have the, liner notes from Gerry Mulligan, what he's saying about the different, players here. Max Roach genius. I can't say enough about his playing with the band. His melodic approach to my charts was a revelation to me. He was fantastic and for me, the perfect drummer for the band.

00:48:32:14 - 00:48:53:09
Unknown
No small statement in view of the fact that Miles brought in Art Blakey and Kenny Clarke on the later dates. Yeah, I mean, news newsflash mad Max Roth was a genius. Yeah, I totally agree. He he is really the backbone of this whole thing, on those tracks that he's on Kenny Clarke, too. Yeah. Okay. The next one is very, very interesting.

00:48:53:09 - 00:49:07:02
Unknown
So the next track is a song written and arranged by John, Creasey. It's called Israel. And this is not the most famous version of this.

00:49:07:04 - 00:49:24:11
Unknown
And actually, this is not my favorite version. I apex moments on here, so I will listen to that. We call it soul.

00:49:24:13 - 00:49:52:20
Unknown
Any club.

00:49:52:22 - 00:50:03:02
Unknown
Some great solos on this track. Minor Blues I yeah, I think it was the major that.

00:50:03:04 - 00:50:20:00
Unknown
After the forecourt. Yeah, yeah. That walk up in the fifth flat. Six, six.

00:50:20:01 - 00:50:26:04
Unknown
The last one is major. Also. Oh.

00:50:26:06 - 00:50:43:00
Unknown
Shout chords. Okay, here is your apex moment. Yes. This whole soul.

00:50:43:02 - 00:50:55:13
Unknown
Is crazy. Yeah.

00:50:55:14 - 00:51:17:23
Unknown
Yeah. I mean, Lincoln is, you know, had such an interesting influence of Charlie Parker. You know, every saxophone, especially alto player, either talks about this or lies about not not being or just being heavily influenced by Charlie Parker. Really, every, you know, horn player, you know, the instrumentalists. It's hard not. Yeah. I mean Lou Donaldson talked about like he quit playing.

00:51:17:23 - 00:51:33:10
Unknown
He played like four different reed instruments. He quit all of them except for the alto. The at the first night he heard in Chicago Charlie Parker play, he was just like, I don't want to do anything. And so you hear other stories about people just quitting music. These you you either dedicated yourself to trying to be like him.

00:51:33:10 - 00:51:49:21
Unknown
If you were young, are you giving or you would give up? Yeah. And I think Lee Cohn has had a very entry, like you heard in that double time, kind of playing like it was not as imitative as some of the other players were when they were younger. Of specifically of Charlie Parker specifically, especially in concert, he played the same instrument.

00:51:50:03 - 00:52:14:03
Unknown
But you feel that that influence, that energy coming through in like it really the way he developed and and put his own flavor on it is just great. I think it's one of the best solos out here that I heard. Well, that Israel version, I mean, to me it's fine. It sounds good. It's a bit scattered though, like it doesn't come together as much as this version, which I think is the defining version of Israel.

00:52:14:05 - 00:52:29:00
Unknown
Ever heard of him? Bill Evans Explorations album, Scott LaFaro, Paul Motian we did a whole episode on this. These three albums.

00:52:29:02 - 00:52:44:10
Unknown
Bill Evans obviously would go on to work with Miles Davis in the late 50s, and was probably very much influenced by this album. Yeah.

00:52:44:12 - 00:53:11:23
Unknown
But this was after this record came out. Oh, yeah. Yeah, a couple of years. Yeah, yeah. That's well after. Yeah, a few. You would have heard that a few years later. Yeah. The last time I really listened to wasn't released until in the early 70s. At least with the extended version of this album. I'm actually not sure if this was ever a single, or not, but this is Kenny Haggard on vocals from Darn That Dream, the Eddie Dylan Jimmy Van Heusen tune.

00:53:12:01 - 00:53:14:14
Unknown
Oh!

00:53:14:16 - 00:53:18:22
Unknown
This is actually great.

00:53:19:00 - 00:53:51:13
Unknown
Dawn, that dream I dream each night. Yeah, it's not as romantic. Has got to match. You need love. It's pretty nice. But when, awake, your eyes could have been on that. Good night. Good luck play we saw a couple weeks ago. Could have been. What if it could have been, the job drama band around. Was that during your day?

00:53:51:15 - 00:54:31:08
Unknown
She sings Dawn your eyes. They left me high up of the starry sky. The big break. Get it, Kenny, get it. If I tumble out of easy arrangement by the times. Arrangement by Gerry Mulligan on this one. Dream on. Done. This one track mind of mine. He's going for a name. He's in it. It got under stars.

00:54:31:10 - 00:55:25:20
Unknown
You don't care just to change the mood on this, I'd welcome a nice old night, man. Done the dream and blessed to with all that dream. So hard to to. Oh. Absolutely gorgeous. The. But it haunts me. And it won't come true. Oh. Done the dream. To.

00:55:25:22 - 00:55:45:23
Unknown
Get it. Kenny? Yeah, yeah. Crushin. It's a great tune. It's been covered many times. Most recently on Cowboy Carter with Beyonce. Excellent. What if you knew that? That's not true? Is that it's not true? Okay. Guess. Okay. Okay, let's get to some categories. Peter. So we've got some desert island track. So your desert island tracks is, moon dreams.

00:55:45:23 - 00:56:14:07
Unknown
So this is the other. Yeah. We skipped over this early. What we did was on purpose. This is a this is a strange, beautiful track. I think it's absolutely gorgeous. This is the other track that was arranged by Gil Evans. And this was written by Johnny Mercer, Johnny Mercer.

00:56:14:09 - 00:56:22:07
Unknown
Who?

00:56:22:09 - 00:56:36:15
Unknown
You know what I love about this track, actually, which is going to sound weird. First of all, it's weird that you picked it, but it's weird. I'm going to say this. Yeah, there's no piano. No, no piano. And this is like the most forward looking to to me. To what Miles and Gil Evans we do together. We don't need a piano.

00:56:36:17 - 00:56:55:15
Unknown
And I love John Lewis. I love playing some of Duke Ellington's greatest arrangements. Have no piano. When I played them, they didn't need me playing. They could have done some arranging. I love the John Lewis arrangements, but when you have this thick of a Texas that exactly let the horns have. What do you give me? Like sheep like?

00:56:55:17 - 00:57:01:15
Unknown
I've been paid by the note.

00:57:01:16 - 00:57:07:20
Unknown
To me this is cool. It's beautiful. Yes.

00:57:29:09 - 00:57:45:14
Unknown
I love me. Kills me. That solo right to that line.

00:57:45:16 - 00:57:54:21
Unknown
And I.

00:57:54:23 - 00:58:00:21
Unknown
I.

00:58:00:23 - 00:58:08:08
Unknown
That's some of your top bearing. Like you're going to hear that little four bars of.

00:58:08:10 - 00:58:16:09
Unknown
This gets weird. Yeah.

00:58:16:11 - 00:58:21:07
Unknown
Third string.

00:58:21:09 - 00:58:29:13
Unknown
It's a it's a gear that Gil Evans has. That's your other. Don't worry. That's right.

00:58:29:15 - 00:59:00:12
Unknown
Alfred Nelson. That's great. He's got that. He's got that kind of gear rating. You know. That's a good record, of course, to come up. With those the two. The pair. Yeah. The French horn. Yeah. I've actually got this. That's a great pick Peter I love that. Yeah. To me this is like for you I love this is this is the most unique.

00:59:00:14 - 00:59:23:09
Unknown
Yeah. That's got the coolest track on here man. Every timeless. No shade on the grass. I'm just saying this this one really? I'd be happy on the desert island with that. Yeah, I think it's a great desert island track. There's a lot. Our desert islands often. Quite parching parching. Yeah. Kind of warm. Yeah. So this would be very cool.

00:59:23:09 - 00:59:47:10
Unknown
Very cool. I mean, for three minutes and 20s. There's a lot to sink your teeth there. What you got for your desert island? Mine is a Gerry Mulligan original called Jeru. And, you know, again, I threw it. Could be J. Right? Jeru? Sure. Jeru. Jeru, it's J. Cole. It's cool. No, this is Gerry Mulligan, original Jeru.

00:59:47:10 - 01:00:20:01
Unknown
And that's where, you know, you said Jeru. Jeru, Jeru. I just. That's, Jerome again to just to re rehash, I consider this album again to be all about these melodies. Yeah. And for me, this is my favorite melody. Yeah.

01:00:31:14 - 01:00:36:09
Unknown
I love that turn. The.

01:00:36:11 - 01:00:39:00
Unknown
Love.

01:00:39:02 - 01:00:57:08
Unknown
In the middle.

01:00:57:10 - 01:01:19:06
Unknown
That's like a ten bar a section I think it's there's lots of little interesting twists and turns in the entire melody. The bridge too. We used to play a Gerry Mulligan big man arrangement of this with Lincoln Center Orchestra many years ago. I remember all right. Yeah. Went love. Oh, yeah, yeah.

01:01:19:08 - 01:01:38:03
Unknown
And we. Actually went and kind of wipe the floor with this tune as I recall now. Really. Yeah. He crushed this. Yeah. That's right. Yeah.

01:01:38:05 - 01:01:42:07
Unknown
Had.

01:01:42:09 - 01:01:53:06
Unknown
That little.

01:01:53:08 - 01:01:59:04
Unknown
And, And then.

01:01:59:06 - 01:02:06:07
Unknown
I have and around and.

01:02:06:09 - 01:02:13:03
Unknown
Then.

01:02:13:05 - 01:02:23:01
Unknown
And I never had that.

01:02:23:03 - 01:02:38:07
Unknown
Never. Never. Had.

01:02:38:09 - 01:02:45:06
Unknown
I lot of Charlie Parker and all. Oh, you the language.

01:02:45:08 - 01:03:07:19
Unknown
Bridges and gravel.

01:03:07:21 - 01:03:26:17
Unknown
They never go back to the original melody. Right? That's right. They never go back. That's a great arrangement. It's a great tune. Yeah. I love the solos on it. The apex moments. We already covered your apex moment. Lee. Come on. It's still on Israel. Mine is Bob. Felicity. And this is sort of a woman in 37 seconds.

01:03:26:17 - 01:03:43:00
Unknown
The start of the trumpet. So it's this, like, section solo, right? So Miles will blow, and the section takes it will blow. And I just think Miles is playing GS the language in the space Miles uses through here. Plus the arrangement is pretty incredible.

01:03:43:02 - 01:04:04:11
Unknown
In this Gil Evans arrangement, I left him.

01:04:10:00 - 01:04:14:22
Unknown
Solo.

01:04:15:00 - 01:04:22:20
Unknown
Before.

01:04:22:22 - 01:04:43:22
Unknown
Six. Yeah. Known for that, even as a young lad. A little foreshadowing, I think you didn't hear that much space with him playing with Charlie Parker. And I think this is his opportunity to really start messing with that. Yeah, that was a lot of space for a lot of space for this year. I mean, when going to track, that's that's like, three minutes long.

01:04:44:02 - 01:05:01:07
Unknown
Yeah. To have like 10s to spend like 5% of this right there. I mean, I think, the other interesting thing on that, I love that going back and forth soloing and then that kind of solely. Yeah, stuff. And then Miles was played like you had him written out into that as well, which I love. Very cool. Yeah.

01:05:01:09 - 01:05:17:19
Unknown
Bespoke Spotify playlist. What do you got? Okay. I'm calling this The Cool Jazz Chronicles because it, it calls over a couple different sessions. Yeah, yeah, I could see what this with the cover would look like. Yeah. Mine I have a three, I have, so yes, two. No nets. Yeah. No nets. Not nets like the nine P's.

01:05:17:19 - 01:05:33:15
Unknown
I keep forgetting that. Like that was a thing. Like with a specific instrumentation. Oh yeah. Yeah. Nine pieces are great instrumentation. That's right. Ten too many. Eight octet. Not enough, not enough. The other two I have, I have, so we're doing three on these. Just let me know. I'll do three next time I always do a couple because I'm a creative person.

01:05:33:15 - 01:05:50:08
Unknown
I like to give myself options. Mid bop masterpieces. So not it's not post-bop, not hard bop bop bop. Mid bop is what we're calling this. You can all, you know what we like to call this? I like that, but soft bop, soft bop like soft rock, right? Like smooth bop smooth. It's like smooth jazz. This is kind of smooth bop.

01:05:50:08 - 01:06:08:12
Unknown
I think we just invented it at home. So that's going to be my my, bespoke Spotify playlist. My last bespoke Spotify playlist is, cool, cool. Oh, well, that is so, innovative. He's covering his face out of it. You said I'm on that one. Up next. What other albums? Pair with this. What do you got?

01:06:08:15 - 01:06:27:02
Unknown
Well, so I was thinking about, like, the bop influences on this and is this a smoother, cooler kind of bebop? And then I didn't even check the date. But I have the feeling the Jazz and Massey Hall is like, right after this, around the same time. Interesting. Which is, of course, Dizzy Gillespie, Charles Mingus and it's a, you know, complete LP.

01:06:27:02 - 01:06:46:16
Unknown
I think that's a good live concert. Dizzy Gillespie, I said that I have the Clifford Brown Max Roach album. Oh. The first great call. Yeah, because that's like 50, 44, 53, 54 me yeah. But I because I think it is also, again, one of those tributaries of Charlie Parker. Right. Different one from a different from this.

01:06:46:21 - 01:07:10:20
Unknown
But who's the connector approach. Oh man. 2321 Max Roach. No but it is off of that bebop. Yeah. Main channel. And like, you know versus the cool spins out this way and that Clifford Brown sounds because Clifford is much more like in the vernacular of the bebop different. But but it is different. Yeah. It's it's own kind of coolness for sure.

01:07:10:20 - 01:07:34:13
Unknown
But it's pushing more than this and it's. Yes, yes. Max Roach is the connector on this album. On the album. I mean, Gerry Mulligan said it here. Max Roach, comma genius. Yeah, I mean, yeah, quibble bits. Is it too cool? It's the birth of the cool. But is it two like in terms of like the dynamics, the the emotional temperature of the solos?

01:07:34:15 - 01:07:51:14
Unknown
You know what I mean? Like, to me, the bebop stuff that even Miles played, I know he didn't feel as comfortable as accomplished. And then everything that he did after the starting with like prestige, like the not the emotional depth, because this has a lot of, you know, what it is the emotional depth and the art. You look pissed off right now, sir.

01:07:51:16 - 01:08:10:01
Unknown
Are you too cool? I just don't care, man. He just too cool. But is not necessarily. I mean, even with those stunningly coded solos and some others like, to me this is not it's just cool. But then again, look at the name of the record. I can't accused it of being too cool when it says that's what it's doing, right?

01:08:10:04 - 01:08:31:06
Unknown
What? Yeah, they came in with your sunglasses. You know, is that your version of being cool? Because that's weird. What? You just seem stoned and, Okay. I, for me, are none. None. I like it a lot. Okay. Sound quality, sound quality could be. I mean, actually, that could be like a minor. Some of the piano sound was excellent.

01:08:31:07 - 01:08:47:21
Unknown
I think the you. Yeah. For the era. I think it's fine. Yeah. Anemometer. What do you got? Well, I'm going with my usual five. Do there. I mean, on the one hand, this is totally snobby, but on the other hand, it's totally accessible. I have a beautiful. So I have it at four. I have it close to you because I do think it's kind of like right in the middle.

01:08:48:01 - 01:09:07:07
Unknown
Yeah. Is it better than kind of blue? Does this anemometer suck? Let's be honest. Is it of any use at this point? What? Man, how dare you? How dare you talk about our little meter? How dare you talk about our legendary anemometer like that? You know how much research and development went into this? Ometer. I always think of, like, snot and snot.

01:09:07:08 - 01:09:26:04
Unknown
Amateurs. Caleb and Andy were back in the back room on the on the desk, like soldering things to that. Oh, it's totally an analog, like, heated, 100% like a mr. Potato Head runs on on snobbishness durables. Right. And we actually have Ethan Iverson running on a treadmill back there powering this anemometer. He trades off with Aunt Linda Unlimited.

01:09:26:05 - 01:09:44:22
Unknown
Either I said, just take shifts with Ethan Iverson and Aunt Linda. Have anything they have nothing in common I like, I like to see them out of dinner. That's not true. They have nothing to talk about. They are both from the Midwest. Well, that's true. Yeah, but they would have no musical, aspirations. I don't know, I would bet that Ethan Iverson has a because he has.

01:09:44:22 - 01:10:02:19
Unknown
He seems to have really great taste in everything. I would bet he would have some good taste in some hymns and learn, love some ham. Okay, so I would bet they have that in common, but I don't know. I don't want to speak for Ethan Iverson. Is it better than Kobe? No, no. Okay. Accouterments. I'm could eat, but now that I'm looking at it more.

01:10:02:19 - 01:10:19:16
Unknown
So first of all, the title. Can we all agree the title birth the cool. That's a great title. Exactly. That's what pushed it over the edge for me. And I do like I don't know if these are the original colors or not, but the topography, typography, the fonts like the red, the I mean, miles. Again, it's kind of like we talking about Marvin Gaye.

01:10:19:16 - 01:10:40:18
Unknown
Like he he never does. Not later on. Well, he wasn't photographed as well later on. When are you talking about when he was older. Two. Two. What are you talking about? That's good. Two. Choose good. Yeah. But I don't know, like, it's really good. I put it at an eight, but I'm actually thinking more like a seven just because, like this picture on the back, you know, it's good you got a Gerry Mulligan liner notes from the.

01:10:40:18 - 01:10:56:06
Unknown
That's that. That's true. I'm a stay at eight. I'm saying like because the liner notes are great, I have nine. Thank you so much, Peter. This was a blast. And thank you for watching. We do, like to read some comments. I might need one of these. Is that okay? Well, yeah. So these are from Spotify. Why don't you go ahead?

01:10:56:06 - 01:11:12:17
Unknown
And this is from our Stevie Wonder episode from Spotify. Okay. Whiskas says, I've been devouring these episodes. I absolutely love them. Your love and passion for music really shines through when you guys nerd out. These are the exact type of conversations I love to have with my friends, and I really, really connect with the way you guys communicate.

01:11:12:17 - 01:11:32:00
Unknown
Thank you. Cisco. Nikolai says. I started listening to the pod two years ago when I found it randomly. It's gotten better. Juicer has gotten better and better with each episode. You guys bring so much knowledge and fun and games to the music, and I really appreciate it. I'm a guitar player and I love watching guys play music and talk.

01:11:32:02 - 01:11:48:00
Unknown
It is like hanging out with my buddies and I just love it. This is the best music podcast. I really don't know a better one. Honest. Keep it up. Nikolai. That's really sweet of you to say again. Leave a comment on Spotify. Leave it on. You can leave a rating and review on Apple Podcasts. And if you're watching on YouTube, leave a comment on YouTube a little.

01:11:48:00 - 01:12:06:21
Unknown
We gotta get back into the gala. The gentlemen and ladies agreement. What? We're starting it right now. All right. Yeah. Gala. Gentlemen, you just said it. Gala, gala, gala, gala. Gentlemen and ladies agreeing. And which means is like you've made it to this part. Like you're very, a very special person. That's made it if you're even. You made it because sometimes you leave.

01:12:06:23 - 01:12:23:11
Unknown
I just can't take the smell around here. But if you made it this far. What this means you are a very special group of people. You. We've we've delivered, like I can tell you from, from now to the end, there's nothing good coming. Well, so if you're if you're still coming, you already got. You know, some people like wait till the end for number ten.

01:12:23:14 - 01:12:41:08
Unknown
Now it's all that's all over. They nuts behind us. Ain't nothing good at this point. But what that also means is we've given a chance to you. So you might think, wow, what a beautiful story, given what's even unsaid to them. Oh, is that some kind of old year old English something you catch on a ship? What is that?

01:12:41:08 - 01:13:00:14
Unknown
I told you, there's nothing good from the rest of it, all right? But the idea that you're thinking, oh, I got off scot free. A free podcast I don't have to do. Is it? And you've already given us this beautiful episode? No. Because you by being still, encountered upon us, they're all gone now. Be. Well, let's just talk to each other again.

01:13:00:16 - 01:13:20:18
Unknown
You have, you have, unbeknownst to you, you have agreed to the gentlemen and ladies agreement. You have participated this far. So it's like one of those you know, things where you walk in and there's like a sign saying legally. So what does that mean? What do they have to do? That's a great question. I don't know, I don't know.

01:13:20:22 - 01:13:34:16
Unknown
Has it been that long? It's been a while. We give you the podcast. You give us a rating or a review. Oh that's a perfect agreement. Yeah, that's what I think. That's a great deal. That's all you have to do. Yeah. It takes you a couple minutes. That's right. Leave a rating in the six hours. It feels like hours.

01:13:34:18 - 01:14:08:19
Unknown
Give us a follow or a subscribe. See now now you greedy. No. That's part of the game. Okay. Yeah. Leave a comment. Any of these things are part of it. But when you leave a comment, put Gila in there, give la because then we know you made it to N. And till next time you'll hear it.