What Do Jazz Pianists Listen to When Nobody’s Watching? (Mailbag Episode)

Welcome to the mailbag

0:00There's no such thing as dumb questions, just dumb answers, which we're about to get.

0:07And was like, hey, are you the guy from the podcast? Was it an NBA coach? We get a lot of, and I mean a lot of requests for albums from all of you. I'm going to say B tier. Now don't come for me, internet. There's something people should know, which is that...

0:28I'm Adam Maness. And I'm Peter Martin. And you're listening to the You'll Hear It podcast. Music Explored. Explored, brought to you today by Open Studio. Go to OpenStudioJazz.com for all your jazz listen needs. You've got rustling papers. Go ahead and introduce what we're doing today, because I have a... For our audio listeners, you'll be able to hear this, and if you're on YouTube, you'll be able to see this. Because this is our... What kind of episode? It's our mailbag episode. We are taking... That's a paper airplane. He made that in like five seconds. Did not fly great.

1:00We do have your letters here with us. I'm related to the wrong brothers, not the right brothers. That's solid. Did I need that page? I hope not. You don't need any pages, buddy. So we've got your voicemails, a.k.a. SpeakPipes. Thank you, everybody. We've got a lot of great SpeakPipes. Shout out to the SpeakPipe Corporation of America. Thanks to Big Voicemail for making that happen. We also have your emails. We have a lot of great questions to get through, Peter. This is really... We're here for the listener for this episode. We are. We're here to acknowledge our dear listener and to answer their burning questions and take some suggestions.

1:34And we ran out of content, so this is what we're doing. There's that, too. It's a win-win-win.

Rapid fire listener questions

1:40Okay, so the first thing we're going to do, Peter, is a little bit... We're going to get started here with a little rapid-fire segment. So we'll go one each, and we'll just alternate between... Should I mix them up? Yeah, just give them a shuffle. As you can see, I'm not, you know... I do these randomly. Yeah. What do you listen to when jogging or working out? Oh, that's a great question. From Joe. I was actually just working out the other day, and I was listening to Black Messiah by D'Angelo. Oh. This was, like, after we recorded the album. I've been listening to that, too, since we've been...

2:10I know. It's a great... It's a great... It's also really good workout music, because, like... I mean, I don't do a lot of cardio. I don't know if you could tell, but I do a lot of weightlifting. And it's great, because, like, there's some hype music on there that kind of gets you pumped up. But then also, you can, like, as you're waiting for your next set, you can be like, man, this is deep. That was a good flex, by the way. I don't do a lot of cardio. I don't have time with all my weightlifting. It's not working. None of it's working. When I'm running... Yeah. I don't know if you noticed. I do a lot of running, not a lot of weightlifting. I don't listen to anything. I listen to nature.

2:41The birds or a car... Are cars and motorcycles part of nature? I don't know. God's soundtrack. That's right. No, I used to listen to music. I used to listen to podcasts. And I stopped, I mean, five, no longer, six, seven years ago. And it's been such a great thing. But I hear music. You know what I mean? Like, sometimes there's something I've been listening to. And I think we all need some time, some solitude, if that's in nature, if that's not, if that's meditating or whatever, that if we're musicians or love music, I think it always seeps in. And that's a good thing, right? Yeah.

3:11You know, like, we're able to hear things, right? Yeah. I have a funny listening to music at the gym story because I had my headphones on. Shut up, Sony. And I was listening to some music. And you'll hear a listener, a fan of the show, approached me at the gym and was like, hey, are you the guy from the podcast? Was it an NBA coach? No, it was not. Don't say the name, but okay, go ahead. It was not, but it could have been. No, it was a very nice guy. Yeah. And he was like, hey, I'm a fan of the show. He's like, I got to know, what are you listening to right now?

3:42And I think he even said, like, I'm listening to Ornette Coleman. Like, as like a- A little judgy. Yeah. And I was listening to Whisper singer-songwriter Phoebe Bridgers. Oh, is that an AI? And the look on his face- No, it's not AI. She's amazing. But it's not anything like we would play at the show. You know what I mean? And it's also a very weird thing to listen to while you're working out, because it's very quiet singer-songwriter style music. It's not pumping up music. No, but I was, I really love this album. And he, the look on his face was like, disgusting. So we might've lost that fan.

4:12I'm sorry about that. Wait, were you listening to this singer-songwriter while you lifted like 1.5 pounds with your- No, I was actually going like 450 on the leg press at the time. Oh, nice. Yeah. Nice. That's awesome. It wasn't fitting the vibe, but it was great. Okay. That's good. My turn. What age did you start playing the piano from James Mitchell? I started, I believe at three or four. I think it was three, but I've, it has been some dispute from my parents on the, I started violin actually first a little bit, but yeah, I think by the time I was four, I was kind

4:46of playing around some when I was younger because my sister played, my older sister. Yeah. Shout out Nancy. So you were talking about lessons, like formal lessons? I think I started lessons at four with like a friend of my parents, but both my parents were musicians and they actually both played piano pretty well. My dad plays really well. So I think they were showing me some things, but I was at the keyboard, shall we say? That's great. Yeah. I didn't start actually playing piano, like taking lessons till I was 10, but I'd started with my dad who plays guitar and really loves music.

5:18He would bring out the, he had an acoustic guitar, he had a 12 string acoustic and he had a, at one point, like a beautiful white on white Fender Stratocaster. And most weekends he would get out the guitar and the amplifier and we would play John Denver songs and Beach Boys songs. And I would sing a lot with him, you know, Country Road, Take Me Home and, you know, Del Shannon, Run Away, we would do all this stuff. And I remember like when he got the Strat, he would play like some Dick Dale and stuff like that. It sounded so cool. And I got a, when I was five, I got a little air organ from my aunt that had like chord

5:52buttons on the left and then a keyboard on the right. Yeah. And I remember like messing around with like the major minor chords and then like picking out Beach Boys melodies with the right side of the keyboard. Yeah. Before I had any piano lessons. And I still think about that because it's still kind of a lot of what I do today. It's like chords go here. Chords and melody. Yeah. I was like, that makes a lot of sense. And then I had like, you know, Casio keyboards and I played my dad's guitars a little bit when I was between the ages of five and 10. And I asked my parents for guitar lessons when I was 10 and they said, your hands are probably

6:26too small for guitar. So let's do piano lessons. But I later learned just because my mom worked with a really good piano teacher and she gave us a good deal. Okay. So my mom was like, piano for you. And you as a dad now know, good deals and bartering is called good parenting. I know someone, that's what you're doing. That's right. Yeah. Yeah. Actually, now that I'm remembering my first piano teacher or one of my first, we were still living in Florida was a barter with my mom was teaching her kid violin. Yeah. And my mom was a violin teacher.

6:57So nothing wrong with the barter system. Nothing wrong with it. This country was built on the barter system. No, it was built on the stealing system. Well, anyway. All right. Should we go on to the next one? Let's keep talking about the origins of, yeah. What were Adam and Peter's entry points into jazz from Robert Stewart via Speakpipe? Cool. And just a note here that Robert's intro was Charlie Brown Christmas and that led to KOB. Oh, that's excellent. Yeah. Yeah. So what was, yeah, what was your entry point?

7:27I mean, I think the first music that I remember hearing that was jazz was honestly Mr. Rogers. Johnny Costa Trio. Yep. Who, by the way, Johnny Costa Trio slamming on that show. Everything was done live. Yeah. All the intros were bespoke. But I didn't know what it was. I just, like, that was the music to Mr. Rogers and it was captivating. Yeah. It was really incredible. But for me, it was my dad's record collection. He had a lot of, I mean, I remember when he got a four-disc CD of, like, Stan Getz plays Bossa Nova.

7:57And, like, that was probably the first thing I listened to on my own. Like, I kind of stole it from him. Wow. Because I was like, this sounds cool. That's dad's music. Yeah. Yeah, for sure. It was like stealing his cigar or pipe when he went there or something, right? Yeah. Yeah, exactly. Which I also did. No, but, you know, that, as well as, like, jazz adjacent stuff. Like, he was always playing Steely Dan's Asia and stuff like that. And then it wasn't until later when I started, like, in jazz band in middle school where someone was like, check out Bill Evans, check out Oscar Peterson. Nice. Nice. Yeah.

8:28Yeah, for me, actually, it was exactly the same thing. I think the earliest was Mr. Rogers' show, for sure, that I was hearing actual great acoustic jazz. And just, you know, that's, I mean, I think that's, if you are listening, if you're of a certain age and you're listening to that, that is your entry point. Shout out PBS. By the way, Toots Thielman on the theme from Sesame Street. Right. You know what I mean? I was going to say, Sesame Street, too, and Stevie Wonder on Sesame Street. But also Fred Rogers at the piano was a very good pianist. He really was, yeah. So it was that. But then in terms of records, yeah, also my dad had some good records.

9:00He had the Smithsonian classic jazz, like the five album set, box set, which is everything from, like, Kid Ori and Louis Armstrong all the way up to, like, Ornette Coleman was the end because it was from, like, the early 70s or something. Yeah, yeah. And then also Herbie Hancock's Rocket. That was kind of a direct push in because I think I was, like, 12 years old when that record came out. I was, like, really into, like, early hip hop and even some stuff earlier than that and just different pop stuff or whatever. And then that record was huge and it was, like, an MTV video.

9:33I remember my dad saying when he heard, because I had that record, he's like, oh, Herbie Hancock. He's like, oh, he played with Miles Davis. I was like, what do you, no. I was like, no, this is Herbie Hancock from MTV. And he's like, yeah, I know who he is, you know. Interesting. Yeah. Next up. Is this the lightning round? Do we call it that? This is, well, yeah. It's the tsunami round. This is from Dylan Stukens. This is, if you each had to choose one standalone chord. Yes. What would it be? Man, I think it'd be a big fat triad. Really? Yeah. Interesting. Yeah. A major triad?

10:04Well, I'm keeping it open so that I have some options. But, yeah, I was thinking open. Yeah, I mean, because he's not saying, like, choose it for what. Because we were just talking about trying to play more simple stuff. Yeah. That's a simple chord, right? That's a very simple chord. How about you? I'm going to go a sus chord. If I had to choose one, I like the ambiguity. It could be a sus triad. It could be a sus seven chord. It is nice, Sam. Yeah. But you can make it, you can make some stuff out of that. That's true. Yeah. I mean, it floats, it can be pensive, it can be, yeah, that's a great one.

10:34Is it my turn? It's your turn. Okay. If each of you were, ooh, this is a three-parter from Dylan Taylor. Okay? Okay. If each of you were to play a show where it's all track-by-track covers, which album would you select? So, I'm going to let you go first, and then I'll give you the second part after you answer that. Okay. I mean, well, this is a question I've thought about a lot, because I like to put on shows. And I'm currently actually working on a holiday show that you're hopefully going to be playing on. Yeah, well, it's supposed to be a secret. Don't, don't. It's not going to be a secret. Well, by the time this comes out, it won't matter.

11:05Okay. We're going to do Track for Track, Peter, on the 442's Holiday Spectacular, December 7th, if you're in St. Louis, by the way. We're going to do the Charlie Brown Christmas album, like, all the way through.

11:17Yeah, it's going to be awesome. I'm going to sing on that. It's going to be great. Can I sing on that part? You can sing. I mean, that's the plan, is for you to sing through the whole thing. But yeah, that is a good one. I've also contemplated doing with, like, an orchestra, Track for Track, Kid A, obviously. Yeah. It's one of my all-time favorites. I just think it would be really fun to, like, explore each one of those tracks and arrange it. So, yeah. I could also, at the drop of a hat at this point, pull out Bitches Brew, because I've done that, like, four years in a row here at Jazz St. Louis. The entire thing. The entire thing. Yeah. Yeah. Part two. Would it change if you had unlimited rehearsal time?

11:48Yeah. I mean, if I had unlimited rehearsal time, Kid A, on a dime, Bitches Brew. Okay. And then three, or if you had to perform tonight. Bitches Brew. Right. Yeah, exactly. That was good. You answered all your ones. What about you? So, if I were to play a show where it's all track, well, you know what's interesting? I was thinking about it, because I just saw the announcement about Stevie Wonder doing a tour. I know. Yeah. Are we going? In a couple months. We need to go. Stevie, do you need to promote that? Searching for Stevie, we're going to call it. You want to be on the show? How will we get there?

12:17Rent an RV. Searching for Stevie. I remember when we were searching for Herbie. You're like, why would we just call his publicist? Wouldn't that be easier? I was like, no, we're going to drive out to LA and see. He does interviews. No, I think Songs of the Key of Life, because I saw Stevie doing this, and so it's on my mind, partly. You'd have to have unlimited rehearsals. It's a double album. Yeah. Right. But, I mean, probably half those songs I know already and have played, and maybe even more than half, but I think that that would be, yeah. So, would it change if you had unlimited rehearsal time? Yeah, that would still be it.

12:48But if I had to perform tonight, it would not be that, because I wouldn't be able to get that together. I think to perform tonight would be kind of blue. Perfect. I've never done all that, but I mean- You could do that. Yeah, you could almost call those tunes. Right. You know what would be a good one to do is Songbird, Kenny Garrett's Songbird. Nice. That'd be a great track for track, you know what I mean? Is that the kind of blue of the 90s? We don't know. It might be. Yeah. Okay, next up. This is from Laws, one name, Laws, L-O-Z. Are there beginner-intermediate-friendly solos by the greats to transcribe, or is struggling with very difficult solos unavoidable?

13:19That's a good question, Laws. So, we have a couple that we like to point people to here. Obviously, a Wynton Kelly solo on Freddie Freeloader is, I think, very approachable. But that's the piano solo on that second track from Kind of Blue. Yep. I also like to recommend, we just had Jeffrey Kieser here, and Jeffrey once texted me, he was working with a student who was trying to get an easy solo as their first transcription. And I always recommend a little bit of Red Garland's What Is This Thing Called Love? I think especially for an intermediate player.

13:52From the trio. You know, it's the white cover with red, and it's got, what is it? Yeah, yeah, yeah. It's a great track, and it's a great solo, and it's just like, he's literally like, here are the chord tones, and here are the surrounds, and it's like, it's so logical and beautiful, and it's easy to kind of hear your way through it. Yeah, yeah. I would throw in there for beginner, I mean, I always feel like beginner, true beginner, that's hard. It does. But maybe more intermediate. But approachable, yeah, maybe even at the beginner level. Thelonious Monk, which sounds counterintuitive, it's like all his stuff is maybe hard, but I

14:25think that there's a simplicity, there's a, there's a kind of an inner logic to it that can make it very approachable, but on Bag's Groove, Miles Davis' Bag's Groove on Prestige, the green one, yeah, Monk's solo, and it's also, the solo's sort of progressive. Philly Joe and PC is on that as well, is that right? It's actually Percy Heath. Percy Heath, that's right, that's right. And maybe, I'm not sure who's on drums, it might be Philly Joe, I don't think it's Philly Joe. Monk's solo, and also Miles' solo on that. That's a great call, we've talked about those two solos before, that's a great call. Those are great. I also think you could get away with just picking like a horn player who's very melodic,

14:59like someone like Chet Baker, you know, like his solo on There Will Never Be Another You, I know vocalists transcribe that solo a lot because it's so easy to sing. I think like someone like Ben Webster, you could probably transcribe some of his stuff pretty, like it's easy to hear, it's not going to be too flashy, like trying to transcribe Train or something, you know, a good way in. What's wrong with Train? Nothing wrong with Train, but for a beginner, it might be a little challenging. Exactly. All right, we've got one more. Good, we've got one more, here we go. Boom, boom, boom.

15:27We've got to do stuff for the listeners. We call that audio flavor. A little Johnny Carson put it up. Yeah, yeah. Oh, we can't do that anymore. Can't do those jokes. Does classical training help with technique and touch for jazz musician across instruments? From Anonymous. Of course it's Anonymous because that's a dumb question. No, it's not. That's a good question. There's no such thing as dumb questions. Just dumb answers. Which we're about to get. I think it couldn't hurt. You have some classical training. Yeah. I have very little, but the more I think about using some of those teachings into my jazz

16:03playing, the more I tend to sound better, produce a more even, prettier sound. So now that I'm looking at this, I shouldn't have said dumb question because I was, I was first, I was like, of course it helps. But I actually, I think that the way that this is phrased is a very nuanced thing. Does classical training help with technique and touch? So I was immediately thinking about the technique and touch. So it's like, does classical technique help with technique and touch for jazz musicians across instruments? And I think it's a little bit of a mixed bag because classical training is not just about

16:34technique. We think about that and I think it probably is the most useful part of the training for a jazz musician because it's sort of the foundation of general piano technique because the instrument kind of came up as primarily a classical. I mean, it comes from harpsichord and piano forte, baroque and classical, whatever. But I think that there's parts of the classical training that are not necessarily hurtful to being a jazz musician, but they're not helpful. They're more at best sort of in the middle.

17:05And that's sort of more of the mental framework and mentality that the classical training puts on you. And so I think that, you know, separating that out, I think that the classical technique is the thing that's potentially more helpful. I agree. Yeah. I agree. And look, vice versa, there's like certain elements of jazz training that I think are very helpful for being a classical musician, but not all of them, you know? And that's why they're different. That's what's great about it. What's up, everybody? Adam here. And if you're digging all the great music that we listen to on the You'll Hear It podcast and you're feeling the itch to dust off that instrument in the corner to learn some of these

17:39songs, we've got you covered. In my new ongoing course, The Players Club, I take songs right from the You'll Hear It podcast and teach you how to play them from scratch. And you're playing along with recordings of these great songs. No matter if you used to play years ago, but you want to get back into it or you're starting from scratch, we're going to get you playing some of the greatest music ever made. Join us at The Players Club. Click the link in the show notes to learn more.

Reviewing listener album requests

18:03Now back to the show.

18:08So that's the end of the lightning round.

18:11We do have- Is it a lightsaber? We have some speak pipes, some actual voicemails we're going to listen to here in a little bit. And actually, Peter, you know, we've got a little trivia around at the end that I'm really excited about. But before we do that, we get a lot of, and I mean a lot of requests for albums from all of you. So many. We couldn't possibly actually do all of them on a once a week kind of show. Well, we could if we did this for the rest of our lives. And then we could. But there's also something that people- What are you doing the rest of your life? There's something people should know, which is that we do have kind of a criteria for everything we listen to is that at least one of us has to really-

18:43Spell it. Be able to spell it. Be able to spell criteria. Criterion. Criterion collection. Criterion. No, but we both have to really, really love it. And so there's just a lot of albums that I'm sure are great albums that we know are like classic- Wait, at least one of us has to really love it. That's true. You said both of us have. Oh, sorry. One of us. At least one. Not both of us. But at least one of us has to be- Look at you, Radiohead. Yeah, exactly. But, you know, we get some good stuff out of it whenever. So like, you know, I didn't know Shirley Horn's Here's to Life. It's one of my favorite recordings of all time now. Yeah. Like, because you love it and I discovered it.

19:13But that can be really fruitful. But what we haven't had, and we've tried this before, is to listen to albums and react to albums that neither one of us really know. It's not that, we're not a reaction show. So it's not like- We're not. Well, I think too, it's like we've fallen a little bit into the trap. And thankfully, because we love you, dear listener, we haven't subjected you to having to listen to this. It just didn't make, it's on the cutting room floor, as we say in the business. Yeah, yeah, yeah. Is when we attempt an album that one or probably both of us feel like we should love. Totally.

19:44Yeah, like we should, everybody loves it, we should love it. Yeah, yeah. But it's just not, it just hasn't produced great results for us. Yeah, and it's not that we don't think it's, it's just for whatever reason it hasn't been resonant for us. But yes, the ones that are highly resonant for one or the other actually have been some of the most interesting discoveries in sharing, right? Because that's what it's about. Sharing is caring. So here are some albums that, or some tracks from some albums that you've requested. Most of these you've requested like multiple times. Yeah. And so we definitely should, I mean, they're definitely worth a listen, but maybe not.

20:16And some of these actually might eventually turn into an episode, depending on how long the show runs for. Some of these are from really, really great albums. Like the first one is from the band Dire Straits. Oh. This is Sultans of Swing. And I mean, this is one of, if you're ever going to test a hi-fi system, Peter, this is a good one.

20:39It's about a jazz musician, too. Oh. Yeah. The sound of these. Have you ever heard this? No. I don't think so. Have you? Oh, yeah. Oh, yeah. Oh, yeah. Did you not go to Springdale Community Pool in 1989?

21:11I drove by it. I was not a member. So I did. On 141 in Fenton? You're Arnold? No? Okay. This is from 89? This is from, I think, 84 or 85. Oh, okay. Oh, it didn't get out there until... For the CDs to be delivered? And that guitar sound is so cool. This is clean, man.

21:45Here's the hook. You might have recognized this part. It does sound familiar. Yeah. Oh, I just realized this is certainly one of those episodes of, like, Peter never heard that? What? How are you... One of the comments was, like, how are you considering yourself a professional musician and you never heard that? What was that about? I think it was... Well, we all have a hole. Adam's like, I wrote that comment, actually.

22:15I just wanted to know. Oh, the guitar is our... Manus. Yeah, no.

22:22So, Dire Straits, incredible band, obviously. Classic rock. One of the greatest sounding albums ever. And Sultans of Swing, I think, probably the most popular song off that album. First thoughts, Peter, what do you think? I mean, it's cool. Now I'm remembering Dire Straits. I definitely remember some of their stuff. It was just never something that was, like, my jam. Yeah. But it was always kind of around, for sure. I remember in the 80s and, like, I don't know. It's like, why do we gravitate towards something? I mean, there's always choice in music, right?

22:54I think for me, and that's why sometimes people are surprised when I haven't heard certain things. I mean, I'm sure it maybe played somewhere. Like, I get so tunnel vision on certain things. Yeah. During certain periods. You're a very focused person. Yeah. My biggest fault is that I'm very charitable and very focused. You know? I'm also very loving and I'm very giving. And humble. Don't forget humble. Humble and very tall. Very tall and skinny. But, no, I think that it's just, I don't know. There's certain things and it's not, like, how are we drawn into something?

23:24You know, I think we've talked about before, like, the nostalgia and the connection. I mean, obviously, it's, like, very high quality and, like, great stuff happening. But, like, what is it that makes something resonate? Like, once we get past the period of, like, what, you know, oh, I'm supposed to like this. And we've all had that. We've talked about that. For sure. What about for you? Like, Dire Straits is not one of my bands. Yeah. You know what I mean? Like, I get it. I think it's beautiful. I think the production is gorgeous. I don't quite get the songwriting. It just doesn't hit me in a way that's ever really, like, resonated. So, if you were to put... And it's probably because my parents aren't, like, Dire Straits people.

23:57Which it would have been, like, I would have been of the age, if my parents were into this, I probably would have been into this. Right. So, if you were to put Radiohead as S tier, what tier would you put this? I'm going to box you in there. I'm going to say B tier. I just don't know. Are they, like, the Dan... No, no, like, the Dan Heads, are they? They could be. Steely Dan Heads. I mean, we glazed Steely... I mean, we are Steely Dan Heads. We glazed Steely Dan so hard, and it wasn't hard enough for the Dan Heads. They really... Okay, this next one is very exciting. So, this is from Quincy Jones' 1978 Sounds and Stuff Like That.

24:29This is the title track, Stuff Like That, featuring Ashford and Simpson and Shaka Khan. I don't know this album. Oh, yeah, this is... But I'm getting into this album now. Great Wreck.

24:41This is a great sounding record.

24:45Dude, now this is taking me back to 78. I don't know this at all. I don't think I've ever heard this, and yet I will be listening to this all week. Yeah.

25:03This was Quincy's record? Really? Yeah, that's right. Man, Quincy was such a... A chameleon, but such a bastard. What makes you feel like who it's not like that? What makes you feel like who it's not like that? What about that? Yeah. Before my eyes Rhodes Chorus.

25:31That might be some Harvey Mason. It could be Harvey Mason. It could be, yeah.

25:38I was checking out this whole album earlier today, Peter. It's really, really cool. Yeah. Yeah, I would have guessed that this was Ask for... It's interesting, Quincy, the way putting people in the room. There's a version of Tell Me a Bedtime Story on here that's incredible. There's a version of Stevie Wonder's Superwoman with Patti Austin. Nice. That's incredible. Yeah. All right. Thank you for that wreck. Incredible wreck. Okay. Next up, this is an album that I know really, really well.

26:11It's one of my favorite albums. It's Nick Drake's Northern Sky. I don't know if you would know this one, Peter. Okay. I see where this is going. I think you would really like it. This is like, you know, someone, Brad Mell, that has covered. Yeah. It's in that vein. I think you'd like this.

26:28The English singer-songwriter from the early 70s passed away when he was very young. I think it's 71 or two. Oh, wow.

26:41So many great little details in the songwriting. I think I've heard this before. I've definitely heard that. On a lot of commercials. Yeah. I could have been a cymbals, could have been a clock.

27:06As simple as a kettle, steady as a rock.

27:14I could be here and now. Isn't that great? Beautiful. I would be, I should be, but I could have been one of these things first. It's a list song, essentially. I could have been a kettle, I could have been a rock. He's English. English. Yeah. Absolutely brilliant.

27:46You know, he passed away very young and then had a resurgence in the early 2000s, late 90s, early 2000s. And now there's a whole crop of singer-songwriters who were influenced by that resurgence that happened. Yeah, yeah, yeah. So there's a lot of people that sound like this now. Oh, that's great. And it's really cool. And that's one of probably a dozen amazing songs that he's written. I got them on my list for sure. Very cool. Okay, the next one, this is also an album that I know really well, but I just got into

28:17this in the last couple of years. And this is- When are we doing the list of songs that I know really well that you're blissfully ignorant about? We have one coming up. Okay. We have one coming up. And actually, the Quincy, we'll count that. But this is Talk Talk's Spirit of Eden. I chose this one off the list of requests because it's been requested multiple times. Okay. And I think you're actually going to like the production on this quite a bit. This is The Rainbow from Spirit of Eden. .'" See you next time. "' Bye. Bye.

28:47Bye. Bye.

28:54Bye.

29:08Bye. Bye. Bye. Bye. Bye. Bye. Bye. The piano hit here is so perfect every time.

29:25Vibe.

29:42Overdrive harmonica? Yeah. Nice.

30:01More English musicians. I feel like we're getting a lot of requests from the Isle of Great Britain. Which I was at yesterday. I was on the Isle, in fact, yesterday. I was actually staying close to Pigeon Wick Lane. You're kidding. I love the names over there. And they think they're normal. They're like, oh, because I was in Pigeon Wick. I was like, I love this.

30:24All these amazing choices.

30:30When was this from? I believe this is from either 1990 or 91. Okay. The whole album is like this. That's great. Vibe-y. Sparse-y. Space-y. Yeah. It's a great listen. Awesome. All right. Okay. Here's one that, this next one goes up to one, like, I know this album a little bit. I know you've heard this album a little bit. But I don't know if, like, this is one of our albums. So it might not ever make an episode. It's Here's Lee Morgan by Lee Morgan.

31:03Art Blakey, Winton Kelly. I just saw something about this album today. Clifford Jordan, Paul Chambers. How it was one of the 10 greatest jazz albums of all time. Maybe we should do a whole episode of it.

31:15But yeah. I feel like I have a big Here's Lee Morgan hole in my musical art. It's interesting. Do you know why? I don't know why.

31:46So this record, I didn't hear until later. I think that, like, the time, like, Lee Morgan in general was a hole for me because I was so influenced by Wynton Marsalis in the 80s when I first was, like, listening to records. Even though, like, I mean, he's a trumpeter, obviously, Wynton. And, you know, he talked about Miles. He talked about Freddie. He talked about Clifford Brown. He talked about Fats Navarro, Louis Armstrong, all these great. And, like, I don't, and I mean, maybe I just missed it, but I don't think Wynton's ever been anti-Lee Morgan at all. But that wasn't, like, one of his guys.

32:17Yep. You know? And so that kind of happened to me. And then when I heard these records later on, I was like, oh, my God, Lee Morgan is awesome. But it missed that sweet spot. I know. And this is a killing. Same thing for me. I feel like I went, like, Clifford Brown to Freddie Hubbard somehow. Yeah. And I somehow didn't get it. I mean, of course, like, I know all the big ones, but, like, I got a big hole. Yeah. I'll admit it. Yeah. And because, I mean, look, he was on a lot of the same, you know, Art Blakey. Wasn't he right after Freddie or was he right before? Right before, I think. Okay, right before. But I always felt like, man, Freddie's just, like, such a presence, you know, the way he would

32:49play those tunes and stuff. But Lee Morgan's, yeah. Well, that's all we got. Thank you for all the great requests. We definitely should do. That's a great record. Now I'm remembering. Liz, let's put it on the list. We're going to do it. Yeah, it's a good one. Great stuff, everybody. And we've left a lot off. But, like, yeah, those are just great examples of, like, we could probably do some, maybe we'll do some Nick Drake at some point. Yeah. We'll definitely do some Lee Morgan at some point. That'd be fun. We've done some Quincy, but we should do some more. Yeah. Cool. So keep those coming. Those are fun to look at. Okay. So now, Peter, we've got some more in-depth questions.

Alternate takes discussion

33:20Oh, we're going deep now. We're going deep. And we actually have the speak pipes here queued up. So this first one is... Okay, then. This one is from Matt. Hey, guys. I've heard you on the podcast talk about alternate takes on albums and how sometimes when they're back-to-back, it interrupts the flow of an album. Yes. But I am curious. Do you guys have any favorite alternate takes of any tunes that are out there? Maybe even some that are better than the ones that the original album placed instead? I once heard Miles Davis' first quintet do an alternate take of Round Midnight on a compilation

33:55album called Miles Plays for Lovers. And I swear I like that one better than the one that made the record. So I was curious if you had any of your favorites out there. Thank you. Great question, Matt. What do you think, Peter? Do you have any favorites? Well, something maybe because we're just talking about Freddie Hubbard, that came to mind. Is it... What's the Herbie tune? Doo-dee. Doo-dee. Doo-dee. Doo-dee. Doo-dee. Is it Olilquy Valley? Oh, yeah. Doo-da. Yeah. Yeah. That's a good one. Freddie's... On the alternative take on that Freddie solo.

34:27I mean, on the main one, it's so great. But the alternative one... Freddie was a great alternate take guy. I mean, because he's just, you know, firing on all of them. So I think for me, the greatest alternate takes are the ones that I heard later that are really good, as good. Yeah. There was no... I mean, there were complete takes. But you're so used to the one version. One Finger Snaps like that, too. Another Freddie. Another one. But, like, if you've heard the main version for so long, and then you're like, it's such an epiphany in another version.

34:57I was like, what? They did it again, and they changed it up? Well, the One Finger Snaps one, too, is you're like, wait, that's not the melody? That's right. That was just his solo. I know. So, yeah, I think Freddie's kind of the master of the multiple take. The first one that came to mind, I don't know if I like this take better, but it's sort of the... We'll call it this the redeeming alternate take. Giant Steps take five. Giant Steps take five. Giant Steps take five.

35:24This is after the main take?

35:30So, Adam has a kind of a little bit of a childish, quizzical look on his face now. I'm trying to figure out why. If he's... This is not as good. I can already tell. I said it's redeeming. I said it's redeeming. Yeah. Oh, that's good.

35:59Slower.

36:07Now it's a little faster. It's good there. It is. No, this is one that doesn't have a piano solo. Oh, okay. So, there's no Tommy Flanagan opportunities to take down Tommy Flanagan, which always bugged me with Giant Steps. Right, right. I'm just seeing if this is probably going to take too long to do this. So, just make sure I was... This is the Oliloquy Valley. Yep. Is that how you say that? Oliloquy? I believe so. Oh, Tony, come on. Come on.

36:40Okay, and so then here's the alternate take.

37:05This must be a later take, because Ron's a little more aggressive, right?

37:10These alternate takes are fun to do this kind of comparison. To get the vibe going, right? But I just... We were talking about it in the CD era, especially, with reissues. They would put them all in a row on the album. Right.

37:23Oh.

37:25Woo! That is good. It's like you kind of get into the thought pattern of like, what am I going to do with these different breaks and stuff? And Freddie was just like... He was just endless. That is really good. Sorry, I diverged. Okay, next question. I regressed. This is... Thank you, Matt, for the question.

Recent jazz releases

37:40I fell back. This is from Joe.

37:44Hey, Adam and Dieter. This is Joe in Columbus, Indiana. I'm a double bassist, a composer, and a music educator. And I appreciate that you guys are covering the Radiohead albums. But I have a quibble bit. I think you guys are missing some important connections that they have to the 20th century and 21st century avant-garde classical tradition. Specifically, people like Steve Wright, Terry Riley, Henderetsky, Olivier Messiaen.

38:22Messiaen, for sure. It's pronounced Olivia Dean, by the way, not Olivia Messiaen. On Johnny and Tom. So that's my quibble bit. I think that that deserves mention. That's a good point, Joe. That being said, I have really appreciated and enjoyed the episodes. An episode that I would love to hear would be both of you talking about recent jazz albums, important releases that you guys love and are listening to on repeat,

38:54as well as maybe some that are touted in the press and widely recognized, but you just don't like it very much for whatever reason. Good question. I think that would be interesting. Thanks for what you guys do. Well, first of all, as far as being touted in the press, I don't pay attention to the press. I am the press. Damn. Mic drop. Also, not true.

39:19Two things can be true at once. No, that's great. So, quibble bit, appreciate it. Although I never, that's more on you. That is on me. The Messiaen thing makes a lot of sense to me. Right. You made a Messiaen of that. I did make a Messiaen of that. As far as stuff, recent stuff, I'm just looking like in my Apple Music, stuff I've been playing. Okay, this is, can I play stuff? Please do. Is this royalty free? We don't know. Are we going to get sued? Possibly. Check this out. You might not have heard this. Oh. Sounds like Jay-Z, the intro to, uh, what is that?

39:53Something.

39:57Like this.

40:03You may recognize the voice when it comes on, though. It sounds really good. It sounds kind of Glasper-esque, doesn't it? It does. It's Robert. It's Robert Glasper. Yeah. Okay, great. Great, great, great. Gretchen Parlato. I think it's on her record. Yeah, Gretchen's amazing. This is great. Rainbow. Been listening to that. Been listening to, well, this is relatively recently. This is Sullivan Fortner. Big fan, obviously.

40:35This is not from his newest record.

40:39Walt's from a great Donald Brown song from, um, Southern Nights. Southern Nights, Killing Out. Another thing I've really been listening to a bunch of. Oh, I know who that is.

40:55Hutch. Yeah. Rob Blake. Joe Sanders on bass. Greg's new record. Gregory Hutchinson. The great Gregory Hutchinson. Kind of Now. That's a great album. Pulse of Miles. Yeah. It's really killing. I got it, yeah. Greg's amazing. Also, this one with all the Miles stuff. I really like this. I wasn't familiar with Butcher Brown. But this is Butcher Brown, the band. I want to say they're from Virginia. I could be wrong on that. But with Nicholas Payton.

41:26Playing the, what's the little instrument with the, the kalimba? Is that kalimba? Is that kalimba? Thumb piano? Ba-ba-ba-ba-da-ba-ka-limba. No. Yeah, thumb piano.

41:37And I think he's playing keys, too. He's playing trumpet. It's like some reimagination of the Miles Davis.

41:45What else am I listening to? I'll play a little bit of this. This is a bassist I really like. Hannah Marks.

41:53Little Brooklyn vibe. Room 157.

42:02Great bassist. Hannah Marks. Hannah Marks. I don't know that. That's great. She was in one of the cohorts of the Betty Carter Jazz Ahead, the great program that, in D.C., that's when she first came to my attention, is Killing It Up in New York with her own band, Lead from the Bass. That's great. I got something we both can chime in on. Okay, good. That I know you don't like. I'll throw it to you. So I have some picks that I've been listening to jazz-wise. Little, I think Brad Meldau is how you pronounce it? Brad Meldau. Meldau. This is his album with all Elliot Smith covers.

42:35This is his cover of Between the Bars. Absolutely gorgeous.

42:42This is an album because I love Elliot Smith's music. Brad Meldau and Elliot Smith, they were actually on a TV show together. Johnny Carson. 1999. No, it was John Bryan's show. It was like the whole Largo scene out there. So you can see on YouTube a show where they're on together. That's cool. Crazy. But when I listened to this album for the first time, I like hands in the air. Like, I can't believe he pulled it off. It's called Right Into the Sun. Yeah. It's incredible. Also listening to this, speaking of Selvin Fortner. Two. Cecile McClory and Salvant. Overthink.

43:13One, two, two, two, three. Woo.

43:19Is her album Snap? Yeah. Yeah.

43:24I spend a lot of time thinking about doing things instead of doing them. I spend a lot of time thinking about saying things instead of saying them out loud, out loud, out loud. I spend a lot of time ruminating, reminiscing about the past, fantasizing about the future. Thinking about anything, anything, anything, anything, anything, anything, anything, but now.

43:55Thinking about anything, anything, anything, anything, anything, anything, anything, but now. The way they interact, man. I think 50 years from now, we're going to look back at this and be like, this was really special, this partnership they had. And I mean, I almost hesitate to say this. I mean, I won't be here, but. No, what it reminds me of is a little bit of Elvis Daryl and Oscar Peterson.

44:25You know, I don't want to put that crown on their heads because that's heavy. But I mean, like the, you know what it is? It's like Sullivan, I mean, right now he's playing a lot, but even behind, like he can push and play so much and like harmonically, rhythmically. Light touch though. Yes. And big ears.

44:45This is great. Yeah. I'm loving all the stuff they're doing. She's got a great new record too with some incredible string arrangements that are a lot of fun. Anyway. I think, yeah, that partnership is great. Another one is a band called. I stole that one from you. A band called Fathers with Nate Smith, Kiefer, from the show. Oh, this is a great record. Cartoons and Kenny Beats. Yep.

45:07Huh. It's on the Blue Note record label. So great. If you like this kind of vibe, you're going to like it. It was released on Blue Note in 1986, apparently.

45:19Kiefer coming out with his own album on Blue Note in a couple of weeks here. So you got to look after that. Oh, is it his record? Oh, it's a cool album. It's a collective. Was it Nate Smith? Nate Smith? Yeah, Nate Smith. Cartoons, on bass, and Kenny Beats. I would try it. Yeah. Nice. And then one more. I just want to shout out Sam Frybush and Corey Fonville and Alan Good Parker. This is Slap.

45:42From an upcoming release, I'll probably be out by the time the show comes out, called Blue Collar Jazz. Oh, my God. Oregon Trio. Charlie Hunter's got to have a cameo on this, right? But Fonville. Corey Wong is in the wings. Let me jump in. I got it. Can I jump in? Let me go. But man, everything from these guys that's come out in the last couple of years, I'm just loving so much. Like, it makes me want to move to the Carolinas. It makes me want to move out there to these ghosts. Get some sauceless barbecue going.

46:14Near the Atlantic. The barbecue has no sauce. Very odd. That's Slap from the upcoming Blue Collar Jazz. Okay. Next question. And one of our final speak pipes here.

46:26Hi. No name given. I have a question for the mailbag. So, I'm a 28-year-old pianist. And even though I'm a generation younger than Adam, we have exactly the same taste. Brad Nodow is my favorite pianist. Radiohead's my favorite band. Okay. While Thomas Anderson is my favorite filmmaker. Great. And I've heard John Bryan in there, too, as a producer that I really love. And I'm kind of obsessed with the crossover between these artists, especially because I kind of think, I don't know if this makes sense, but I kind of think of PTA as sort of the Meldau of film or Radiohead as the PTA of rock.

47:02And it's fascinating because John Bryan scored Magnolia and Punch Drunk Love for PTA. Then Johnny Greenwood of Radiohead took over. Brad Nodow has famously recorded a lot of Radiohead tunes. And then on his memoir, PTA gave a blurb and praise of it. John Bryan obviously produced Largo and Highway Rider for Nodow. So basically, my question is, do you think that artists across disciplines who are kind

47:35of kindred spirits are drawn to each other? And if so, have either of you been drawn to another type of artist that you found to be a kindred spirit? Thank you. Big fan of the show. Well, thank you for the question. It's a great question. I would actually put this not in terms of like artistic kindred spirits, which they are. All of those people he mentioned are. But the connection was, especially at the time that all this was happening, is Los Angeles, California, and it's a scene around Largo, around that sort of part of the entertainment

48:08industry. I would say there are similar scenes with similar aesthetic values that are shared with scenes like around, you know, Robert Glasper and Terrace Martin and all of, you know, that whole like Blue Note LA, Blue Note New York scene. I mean, I would say like there's a Philadelphia scene where there's a similar aesthetic value that's shared amongst those artists. I think in St. Louis, like, is it happening for us?

48:38It's happening right now for us. Like, that's why we're here making the show and why Open Studio exists is in a lot of reasons because of people in St. Louis who have shared aesthetic values. Yeah. So I think in that regard, like, it is geographical. Like, it's people hanging out with each other and being like, you like that? Like, we talked about the Soulquarians and that whole thing when we were talking about D'Angelo, but that's just like proximity of people in the same space working on the same kind of thing. Yeah. And I mean, it's been fun because we've started to develop some of that here with you and Bob

49:10and Caleb, Brian Owens. And even like, you know, I did a gig with Keon Harold recently. And, you know, he's younger than me, but we, so we didn't come up at the same time from St. Louis, but then you realize how many musical references that are kind of shared to this region still, even as the music has become more homogenized around the world, but you still have those reference points. It's like, okay, yeah, that's how we do it here, which is really interesting. But I do think that for me, the time that I've had that the most was like the early 90s in

49:45New Orleans, you know, when I was living there and like, it was such a formative stage. And I think if you look at the ages, and I don't know exactly, I mean, Brad, I've known because we're like, I think within a few days, the same age, like literally within a week, I think we were our birthdays. And I remember when I first met him, I mean, we were, I don't know, maybe 18, 19 on the early gig. So like, I've known him a long time, but in terms of, and I remember when he moved out to LA, but his connection with other folks, you know, via Largo and that whole scene,

50:16I think that this often happens at a younger age, right? Yeah. Like 20s, maybe early 30s. It's not to say that the window closes, but for you to make those kind of like calls, you can come back and revisit them. And that's what happens for me with the New Orleans crew from the early 90s, Chris Thomas, Brian Blade, Victor Goins, Nicholas Payton, that whole crew. Um, that I was so, it was so great to be around them. And then some interaction with all the older musicians, they kind of helped us along. It's a very special thing. I think, I think you're right. I think an age thing is true because I think looking, like remembering back to when I was

50:49younger, like, you know, you're hanging out late at night with a bunch of people in clubs or at someone's house or whatever. Right. And even like, you know, to the, to the sort of cross discipline thing. Yeah. Like there's a poet there. Right. And you're, but you're still talking about your favorite John Coltrane album or your favorite novels or your favorite films. Right. Or there's a filmmaker there and like, you're all 20 years old and don't know, nobody's done much of anything or you've done a little bit, but not a lot. You know what I mean? And you, you have values together that you're kind of like. And that's the cool thing about LA or New York.

51:21There's more, like, I've never had a lot of that, like where it's different genres and Yeah. Me neither. New York was happening a lot more. Yeah. Obviously, because people go there to do all that stuff and then you're young and you're broke and you're just hanging out on someone's roof, talking about all this stuff and making stuff together. Yeah. Yeah. Great question. Very cool. Okay.

YouTube comment trivia round

51:39Peter, we're going to move on now to a trivia round. Now you don't know nothing about this trivia round, but what are. You don't know nothing about this. Shout out to producer Liz, who's put together a fantastic mailbag episode thus far. Do I have sheets on this or am I going Sons? You're going Sons. You're going Sons. And I have five questions that are questions from the shows that we've made, from episodes that we've made. Well, this is one thing. I put, as soon as I'm finished with something, I'm like Van Gogh. I put it out of my mind. I'm moving on to the next artistic endeavor. So I don't know how I'm going to do on this.

52:09These are all, by the way, come from comments on YouTube. Okay. About people commenting on an episode we made. Oh, I never look at the comments. And enlightening us. Now, the first one is one that you actually discovered. Really? Why was the ending of D'Angelo's Untitled, How Does It Feel, cut off? Did you ask me this? I'm asking you. I know this. I know you do. They ran out of tape. They ran out of tape. Yeah. They ran out of tape. Now, one thing that from that. Man, you start me on training wheels here. I like it. From that episode that we did learn in the comments was that it wasn't Questlove playing

52:41live on that track. No. As we thought when we recorded it. Right. It is Questlove playing, but it was sampled and looped and put into like a drum machine. Right. Which thankfully. Maybe by Quest. Love. Possibly. Or Russ Olavato, maybe. Maybe. Yeah. But we learned that from the comments. So thank you. Keep the comments coming. Believe us. We get plenty of corrections. So we can believe everything in the comments, but we can't believe everything. We still got to do our due diligence. Okay. This is one that came from the What's Going On Marvin Gaye episode, and we did not comment on this, but we learned about this. Wait, how about if it's coming from the What's Going On episode from That's My Mama

53:11from That Was Coming to America. Reference. Coming to America. Bam. Who can you hear during the beginning chatter in Marvin Gaye's What's Going On? Oh, well, I know, I don't know the names, but I know it's members of the Detroit Lions. Ding, ding, ding. Yes. And Lem Barney, apparently. Okay. Okay. M? Lem Barney? Lem. Lem. Lem, right. That's right. Lem. What is the haunt, number three, what is the haunting sound in Radiohead's How to Disappear Completely? Now, this is one that I got completely wrong.

53:43Who is Radiohead?

53:46This was from, commented by, at dots gray dash Y9X. You don't have to say all that. I do want to say it, though. I just want to credit. I don't know. I don't even remember that. It's called an Andes Martinat. Martinat. It's an early electronic instrument built in the 1920s by cellist and radio operator Maurice Martinat, or Martinot, probably. It's a cross between an organ and a theremin. Martinat. I better Martinat say that wrong. Martinat. And it's played by wearing a metal ring attached to a string. That's painful. Yeah. I still really don't understand.

54:17Sounds like some kind of French guillotine, like musical situation. Okay. Why does Prince's The Ballad of Dorothy Parker sound like it's underwater? Mmm. This was from Guitar Wizard 1. We were corrected here, or at least enlightened. You mean, like, how did they do the effect, or why does it... Why does that song, The Ballad of Dorothy Parker, sound like it's underwater? Did you know that? I don't know this. I remember we talked about this, though, didn't we? I don't know if we... I don't...

54:47Obviously, we didn't have the right answer. Well, that never stops us. It doesn't mean we didn't talk about it. That's probably why we did talk about it. So, apparently, it was an accident. The song was recorded through a council that wasn't completely assembled. As a result, there was no high end. Oh. And engineer Susan Rogers said she noticed something was wrong as soon as they started recording. She expected Prince to cut the recording, but he never did. And they left the recording like that because it reflected the dreamy lyrics. That's from the Sign of the Times. So, Prince, not a perfectionist, as it turns out, when it comes to studio equipment. Okay, one more. Yeah.

55:19And you probably know this by now because we did some research. This is from the Music of My Mind episode. Yeah. Where is Tonto today?

55:26I believe Manitoba, the state, the province of Manitoba, Canada. So close. Winnipeg. No, no, no, no. Edmonton. Edmonton. The people where this is from are not... Saskatoon. They're not going to like Edmonton. Regina? Calgary. Dang. Calgary. Yeah, I know. I know. Sorry, Western Canada. No, no, no. That's the... That's not Western Canada. Calgary? I mean, it's not Vancouver. Okay. Sorry. Sorry. Insult. Midwestern Canada. Appreciate it. No, Calgary's the big money city out there.

55:56It's the oil town. Big oil. Right. Well, Edmonton Oilers. Come on. You know what I said first? Malcolm Cecil had been housing it in a converted... Cecil. How do you say Malcolm Cecil's name? Mark... It is. Marklum Sassel had been housing it in a converted barn in Saugaties, New York, but maintaining it became too difficult. He sold it to the Calgary Museum for less than what other institutions were offering, including the Smithsonian, because they satisfied his criteria. Maybe it's not getting money. And properly maintained, and it is available for public use.

56:27You can go to that museum in Calgary and play the... Tonto. The National Music Center in Calgary and play the Tonto. That's awesome. Yeah. Shout out Calgary. Shout out Calgary. Okay. That is Saskatoon, though, isn't it? Calgary? Alberta. Calgary, Alberta. Alberta. You said that already, right? I don't remember. This isn't a Canada geography podcast. Much to Lizzie. We love Canada. We have one thing left, Peter, and that is... Citizen as well.

Ratings and reviews

56:52Gala. Oh, yeah. Recent reading, ratings and reviews. Now, this is the gala, if you are new to the show, a gentleman's and lady's agreement, and that is that this podcast is free. Well, is it, though? It's not, because what we do is we ask you to please leave a rating review on Apple Podcasts. Do we say please, or do we insist on it? We insist on it. You must. And it must be seven stars, by the way. That's right. Seven star review. And if you can't figure it out, just don't even leave a... Well, no. No, still leave your maximum. Maximum seven stars. Or comment on YouTube.

57:23Comment on YouTube. Comment on Spotify. Did you know you could do that? Yeah. Okay. No, you didn't. Yes, I did. Okay. I just don't know where to find them. This is a review. Most recent format is great. Love them reviewing albums like Steely Dan Gaucho, Asia, Joni Mitchell, Fleetwood Mac, Rumors. They give you all the inside baseball music stuff that goes over my head, but they break it down very nicely. Super informative, but also an enjoyable duo to listen to. Super great chemistry. You can't teach chemistry, and these two got to keep them coming. Thank you so much. That's what my high school chemistry teacher said after I finished a semester with her.

57:55You can't teach chemistry. Next up is from Apple. Sorry. Just fun fact about that. But when they say, love them, love the new format, I've noticed you didn't put the other comments when they say, we don't love the new format. No, we don't do that. We don't. We're not going to highlight the detractors. That's right. The haters, of which there are plenty. For all music lovers, five stars. Recently discovered this show, and I'm enjoying it immensely. The hosts are clearly super knowledgeable, but they share a level for anyone who enjoys music. Thank you so much, Brenda Moore. Was that a backhanded compliment? A little bit. The hosts are clearly super knowledgeable, but...

58:27Not and.

58:29And then finally, from Wilf Wooler, podcasting at its sweet, jazzy finest, these two charming Americans single-handedly, or is that double-handedly, rekindled the flames of my love for jazz after years of not listening to all these incredible artists, love their infectious enthusiasm, in-jokes, fascinating takes, and harmonic analysis. Thank you. Thank you, Wilf, Brenda, and everybody. That's awesome. Yeah. Show's over, Peter. Oh, why is that at the end? The mailbox is closed, buddy. The mailbox is closed. Well, you know what? We nailed it, so until next time.

59:00You'll hear it. Boom.