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Speaker 2
I'm Adam.

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Speaker 1
And I'm Peter Martin.

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Speaker 2
And you're listening to the you'll Hear It podcast.

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Speaker 1
Music explored.

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Speaker 2
Explored brought today by Open studio. Go to open studio jazz.com for all your jazz lesson needs.

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Speaker 1
Peter Martin I'm writing that down. Hold on.

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Speaker 2
Yeah. It's open. It's with us. Yep. Studio Tuesdays, Tuesdays and jazz.com.

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Speaker 1
My name has Tuesdays. Martins. That's. Well, that's my family's name, the Martins.

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Speaker 2
The Martins.

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Speaker 1
Actually. Yeah. All right. How are you doing? Pretty good man. How are you? I'm good. I'm great.

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Speaker 2
Peter is wearing a very colorful, colorful cargo cardigan. And it is cardigan. Delightful.

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Speaker 1
Yeah. Thank you. This is,

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Speaker 1
the beautiful and talented Kelly Martin.

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Speaker 1
Purchased this for me last weekend in Palm Springs.

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Speaker 2
I dig it, in.

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Speaker 1
Case you couldn't tell.

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Speaker 2
I think it's the most Palm Springs cardigan I've ever seen in my life.

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Speaker 1
Shout out Palm Springs International Jazz Festival. We had some fun out there, Peter.

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Speaker 2
I'm excited about this one, man.

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Speaker 1
No I'm excited.

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Speaker 2
I know this is one of your all time favorites. This is not one of my all time favorites, but this is your turn.

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Speaker 1
Your on on that today.

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Speaker 2
No no no I love this album, don't get me wrong, but I think I don't have the history with it that you do.

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Speaker 1
That's what it is man. What a what a joy and a privilege and an honor to be able to, like, live in a world where in a world, in a world no where like records, man these things. This is gold. If you want it to give me this versus a gold bar, I would take the gold bar because I could go probably buy a thousand of these guys, say, no, I'll just stream it.

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Speaker 1
That. No. But I mean what what a great contribution, you know, mean. Thank you, Miles Davis. Thank you, Herbie Hancock. Thank you everybody. You know, was it last week or next week talking about Michael Jett like these records and yeah, you're right. It means more to me in a way because this is what made me want to play jazz.

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Speaker 1
That's okay. You know what? I have the record that made me want to play jazz, you know?

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Speaker 2
And I've actually noticed this.

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Speaker 1
Is my Largo.

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Speaker 2
That's for

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Speaker 2
you. That's what. So. But I have noticed, man, haven't you seen this? We've met so many amazing musicians here at open studio, like, literally scores and scores of some of the greatest jazz musicians in the world. Yeah. And the thing I've noticed the most is most of them don't know a ton of music. They don't know.

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Speaker 2
Yeah. Every album from every artist. Right. But all of them have like their favorite 10 to 30 records that they know very, very deeply. Yes. And so like I think for some of us we think like, oh, I got to learn all this music and understand, like it's always great to listen to as much music as possible. But I'm telling you, most of these great artists, they have, like they have a stable of albums that are their go tos again and again, that their touch points for the albums that have affected them deeply.

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Speaker 2
And I know that for you, this is one of them.

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Speaker 1
Yeah. I think, you know, as a listener or as a musician, like having things and I mean, this is always what's great about like having the LP in your hand because it kind of focuses you on doesn't matter what music is in here. Yeah. Like you have your phone or the iPad, it's like, yeah, you have infinite music, which is great, but there's something magical about like just that's your music.

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Speaker 1
That's exactly, exactly. And it's like, I have a relationship with this, right? With this. The liner notes, which I actually don't think are great on this, but it doesn't matter because this is like my connection with them. Yeah.

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Speaker 2
Future months.

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Speaker 1
But yeah. So this is,

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Speaker 1
Miles Davis, My Funny Valentine, in concert from 1964, live at Lincoln Center. What, you know, was Philharmonic Hall. What it used to be called. Then it became Avery Fisher Hall. Now it's David Geffen. This is a very important concert. This was a really sort of

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Speaker 1
An interesting place to kind of dive into.

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Speaker 1
Miles Davis is sort of like the juncture of his career then, because he was just starting with a new, younger band. You know, he kind of had these like big quintets, you know, you've got and I mean, look, there was different iterations of him, but you really look at the quintet with John Coltrane on saxophone. Yeah. Red Garland, Paul Chambers and Philly Joe Jones in the rhythm section.

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Speaker 1
And then a little bit of an adjustment there to Wynton Kelly,

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Speaker 1
at the piano. And then of course, there was, you know, Hank Mobley, Sonny Rollins, different people. But really it was like the Coltrane quintet. Bill Evans on piano for a minute in there, too, of course. But then you've got that from that first quintet with John Coltrane going to the next great Quincy Quintet with Wayne Shorter.

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Speaker 1
Yeah. And that's what the rhythm section of Herbie Hancock, Ron Carter and Tony Williams.

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Speaker 2
Which is not this, which.

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Speaker 1
Is not well, it's the rhythm section. It's the.

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Speaker 2
Kind of the beginnings, the transitions, the.

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Speaker 1
Beginnings of it. It's a live record. It was a,

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Speaker 1
a benefit for voter registration in Mississippi and Louisiana. JFK was just, assassinated a couple months before his 1964 the Civil Rights Act hadn't been passed yet. There was a lot of political upheaval in the country. Miles Davis, famously, you know, for a famous black artist at the time, was speaking out a lot, a lot of controversy.

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Speaker 1
So, like him doing this concert, there was a lot attached to it, you know,

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Speaker 1
and he's got this young quintet. Tony Williams was 18 years old when they made amazing, actually, I think he was actually 17. I put down an 18, and he started playing with Miles when he was 17. Herbie was just 23, Ron Carter was 26.

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Speaker 1
And then George Coleman was at was kind of one of the saxophonists. There was Sam Rivers also after that before he got to Wayne Shorter. But George Coleman, just like some people might say that this was the best improvising on this record was George Coleman didn't doesn't get enough.

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Speaker 2
Do he crushes this. He crushes sounds so good on.

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Speaker 1
Yeah. So it's a very like it's not really a band yet but as we're going to hear it sure as hell sounds like a band, I would say.

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Speaker 1
And then this was an interesting place just for the US, like the Beatles were on,

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Speaker 1
like just a couple days before this. Like within a week, the Beatles was their famous, you know, at Sullivan show appearance.

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Speaker 1
So, like, everything was turning pop, you know, Miles, everybody was kind of like, oh, he went pop. He actually went kind of rock and electronic instruments kind of late compared to. Yeah, this was still very steeped in jazz. And yet like a lot of his original repertoire of standards that he'd been doing for years.

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Speaker 2
Even Herbie at this point is playing some funky stuff on his album.

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Speaker 1
Yeah, yeah, the Blue Note stuff. Yeah. This was still very straight ahead. And so this concert happened right before they went out on stage.

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Speaker 1
Miles told this young man that was kind of, you know, in all of Miles because he was the man. Yeah. You know, he turned to them and said, oh, by the way, this gig, this is a benefit concert.

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Speaker 1
No one's getting paid tonight. Oh, and we're making a record recording it. So there was apparently, like, some dismay, a little bit of anger.

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Speaker 2
I'm sure that went over well.

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Speaker 1
Yeah, but they were scared of miles, so they went out and did it. But there was some pent up kind of funny feeling. So they didn't think they're going to be making a great record. Little did they know they were going to actually make two great records. There's this My Funny Valentine, which was sort of, you know, like three ballads and two kind of mid tempos, or one of them's a blues and then four and more, which was all the uptempo stuff where they just firing and really pushing the tempos.

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Speaker 1
And I don't know, some people say they sounded angry because they weren't getting paid. I think that's reading a little much into it, because you hear on this, right?

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Speaker 2
It's fun to imagine them.

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Speaker 1
It's about yeah, I'm sure it was a little vibe. We've all been there before. It was like, hey, there's not pay, there's an honorarium. Do you feel honored?

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Speaker 2
Yeah, I mean, sometimes that the energy that is, that comes out on stage too.

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Speaker 1
Yeah, exactly. So,

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Speaker 1
yeah, five tracks, three ballads, one sort of medium tempo with all of you, all sort of standards. And then all blues. All blues on here is really interesting. We'll get to that a little bit, because that of course, famously was on

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Speaker 1
kind of blue. Yeah. So that was sort of the modal part of this.

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Speaker 1
So Miles is still playing around with he's not like full in on like as big of a record as that would become kind of blue and.

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Speaker 2
Blues on Kind of Blue Miles, his greatest album.

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Speaker 1
Up to that point, you can say you heard this one. Okay.

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Speaker 1
yeah, I mean, it's a new direction, but it's just not crystallized yet. But it's such an exciting place to kind of listen to this group. They're super young. I think this record and certainly this rhythm section is the most you know, you talked about Herbie, Ron and Tony.

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Speaker 1
You know, it's always like Prince, Michael, Michael, Jordan, Michael, you know people who have one Sonny, Sonny. You know one day well what about three people that go by one name Herbie, Ron and Tony? Yeah. And Miles and Miles. Well, yeah. Well, but I mean, this rhythm section I think was more and continues to be.

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Speaker 2
This is the rhythm.

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Speaker 1
And of course, you know, Herbie Hancock.

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Speaker 1
Ron Carter still with us. Very much so going strong. George Coleman still with us.

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Speaker 1
And he was the oldest guy in the group.

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Speaker 2
So amazing. Let's listen to some music. Was the first track for the first track?

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Speaker 1
Yeah. My friend found time. It doesn't get any more standard than this, but check this out.

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Unknown
When.

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Speaker 2
It's amazing that, Oh, I was, I was listening to this yesterday in preparation for today's episode, and I was like, oh, I know why Peter loves this album more than any other. Miles Davis. This might be. And here's my hot take.

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Speaker 1
Yeah.

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Speaker 2
This might be the best recorded Herbie Hancock ever. This might be Herbie's best ever performance on record. And that is saying a lot.

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Speaker 1
You mean his playing with the quality of the piano playing?

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Speaker 2
I mean, both of them probably sound. Sounds great. Although I do have some quibble. It's about the sound quality. But Herbie's playing on here. Yeah. Is so swinging. So Herbie, it's so pristine. He's so free with his ideas. It's better than the plug nickel. His playing here. It's better than a lot of his solo albums that he made, I think.

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Speaker 2
Yeah, listening, just listening to it. Yesterday I was like, this is might be, this might be peak Herbie, especially of this era. Like he's done so many great things,

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Speaker 2
over the years. And I love everything he does. But this playing on here might be the best of the 60s.

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Speaker 1
And it's interesting is. Yeah, I mean, I've always kind of shied away from saying that. It's kind of my favorite in a way, and I feel like

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Speaker 1
I haven't grown enough because it's too so early for him. Even for the Miles Pierce was kind of like he did. Progress passes, but there's a history for sure.

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Speaker 1
Yeah, but there's something about clarity. And like, he's like, you can tell he's kind of nervous. And we're going to hear like a little bit of interview where he, you know, talks about like he's not not nervous. He's a little unsure. Like he's like all of them are like Ron steps in, but there's a tenderness. There's like a gentle vulnerability, a gentleness between Tony, I mean, 18 year, 17 year old.

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Speaker 1
Come on, man.

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Speaker 2
I think for for Herbie, you know, he's 23 here. Yeah. Miles is 38. I think they're in this point of their mentor mentee relationship where Herbie sort of like coming out of the clouds and starting to realize some things. Yeah. And he talks about it in his book. Yeah.

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Speaker 2
And I, I, you can hear it on this album kind of happening in real time, where you can hear Herbie to go to the next level of his playing.

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Speaker 2
He becomes this player that he that he ends up being in the late 60s and 70s, which is just freer with himself.

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Speaker 1
Yeah. And of course, I mean, like, there's stuff that he's doing now that eclipses this. So I can hear that guys.

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Speaker 2
Playing more at 84 than any of us could ever hope to play. I was.

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Speaker 1
Unbelievable. And so he'll probably look back to this, but I can tell you that this kind of playing on this, on the on this whole record, hugely influential for our whole generation of pianist like with just specific ways of approaching that and, and it's very like crystallized and simple and that's it's not really that simple. But compared to a lot of the things I like to talk about, well, plug Nichols, he started to learn what not to play in single and like I was going and that was just a year later.

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Speaker 1
That sounds more.

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Speaker 2
He sounds more nervous on that than he does here, too.

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Speaker 1
Well that was yeah, that was a kind of different thing. But check this out. So my funny Valentine now you might say, okay, this is six years, seven years apart, but this is how much. Because this whole record is like tunes that Miles have been playing a lot for years with several different bands and stuff, like he was known to recycle this, this repertoire all the way well past this plug nickel, all that stuff, all the way.

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Speaker 1
Sam Rivers, Wayne Shorter, but this is 1957, I think this is red Garland. Yeah, definitely red Garland. Yeah. It's like another era, right?

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Speaker 2
Oh, it is another.

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Speaker 1
But it's only seven, seven years apart. Yeah. This is jazz. Yeah. But man. But Herbie, them freed things up, man. Hey, I mean, this is killing I love it. It's just it's great.

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Speaker 2
Yeah, but the three. Right. The freedom that was happening. The liberation is happening now.

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Speaker 1
Okay. So I'm gonna give you another one here. I'll do it in reverse order this time. This is Bill Evans, 1958, with Miles Stella by Starlight. Paul Chambers with the bill.

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Speaker 2
Really great intro.

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Speaker 1
Yeah. In here. And then check out Stella by some.

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Speaker 1
Herbie Hancock, 1964.

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Speaker 1
That one of the greatest intros ever.

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Speaker 2
Amazing.

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Speaker 1
Very Bill Evans in.

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Speaker 2
This this what? I'm saying that this is Herbie.

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Speaker 1
At his best. This way of accompanying.

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Speaker 2
Oh.

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Speaker 2
The Grant Carter right here.

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Speaker 1
Oh, I'm going to be flat. I'm going to admit.

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Speaker 1
But, I mean, like, the freedom on this and what it does for Miles, like Miles was. I mean, I'm I'm oversimplifying and glamorizing and what else am I doing? But, I mean, it's like it's like Miles was waiting for this. No, he progress to this. He gave that space. They didn't talk about it in the stuff that I know, but it was just like very much like the give and take in that poll.

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Speaker 1
And it happening at Philharmonic Hall on this, like, really important evening like jazz wasn't played there much and like, none of them had played there. Even Miles hadn't played Jess House had played in Carnegie, but none of them had played Carnegie. Yeah. You know, I mean, like jazz and film had been a lot of stuff. But for these musicians, this was a huge deal.

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Speaker 1
And,

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Speaker 1
maybe even throw up a picture. This what? Philharmonic hall. You can see the outside. The shell is still there with David Geffen, but it's just been built like a couple of years before. There's like modernist on that. Yeah, it was the, the,

00:17:30:17 - 00:17:34:10
Speaker 1
the and I played in there recently and like over the years, it's an intimidating place.

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Speaker 1
It's a big brutalist.

00:17:36:00 - 00:17:38:06
Speaker 2
It might be brutal I don't know, it looks brutal.

00:17:38:06 - 00:17:39:17
Speaker 1
It looks pretty. Yeah.

00:17:39:17 - 00:17:40:14
Speaker 1
But this was a big deal.

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Speaker 2
So architects, nerds come at us.

00:17:42:08 - 00:17:47:03
Speaker 1
The thing is, on film, the thing is to. I love this record. It sounds so intimate.

00:17:47:05 - 00:17:47:15
Speaker 2
It does.

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Speaker 1
You know, it doesn't sound like you're at the vanguard kind of into it, but the fact that they did this, and that's kind of a tough it's a big it's made for the New York Philharmonic. Yeah. You know, the fact that they I think it's really well recorded. Yeah. And

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Speaker 2
Well let's get to some desert island track. So your desert island tracks is stellar by Starlight.

00:18:02:12 - 00:18:05:05
Speaker 1
Oh, I kind of jumped ahead on that. Well, let's hear a little more. Okay.

00:18:06:05 - 00:18:20:10
Speaker 1
I will jump. We heard that part. Let's jump into kind of the middle. Yeah. So Tony would. Oh. Want to try to an apex moment.

00:18:20:12 - 00:18:28:11
Speaker 1
Swinging. And the way to segue to George Coleman.

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Unknown
Oh, forget the call.

00:18:32:03 - 00:18:35:19
Speaker 1
Oh.

00:18:35:21 - 00:18:36:15
Speaker 2
Did we miss that?

00:18:36:20 - 00:18:50:08
Speaker 1
Oh, yeah. But it's almost shocking when you hear all those people clapping and they're like, wait a minute. Shout out George.

00:18:50:10 - 00:18:50:21
Speaker 1
Tony.

00:18:51:01 - 00:18:58:07
Unknown
Oh! I wonder a little.

00:18:58:09 - 00:19:26:18
Speaker 1
But it's like, you know, look, the beautiful George Coleman's playing off the chart. But this way of playing as a rhythm section like this really informed everything I've been told today. So influential Ron and Tony, Herbie's. I mean, you hear he's already using space the way he's playing in between the cracks, and it was such a like a philosophical way of approaching the music in such a playful but serious but beautiful and just cultured, you know, technically proficient, but just like, am, you know.

00:19:26:18 - 00:19:48:19
Speaker 2
And you already mentioned the teenager Tony Williams here. Yeah, but he is literally changing drums. Yeah. During this era. Like he's changing how the drums sound, how people play the drums. Yeah. Even the feel of the eighth note and the quarter note. Yeah. In a way that will be copied for decades after this. My desert island track is all of you, and this is going to line up because I know your apex moment is part of all of you.

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Speaker 2
So maybe we play a little bit. Okay.

00:19:49:22 - 00:19:55:00
Speaker 1
Is this the version of all of you this year that's your. No, but that's good.

00:19:55:02 - 00:19:56:03
Speaker 2
That's a good one. Yeah.

00:19:56:05 - 00:20:01:16
Speaker 1
You don't.

00:20:01:18 - 00:20:02:13
Speaker 2
I like this one though.

00:20:02:13 - 00:20:21:21
Speaker 1
It is good. Yeah. Regarding but you know what's interesting about this. And now we're going to listen to the 64 version. This is probably the closest this kind of a tune that they were. Check it out. This is from the current record. And it almost the exact same tempo but little play, you know.

00:20:24:05 - 00:20:29:00
Speaker 1
He didn't act in some land.

00:20:29:02 - 00:20:36:01
Speaker 3
Woo!

00:20:36:03 - 00:20:50:02
Unknown
And this hit me.

00:20:50:04 - 00:20:58:05
Speaker 3
In.

00:20:58:07 - 00:20:58:15
Speaker 3
Who?

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Speaker 1
Ron Carter.

00:21:01:21 - 00:21:03:11
Speaker 2
Hey.

00:21:03:13 - 00:21:11:15
Speaker 3
Terms. Thank.

00:21:11:17 - 00:21:22:00
Speaker 1
And this kind of, like, vamp like movements and it's still playing over the form. It seems like they want to revamp. Is it the the piano solo you're interested in?

00:21:22:05 - 00:21:23:17
Speaker 2
That is your apex moment.

00:21:23:21 - 00:21:28:14
Speaker 1
Oh, sorry. I'm getting myself. Well, what were we doing? Oh that's right. Okay.

00:21:28:17 - 00:21:31:01
Speaker 2
That's my desert island track. And your apex.

00:21:31:06 - 00:21:32:19
Speaker 1
This album is my desert island track.

00:21:32:20 - 00:21:34:20
Speaker 2
The whole thing is the desert island track. Yeah.

00:21:34:22 - 00:21:44:22
Speaker 1
Okay, so apex moment. So let's go to Herbie solo and this is the end. The same track.

00:21:45:00 - 00:21:48:17
Speaker 3
Oh.

00:21:48:19 - 00:21:59:17
Speaker 1
I love the way they overlap each other. So I got Tony and Herbie here. I don't know what to do. That.

00:21:59:19 - 00:22:16:20
Speaker 2
Two. Three. Four. The.

00:22:25:16 - 00:22:31:23
Speaker 3
Dee doo doo doo doo doo doo doo.

00:22:32:00 - 00:22:36:11
Speaker 3
Baby, baby, baby. If you do, then.

00:22:36:13 - 00:22:42:17
Speaker 1
Hey do you.

00:22:42:19 - 00:22:49:12
Speaker 1
Oh.

00:22:49:14 - 00:23:06:04
Speaker 1
Oh oh. Big four, big two. Diminished. I'll break it up here.

00:23:06:06 - 00:23:10:23
Speaker 3
Hey! It.

00:23:11:01 - 00:23:13:10
Speaker 2
I'm telling you, man.

00:23:13:12 - 00:23:17:08
Unknown
Herbie on it. Oh, man.

00:23:17:10 - 00:23:32:19
Speaker 1
And the freedom with which they're playing as a rhythm. Yeah, they're swinging, but then they break it up. They ain't scared of that. But now they're vamping. Two, five, 3362, five one. Ever heard of it?

00:23:32:21 - 00:23:39:09
Speaker 1
They didn't.

00:23:39:11 - 00:23:46:20
Speaker 3
Do.

00:23:46:22 - 00:23:48:23
Unknown
Come on. Oh.

00:23:49:00 - 00:23:54:12
Speaker 1
So I got the left hand here. Come on up.

00:23:54:14 - 00:24:02:17
Speaker 1
Oh. Next time. Oh. Left hand here.

00:24:02:19 - 00:24:05:22
Speaker 1
You.

00:24:06:00 - 00:24:10:02
Speaker 2
I gotta say, man, I think Herbie might have nicked some of your stuff.

00:24:10:04 - 00:24:23:16
Speaker 1
Okay, I've heard this before. Yeah, man, these. But, man, this stuff is like. So. Yeah, this kind of play, like, a lot of my my, my, my whole conception of playing jazz piano is based on this.

00:24:23:16 - 00:24:25:08
Speaker 2
It's really weird because I have.

00:24:25:10 - 00:24:25:13
Speaker 1
I.

00:24:25:13 - 00:24:27:14
Speaker 2
Have heard you play almost exactly.

00:24:27:14 - 00:24:31:14
Speaker 1
That kind of stuff. Yeah. And I was like, man, had a Herbie learn that from you.

00:24:31:15 - 00:24:33:06
Speaker 2
Way back then. It's crazy. Okay.

00:24:33:06 - 00:24:41:14
Speaker 1
I was minus seven. Yeah, I mean, to me, like, if there was one solo, I was like, okay, I have to. I can only use one as a reference. That's it. I mean, this is.

00:24:41:14 - 00:24:47:05
Speaker 2
Crazy. It's an amazing. So by the way, if there's any young pianists or beginner pianists you want to start transcribing, that's a great one to start with.

00:24:47:05 - 00:24:48:03
Speaker 1
Absolutely.

00:24:48:05 - 00:24:57:23
Speaker 2
My apex moment is the entire the entire beginning of I thought about you the way that Tony specifically comes in. Could you have that on your. Yeah, on your iPad?

00:24:57:23 - 00:25:00:07
Speaker 1
I thought about you at the beginning.

00:25:00:10 - 00:25:05:04
Speaker 2
It's.

00:25:05:06 - 00:25:14:10
Unknown
Hey. Hey.

00:25:16:04 - 00:25:22:20
Speaker 3
I'm back up.

00:25:28:17 - 00:25:36:19
Speaker 3
One.

00:25:36:21 - 00:25:44:16
Speaker 1
Rod's kind of running the show on this.

00:25:44:18 - 00:25:46:17
Speaker 2
The second core series.

00:25:46:19 - 00:25:52:07
Speaker 1
It did.

00:25:55:01 - 00:25:58:15
Speaker 3
Oh.

00:25:58:17 - 00:26:01:13
Speaker 1
I just stopped playing.

00:26:01:15 - 00:26:06:11
Unknown
Let it roll, let it roll. Oh.

00:26:06:13 - 00:26:11:09
Unknown
Man.

00:26:11:11 - 00:26:17:00
Speaker 2
Iran is so solid on the bass throughout this.

00:26:17:02 - 00:26:19:16
Speaker 2
That you'll hear the rest of the band bounce off of him.

00:26:19:17 - 00:26:22:03
Speaker 1
I legitimate.

00:26:22:05 - 00:26:27:21
Unknown
Oh. Oh. That's. Come on.

00:26:27:23 - 00:26:33:10
Speaker 3
Hum, hum. Oh.

00:26:33:12 - 00:26:36:08
Unknown
Your your piece.

00:26:36:10 - 00:26:45:13
Speaker 1
I think this is miles down. I think this is apex. Well.

00:26:45:15 - 00:26:51:14
Speaker 2
This.

00:26:51:16 - 00:27:04:17
Speaker 2
Some good Herbie on this track as well. Herbie gets, like, straight ahead swinging on this track.

00:27:04:19 - 00:27:11:23
Speaker 1
Think Tony's playing freer than everybody. It's crazy.

00:27:12:01 - 00:27:15:18
Speaker 2
It doesn't happen without Ron Carter on the bass holding it down.

00:27:15:20 - 00:27:16:19
Speaker 1
You know, marching band.

00:27:16:19 - 00:27:22:09
Speaker 2
Then he's doing that throughout this whole.

00:27:22:11 - 00:27:24:19
Speaker 2
That's all. That's all I like. Oh, man. That's all you need.

00:27:25:00 - 00:27:26:01
Speaker 1
That's so good.

00:27:26:03 - 00:27:27:12
Speaker 2
Let's get into some more categories here.

00:27:27:12 - 00:27:48:04
Speaker 1
Let me just play because you're talking about I thought about oh yeah. This is some crazy. That's 1964. This is less than a year later. I thought about you. But. Nicole. Yeah, blood waves are like this. That's the progressive.

00:27:48:06 - 00:27:57:19
Speaker 1
I mean, you hear where it's it's like it's it's not that crazy, but Wayne brought it, like, a whole other thing. Is this apex moment from miles, this trumpet playing might be.

00:27:57:19 - 00:27:58:05
Speaker 2
It might be.

00:27:58:05 - 00:27:59:02
Speaker 1
His career on on.

00:27:59:02 - 00:28:03:22
Speaker 2
Record. This might be the apex moment for Miles and Herbie in the 60s. It's not quite for.

00:28:04:00 - 00:28:05:18
Speaker 1
I'm talking about Miles for any time.

00:28:05:18 - 00:28:06:22
Speaker 2
Anytime. It could be.

00:28:07:00 - 00:28:22:02
Speaker 1
And I think technically I think he was at his high point. And I know some people would be like, oh, but he's like, he's so like, there's that intersection of freedom and technique. Like he's his range is so fantastic. His own, I think he was so free. He didn't care. Like he was able to go for things.

00:28:22:05 - 00:28:28:11
Speaker 1
I mean, a lot of other stuff. Yeah, like like he always had, like, little. You could just feel a little technical limitations. Something like, I.

00:28:28:11 - 00:28:28:19
Speaker 2
Know.

00:28:29:01 - 00:28:29:12
Speaker 1
I don't this.

00:28:29:12 - 00:28:32:01
Speaker 2
Mid late 50s miles was pretty technically sound. He went.

00:28:32:01 - 00:28:32:11
Speaker 1
As free.

00:28:32:11 - 00:28:38:05
Speaker 2
As this. He wasn't as free as this. He was it found his. That's good. That's gets a good take though. That's a good take.

00:28:38:05 - 00:28:42:14
Speaker 2
Bespoke playlist title. If this were a playlist on, Spotify or Apple Music, what would you call this.

00:28:42:14 - 00:28:44:01
Speaker 1
Greatest live albums.

00:28:44:01 - 00:28:46:17
Speaker 2
Ever? It would be in the playlist of greatest live albums.

00:28:46:19 - 00:28:49:12
Speaker 1
Outside of jazz records ever. I mean, if any.

00:28:49:12 - 00:28:50:06
Speaker 2
Records I have,

00:28:50:06 - 00:28:57:05
Speaker 2
this was the top five. This could be in a, in a playlist entitled Audience Participation. Because there are some moments here.

00:28:57:05 - 00:29:06:13
Speaker 1
Oh, that's. Yeah. And it's, Wes Anderson's fault that Wes Anderson. Yeah, the saxophone is great. Wes Wetzel. Anderson. Okay. That's his father saying.

00:29:06:13 - 00:29:14:01
Speaker 2
Yeah, yeah, there's some really good audience shouting out moments here. Yeah. Up next, Peter, if this were paired with another album, what would follow this?

00:29:14:01 - 00:29:33:19
Speaker 1
Okay, so I've got four and more. That's an obvious one because it's from the same concert. Great record. I don't think it's as good as this record. And no, I shouldn't say it's not as good. It's the same guys, same bad. To me. This is what I gravitate towards. More plug nickel 1965 I mean, that's the original record, but then the whole box, I mean, that's like a whole world, but that's a very similar band to this.

00:29:33:21 - 00:29:44:06
Speaker 1
And then Speak No Evil because that was just a few months after the same. It's a good band, but without Tony, who you would think, oh, that's not going to be any good. It was very good. It's with Elvin Jones on drums.

00:29:44:06 - 00:29:47:17
Speaker 1
Wayne Shorter, of course, Freddie Hubbard, Herbie Hancock, Ron Carter. That's a.

00:29:47:17 - 00:29:49:19
Speaker 2
Good call. That's a good take. I have,

00:29:49:19 - 00:29:55:09
Speaker 2
how much Miles live at the Pershing, but not for me. Live with Pershing. Another great live album. Yeah, I think we pair really well with this.

00:29:55:09 - 00:29:58:03
Speaker 1
That'd be on the, greatest live albums ever. Yeah.

00:29:58:05 - 00:30:03:21
Speaker 2
It's not the same kind of vibe, but actually, there are, like, listening to all of you, like that little boom boom.

00:30:03:21 - 00:30:10:09
Speaker 1
Yeah, you could hear that. Miles was hugely like he admitted to copying arrangement stuff. In my mind. He said it was his biggest influence.

00:30:10:15 - 00:30:17:14
Speaker 2
I would also put Nefertiti right next to this great record from from any other record from this band. Yes. Sorcerer with Wayne Shorter.

00:30:17:16 - 00:30:18:07
Speaker 1
Steps,

00:30:18:07 - 00:30:24:00
Speaker 1
steps to have seven steps to heaven. Quibble bits. We got none. Because this is a perfect record to live record.

00:30:24:00 - 00:30:37:23
Speaker 2
I'm going to say that the sound quality on the trumpet sometimes gets overloaded. Like, it sounds like he's pushing, like, I wish the engineer would have just been able to ride it a little bit more, because it sounds like he's kind of blowing out the channel a little bit. I could be wrong. You're looking at me like you want to punch me in the face.

00:30:38:00 - 00:30:48:23
Speaker 1
I don't want to play. I mean, so what you're saying is the the sheer force of humanity that Miles Davis was exuding on this was somehow stifled somehow by the engineer. No, no, I don't think it was.

00:30:48:23 - 00:31:01:08
Speaker 2
I think it would have been if they if it wasn't a live album, I think we would have captured especially Miles's full throated trumpet sound. Not with the mute, but like, I got You Open. I think we could have got a little bit nicer tone, but I think you.

00:31:01:08 - 00:31:01:19
Speaker 1
Know what I think.

00:31:01:20 - 00:31:03:22
Speaker 2
In general, the rhythm section sounds amazing. Yeah.

00:31:03:22 - 00:31:13:10
Speaker 1
And I think because Herbie's the piano sound to me like so many great Blue Note records from this period. But to me, this is a superior Miss Live, so you can't compare it to RBG. But I mean.

00:31:13:14 - 00:31:15:18
Speaker 2
You know, these classical spaces have the pianos, man.

00:31:15:19 - 00:31:20:17
Speaker 1
They've got the pianos. The thing was just set up right as might. Well. But I hear you on the miles, the monitor.

00:31:20:17 - 00:31:24:18
Speaker 2
Is this a really snobby record? Is it a ten or is it not a very snobby record? It's a.

00:31:24:18 - 00:31:43:03
Speaker 1
One. I think it's like an eight. But I put a big question mark because I don't know that, like, I don't hear a lot of, like like, I mean, I think plug nickel, like when you talk about this rhythm section, that's when that people like, oh, do you know that's snobby, right. But then this one is not talked about.

00:31:43:03 - 00:31:54:21
Speaker 1
I don't think enough for being up there for what I would say is a good candidate for the greatest Miles Davis playing, if not Herbie in the 60s. Right, Carter? Come on. As many Tony hundred. Yeah. The whole band. I mean, George Coleman.

00:31:54:21 - 00:31:55:19
Speaker 2
We've already said.

00:31:55:21 - 00:32:01:05
Speaker 1
Coleman's album. Yeah. So I mean, to me that makes it snobby or not. So I don't even know.

00:32:01:05 - 00:32:02:13
Speaker 2
I feel like this is it's.

00:32:02:15 - 00:32:04:03
Speaker 1
How I feel about this.

00:32:04:05 - 00:32:13:19
Speaker 2
She wouldn't like it. It's a little too I think it's the seven for me. So it's not quite as snobby as something like Plug Nickel, which is very spacey. Yeah. Or, you know, because.

00:32:13:19 - 00:32:19:16
Speaker 1
Some snobs might be like, oh, they're doing all those same standards. They weren't hip until they were doing the originals agitation.

00:32:19:16 - 00:32:26:13
Speaker 2
Yeah, I think I think the standards helped to draw it down a little bit. And to not as snobby for sure. Is it better than kind of blue?

00:32:26:13 - 00:32:26:21
Speaker 1
Yes.

00:32:26:21 - 00:32:27:16
Speaker 2
No.

00:32:27:18 - 00:32:28:21
Speaker 1
No. Well.

00:32:28:23 - 00:32:29:12
Speaker 2
You say yes.

00:32:29:12 - 00:32:47:01
Speaker 1
You know what? 50% of us are correct 100% of the time on that one. Yeah, I think it is by better than I do. I enjoy it more slight. Do I love Colby? But I think you know what it is. It's live. It's live. And it's like Miles is going for it. And to me that's Miles. That is most exciting.

00:32:47:01 - 00:32:59:10
Speaker 2
I agree, I think the rhythm section is probably a better performance. I think Miles might be better for me on Kind of Blue, and I think Coltrane and Cannonball had so much to kind of blue that, yeah, it pushes it over the edge for me. Yeah.

00:32:59:12 - 00:33:00:22
Speaker 1
Apples and oranges.

00:33:01:00 - 00:33:02:17
Speaker 2
Accouterments. Album cover.

00:33:02:19 - 00:33:21:10
Speaker 1
I mean, I, I give it a nine, which is funny because I never thought about this as this great album cover, but I think proportionately like the like it's such a great picture of Miles because he was such a, you know, the Dark Prince was not his nickname was, I don't know if somebody called him, but I mean, like, Miles was an enigma for sure.

00:33:21:10 - 00:33:22:11
Speaker 1
For a lot of people.

00:33:22:11 - 00:33:37:09
Speaker 1
I had the pleasure of meeting him. I actually played our concert opening for him one time. And so in 1999, and he was really kind and nice to me, knew I was from Saint Louis and had greetings and stuff. So like, but a lot of people he rubbed the wrong way, whatever, blah blah, blah.

00:33:37:11 - 00:33:44:18
Speaker 1
To me this is kind of cool because it's like it's a little bit in there. The suit, the color, the proportion, the font. It's great.

00:33:44:20 - 00:33:45:18
Speaker 2
We're going to go out.

00:33:45:20 - 00:33:49:03
Speaker 1
That's a nice suit. What can I get that can I want to thank you anymore. Okay.

00:33:49:03 - 00:34:02:10
Speaker 2
We're going to go out, playing with give it up for Bob the blue on the bass, Caleb Kirby on the drums. We're going to do a full version here of the all blues that we did in the beginning. And by the way, Peter, yes, you're going to be able to see we're going to we're going to fade out on the end of this full version and go out.

00:34:02:10 - 00:34:14:04
Speaker 2
But we are going to record a full version as we do this, and we're going to link to that full version here in the description. So you can check out the full version of the performance. We might be starting our own performance YouTube channel here with our open studio.

00:34:14:06 - 00:34:16:11
Speaker 1
So his eyes are like quivers as he says.

00:34:16:11 - 00:34:20:13
Speaker 2
Be on the lookout for the. We'll link it somewhere. It'll be somewhere we'll have a full version.

00:34:20:13 - 00:34:21:01
Speaker 1
Sounds good.

00:34:21:01 - 00:34:21:22
Speaker 2
Yeah. So next time.

00:34:22:04 - 00:34:22:16
Speaker 1
You'll hear

00:34:22:16 - 00:37:15:09