"Charlie Parker with Strings" – Charlie Parker

Actually, he's the most revolutionary jazz musician of all time, not other than the legendary Charlie Parker.

This is Charlie Parker with Strings. [Music]

“I'm Adam Anis, and I'm Peter Martin, and you're listening to The Youll Here at podcast.”

Music Explore. Explore Bratinated by Open Studio, go to OpenStudioJazz.com for all your jazz lesson needs. Peter, I'm going to set the scene. Okay. Imagine you're a young musician in 1949, your favorite style of music is Bebop, and your favorite

Bebop musician is coming out with a new album, or is he coming out of a swimming pool with Ethel Merman? He's coming out like this. [Music] [Music]

Come on, Adam. [Music]

“Now he's back in the swimming pool, coming up with very hollywood, very hollywood, to surprise”

the original story. Oh, so great. [Music] [Music] [Music]

Hey. [Music]

Man, every phrase I've heard plays is just this like, amazing legacy and melody.

Yeah. [Music]

“Damn Freeman, I'm getting a kill in it, that's easy to come in after the Charlie Parker soul, isn't it?”

[Music] [Music] I'm going to put it out here right now.

Just that solo on just friends, you play three solos, which is amazing, three minutes

of Charlie Parker solos, incredible, but just that track, his improvisation is the equivalent of going to music conservatory, if you just studied that for four years and figured out

would be him. You would be him, but you'd learn a lot, but you'd learn a lot, how to improvise about how melody works for him. Talking about one of the great geniuses in music history, the great Charlie yard bird Parker born August 29th, 1920, Kansas City, Missouri is in the house today, that's right.

In a lot of different ways, I'm so stoked we're listening to this album, Charlie Parker strings, one of the greatest B-bop albums, even though it's not B-bop album, it's not a B-bop album and there's like 17 different versions of it, that all look close to this,

“that there's that, but I mean, it's kind of a phenomenon, right?”

When we talk about Charlie Parker with strings, this has been repackaged many times, this is kind of, well, this is a CD, but this is some cool, like Japanese additions I used to buy where they'd make it look like the original LP that was very short with only six tunes on it. Well, no, it wasn't even an LP, what was that called it?

Like an EP or something. Yeah, I mean, you know, before the mid-50s, albums were very, it weren't really a thing, right? Yeah, and I just wanted to address this, we did our Lewis Armstrong episode, there weren't in the albums back then, it was all these singles, right?

And even that, because of the 78's, we're limited in time, three and a half minutes or something, depending on the very short records that you would have to get. And so this was still in that era, so this was, it started off as like you said, a collection of six songs that were about two and a half to three and a half minutes long, it was released. And that was all, that was all the 94, what we're calling the 1949 side.

The first six tracks on what we now know is Charlie Parker strings, what's been released

on CD is these 14 tracks. The first six were recorded in 1949, they were so successful that they recorded eight more in a session the year later. Yeah. It's on the Mercury record label produced by Norman Grant, who I'm sure we'll talk about.

Norman Grant's loved to repackage his albums, by the way. He was like the original influencer that would like repackage content, again, again, if you would take this album and do it like three more times, the three different titles and everything, very, very interesting. Now, this actually says clap records, I wonder if that was one of the repackagings, but that was

the original. Yeah, no, I have here on my show notes Mercury, but maybe that's, I don't know. A subsidiary LLC of, it's all good. So, produced by Norman Grant's, the rhythm section of this is pretty awesome, Ray Brown on the bass, Buddy Rich on the drums, you know, they were also playing a lot at this

time with Bud Powell and so to be on this album, they were playing a lot with Charlie Parker too. And then, like you said, stand Freeman on piano, I don't know, stands work other than this,

“honestly, if I'm being, well, you can see him a little, but we'll put a picture up”

here too from the original album, that's right, him right in the corner here, see. Oh, yeah, there we go. I mean, he sounds good, man, he sounds really good. Yeah, but Bernie Layton is playing piano on the, the 1950 sessions. It's still Ray Brown and Buddy Rich on those 50 sessions, but the equipment pianist.

So, and then there's a whole string section. And then there's, of course, on these first six tracks, Mitch Miller on the oboe. Maybe the English one, I thought it was the oboe, but maybe it's not. He did, but he played both. That sounded, I mean, was a little, it was a little catty that Joan might have been

e-horned for on the place, yes, exactly, which can be a beautiful instrument. Let's just put that out there. I don't have any band of the San Lucifer in the orchestra, a beautiful, that's right. For on the place player. I just want to say, because you mentioned Ray Brown, whose name I'm sure is going to come

up again. First of all, like how he, is he the, what's he the forest gump of jazz?

Like, always at the right place, at the right time, but, but actually impacting it.

Like, right, you know, I would never be in a masquerade, Peter's, never call him the forest gump of anything. But he is a through line in the history of music from the very beginnings. I mean, really, he was, he's been around, and all the way to, like, we, you played with him, which, I mean, I saw him when in my life.

It's stunning to think about that, the level that he maintained the longevity of his career, but with his, his intersection, I mean, the fact that I'm like one player kind of removed

“from this is really an honor, and are you just killing on this?”

You would have done even better than Stan Freeman, Peter. But you know what, that solo is so good on Justin's, I've always loved that solo. And I think that might have been written out, and that's no shade on Stan, like that's great. Look, you're blowing bird, you gotta do what you gotta do.

Yeah, I'm not necessarily written out, but just like, pre-plant, but, and that's not like, oh, what are you saying? I mean, our Tatum did, I've heard him do several versions of several tunes, where the his solo is very, very close to that. It just had that kind of feel to it, which is no problem, because it felt improvisatory,

but I wonder about that. Let's, let's, I mean, it's better to plan out your solo and kill it like that than to get intimidated, because Charlie Parker and Ray Brown, who's sitting there and he's like, I bet a lot of people are going to hear this over the next 65 years. Yeah, yeah.

Let's go back a little bit to Charlie Parker's beginnings from Kansas City, Missouri, just on the road here originally. There's actually Kansas City, Missouri, Kansas City, Kansas, because I think it's a good question. I don't know.

I'll look at that up at the city. But there is a giant sculpture of his head in Kansas City, which is, right by the Missouri, Kansas City, Missouri, which is right by the blue room, and so it's pretty cool, you can sort of like walk in bird's footsteps over there in KKC and shout out

to all the amazing musicians carrying that torch over there, Kansas City still has a

great tradition. Count Basie, Jamie Chan, right? Charlie Parker? I mean, yeah.

City, Kansas. That's why we corrected this. Yeah. They're very territorial.

“Even though you've been to Kansas City, you know, walk across the street, it seems like”

there's a lot of things. Oh, he said it. He said it. Okay.

Well, let's go back to Jamie Chan, so Jamie Chan, incredible artist, again, in that

Kansas City scene, this is swingmatism. This is the earliest known recording, like, like, studio recording of Charlie Parker. This is from 1941. It's a pretty swing and very good. It's a swing music, though, so amazing, and Kansas City, this whole band is wearing

like a suit, you can't jack it with multiple pockets on it, dude, doesn't pocket, it's all up and on the main. It's 20, or 21, oh, yeah, wow, wow, wow, wow, wow, wow, wow. Oh, Jamie Chan, so, not me, but, no, no, no, no. That's the beginning, it's not quite no, you know, Cherokee, no, no, it's not, but no.

What a sound, you know, already, it's totally recognizable, yeah, the bluesy part, kind

of always stayed along, but yeah, way more bebop when he broke through with that.

So already known, traditionally, even in 1941, you know, there's these great stories of when he was a teenager, and he plays a show, or a jam, I think it is a show, or a jam session somewhere, but he wasn't sham session, a sham session, but he wasn't sounding great, and the drummer threw a symbol at him, probably never happened, and yeah, this is probably war or whatever, but he was, the Lord goes then after that, he practiced for

hours and hours every day, and until he got better, right? He was shamed into, he said for years, then I practiced, the Lord was, he was this magnificent

“practiceer, and that's what sort of led him to, not only becoming this great player,”

but really helping to invent and evolve what would later become known as bebop, and here is Charlie Parker himself talking to, well, first here, the voice of Alps of Sex, when it's Paul Despin, and talking about bird on his practice. I can't see where there's anything fantastic about it at all, I put quite a bit of steady into the horn that's true, in fact, the neighbors that asked my mother to move was, and

they're not worth something like that, they said I was driving crazy with the horn, I used to put in at least 11, 15 hours a day, yeah, that's 100, that's true, yeah, so I did that for over three or four years, oh yeah, 10,000 horsepower, that's up here, yeah, that's the fact, anyway, I guess that's the answer, that's the fact, anyway, wow, but I mean 11, 11, 15 hours over three years every day, right, but coming out of that story, whether

it happened or not, we're throwing this symbol, it's like isn't that the Michael Jordan he didn't make his JVT team, and then he's like, oh, I'm going to come back and show them chip on your shoulder, chip on the shoulder kind of play, but I don't know if you know what year that interview was, but I mean, Charlie Parker died when he was 34 years old,

so we always think about he's like, oh, this, it almost sounds like this is a six year

old man looking back on his career, no, this is a young person, yeah, it is a really therese's point, it's that, this is in the early future, with that kind of perspective, but also that kind of accuracy with, with laying out things in an interview, even away from the horn, amazing.

“So just a few years later, he moved to New York City, he, did you see the never sleeps?”

See, the never sleeps, at least back then it was, I don't know, because sleep, about 11, 30 these days, right, but no, this is when he met people like Dizzy Gillespie and Bud Powell

Yeah, yeah, on the dial label, and these, with all, my Norman Grants was he run in multiple things, but Norman Grants plays a heavy role in that really development of this music, but this is now's the time for those from those very famous Savoy and dial master recordings. Ah, classic. Miles Davis on the trumpet, a young, young, Miles Davis, I am a trumpet, straight out

like you St. Louis, and we're goin' on.

“Had that Miles sound already though, you know who that is?”

That's a ball, no. It's a little bit, what? It's a little bit here, okay, you know, it's just a little bit. So, you can hear birds already start developing a more rhythmically precise outlining the core changes going to be Bob's style, yeah, this solo and double time solo feel, yeah, but you slow this down and pure melody, yeah, sure melody, you know this type of, you know the double time, this is probably Miles Miles, yeah, well this drops down a little bit when birds

are playing, let's just put that out there, am I wrong? Matt Miles is so good though, I mean it's almost like this is Miles, is that the place that Charlie Parker was on the Jay McShan,

“probably the same way, the young, young, young, young, young, but what you hear is the sound,”

sound is amazing, it's like me, and some Miles is already keeping in, and the same was trumpet sounds,

okay, so that's now's the time, so that's from one of the first sessions that they did for the Savoy label, and can I just say to that solo and there's another version of now, now's the time, but this particular one, actually the other one is the one that I remember learning, I learned not a lot, but if you Charlie Parker's solo, they're so good, highly recommend, no matter what instrument you play, but that version is probably, when you say that's like the

most influential for saxophone players, and maybe even for other instruments as well, jazz solos of all time, like that people transcribed to learn, for sure, I mean we've already talked about the jazz friend solo, how iconic that is, but this is the one that everybody knows, you know, for sure, so interesting thing on this session, the piano player, right, so a pianist from,

“I believe from Minneapolis that he came was on the session, but had his, had his cavalry card”

pulled, they pulled their union card, and he didn't have an up to the cavalry card, do this session, but there was another musician hanging out at the session, and his name was Daisy Gillespie,

and he could play some piano, so he's playing piano on the first like six, six tracks of the Savoy

Devile, a dial record? Yeah. It's dizzy, playing piano, man. Yeah, it's a dizzy, playing piano, not only that, but they go on to do something that, you know, one of the hallmarks of B-bop came to be known as a contract, what was already known as a contract, but it became the B, one of the hallmarks of B-bop, and that starts from these early Savoy recordings, these early B-bop recordings Peter, they're already doing contracts. Now a contract is a tune that is built over the court

changes of another song. So that's the harmonic underpinnings, the progression, the timing over to the court, everything, but the melody, basically. Everything, but the melody. Now this happens

like live and real time on this session. I came across this incredible NPR piece from the year

2000 interviewing, I'm a member, by the way, interviewing his, me too, interviewing his story and Phil Schapp on these sessions and the tune Coco, you know, the tune Coco. So B-bip-bip-bip, B-bip-bip, B-bip, B-bip, Coco's a contract. They've been based on Cherokee, the Ray Noble tune Cherokee, right? And apparently, when they were in these sessions, the record executive, who was there, said, I don't want to pay for

changes. Here's Phil Schapp talking about that. On the Albtake, they play the very same arrangement

“that is Coco, and then they jump into the melody of Cherokee and Teddy, we go, shh, shh, shh,”

oh, they're holiday, you can't play, and it cuts like that. You can't play Cherokee, you can't play the melody. My boss, Herman LeBensky, is for records. He's making an fortune by using court structures of pre-existing tunes and placing new melodies on them, or even if there's no melody calling it a new tune. That's his gig. That's his scene. And of course, that is the device of beatbop composition, most divinely for Charlie Parker when playing the ambitious changes of Ray Noble's Cherokee.

Check it out. This is what we all know is Coco. Yeah. . Oh, I think it's a good. Yeah.

“He literally, hey, hey, I feel money coming out of my pocket. That's what I had to say. I'm not paying”

for that. You guys need to do something else. So they did, and it was Coco. Here's the version that

made it on those first Savoy recordings. Now, what's cool is this is from the same session we just

listen to now at the time. So these are classic, these like molded what we know now is the bebop sound in the mid 40s. So from that same session where the pianist couldn't continue the session, dizzy Gillespie was there. Apparently, a young Miles Davis, who is just a kid, teenager on the session, couldn't really hang on Coco. And so dizzy was there. Dizzy used Miles's trumpet. This is the

“lore. Miles's trumpet Miles's mouthpiece and played the intro on the piano, and then went and”

played the trumpet on this tune. Sorry, intro on trumpet. And the rest is enough. Woo! And Dizzy's heading over to the piano. Really have it, really have it. Take these off with the walk in the bar. This is great. Because you hear Dizzy over that bridge is playing like a really good trumpet player that can play some piano. He's not playing every chord because he's not there,

but he's doing it. Brassie's crushing. Every phrase. Every phrase is a map. It's humbling listening to Charlie Parker. Yeah. Like famously there, people talk about like

he never played a long note. Like it's very in all the recordings, and there's a bunch of them.

It's hard to find him playing anything without total conviction, and also anything that's not like beautifully composed as a piece of melody. Yeah, it's, I mean, his playing is highly highly melodic. Of course, on the Parker with strings, you hear it even more so because of the setting, and because of the limitations around it. But even when he's going crazy like at this temple, it's really stunning. Like, and this is stuff, I, I'd encourage you like, if you're here

in this for the first time, or maybe you've kind of heard it, but you're like, wait, we have

what is B-bop? Is that like the hipsters with the beanies and like, I don't know, forget all that. This kind of thing is, I know it may seem like a heavy lift, especially if you jump right into this, but like listen to the nows of the time first, and then spice in a little bit of the ass, a little bit of the Charlie Parker with strings, but the more you listen to this, this is like, this is a fine wine that once you start to understand the stuff in there, it's stunning, it's got the

to make no mistake here. This is an intellectual heavyweight, Charlie Parker. This is a musically

gifted intellectual genius who is, he's really like trying to push music somewhere, who's trying to give the music that he loves, which is swing in this early jazz style that he started playing Kansas City, but push it to new heights to do things that nobody else was doing at this time. And I mean, in the movie about, I mean, look, an episode about Charlie Parker, we have to at least

“mention Clint Eastwood's bird movie, who I'm, I think the name of it was Bird with Forest Wittaker,”

which is, I think it's a problematic movie, it's a controversial movie, but I think it's a really good movie, at least part of it. And he's definitely portrayed as a musical and intellectual genius

to a certain extent, then he's also portrayed as a drug addict and some of the more stereotypical

Hollywood things. So I mean, that's, it's, it's beyond us to tackle all that in this episode, but it's just to say that like that reference point of how you just described it, like what's we was, what, how he was known, the 11 to 15 hours of practice, how you lead up to all this prodigious output by the time you're 34 years old. And I mean, the, the impact that he has to this day on music, you talk about everything one hundred percent dizzy and, and Max Roach, the guys

that work, that he came up with, but also you're Lou Downes, every saxophone player, John called, like, like, everybody had today, so I mean, to go through, like, he's the one unavoidable saxophones. We literally just have to go through him. Just heard it at the Super Bowl in Kenny G's playing. All people, but it's unavoidable. Charlie Parker is something that all musicians, not just saxophones, but all of us, yeah, at a certain point deal with you, if any touchstone of black American music or

jazz, you are going to touch upon that B-bop sound, and that was honed by, by Burdendis,

“Bad Bunny, and well, that's why I thought you were bringing it up, maybe not, and shout out”

Bud Powell too, who's also one of the architects of the music also. And Philon is one, and Philon is one, these are like artistic and intellectual heavy weights. I just want to mend miles and miles

a little later, but yeah, but for real, coming out of the B-bop. So the problem is, though,

Peter, like you mentioned, like, it's a heavy lift. This is underground music. This is, like, punk rock before there was punk rock. They were doing this to, like, to be a little bit difficult, right, to be like, I mean, they, they're making music for the people, who they're making for, but they, they're not trying to do this commercial stuff. Well, they got to eat. They got to live. Yeah. How do you sell this to a broader public? And this is where Norman Grant's sort of steps in.

He starts these live concert series, live at the Philharmonic where he's taking all of these, I mean, a bunch of different kinds of musicians, swing musicians, Lester Young, L if it's Gerald. Yeah, great stuff. Great stuff. He didn't really, like, he kept the bar high on the, from the programs I'm trying to bring in the library. Everybody's, everybody's a monster on these tours. And so he would take them around America. And then, him and Charlie Parker had this idea.

And actually, there's, there's different stories about how the Charlie Parker strings happen, Peter, but a lot of, a lot of the stories about how this was actually Charlie Parker's push to make this album. Like, not that he wanted to be more commercially viable, which is what you immediately think of when

“you think of this album. I think of, like, okay, they're trying to, like, dress up,”

bird, and the beef up sound in this lush, like he said, Hollywood, sheen of the strings and these gorgeous arrangements. But this is something that Charlie Parker was actually artistically interested in pursuing on his own. And so, you know, this isn't just, like, well, put strings on it and make a hit of vision. Like, the vision he could hear. And whether or not, this is exactly what he envisioned, maybe not some parts of it, but like the overall concept

is, and he even, it was even said, and this is really a verified story, at least it's from several sources that, you know, literally on his deathbed, when the doctor that was helping to care for him, you know, it was, he asked something, what should I listen to of yours, what represents you, asking Charlie Parker, and he said, April and Paris from this world. , and then he said, "I'm going to be a little bit more beautiful than you.", and then,

you know, this is my favorite arrangement, what a great tune, and then when the strings go out, they're what a beautiful opening of the clothes they got in the current.

like, that's one of the most inspired, this, what am I supposed to say, it's the elephant, it's the elbow in the room, it's the elbow, but that might be like, "I should just stand free in a bit, a little better.", it's been his thing, a lot of courts alone, don't, don't, you're not going to saw a bad guy, but I'm not even trying, bitch, I can kick me. Ah, I'm going to sound a little bit, they don't have, like, the recording technology had not quite

turned the corner to have, like, five years later this would have been so lush, but it's still like comes through the play, this thing is south and this orchestra rhythm-second, almost everything, killing it, that's somehow, this is the last thing, Taylor Stranger. Do it, Stan, with this much mirror range. I don't believe so. Okay, because I was going to say, it's got half of the range, it's great, I mean, they're, like, these kind of arrangements, I would say, sitting in that space,

like, you can't say they're not dated, because this does date it in a way that, like, Charlie Parker's playing is kind of, you could also say it's dated, but it's like a great, it's kind of like, oh my god,

“you remember that time? Charlie Parker's playing is timeless, man. Yeah, it's timeless, but I”

would say they're range, okay, yeah, maybe not a little quieter, but I mean, it's very, like it does, it's a vocabulary of that Hollywood sound or whatever, but it's so well executed. Yeah, and there's nothing revolution about that string, right? It's just very well done, great players, and then, you know, Parker is really playing some transcendental, like, you know, transcendent, I should say, transcendent things, it will, with the wrapper of this beautiful sound and melodic playing,

but then when you dig underneath it, you're like, that's never been done. That's exactly right.

It's never been done. It's like this incredibly beautiful packaging. Like you said, the sound quality of it is still in the late 40s. We're still in 1940s. Well, this is probably some of the best for the late 40s. It's good. This is very good at well. It's good, but it's like you said, it's not high fire. Now, it's like this. We're in the early 60s, they'd be this big, lux string sound, and you'd hear that. They had the rumours on the face,

and still can't fan the rumours engineer. No, but, but it is this, this very beautiful wrapping, but then when you get into the meat of what bird is playing, the star of this album,

it is some of the greatest, again, revolutionary kind of music of this time,

that nobody else could do with this time, like, nobody else is playing like this. Nobody is at this level. And some of the, well, we already heard some of that, like, with dizzy and stuff, like miles, like, some of the best ray brown, like, it's not, this is not to be like, oh, they're fun. I mean, you've got the A players. Right, right now. But he mentioned a busy, the battery for this time. Yeah. And dizzy, the last thing was doing revolutionary things

with a trumpet with him, but Charlie Parker, even if it's just a small, like, he's the A-ploss. Everyone, you know, um, not that, not that we're rating. Let's talk a little bit about Mitch Miller. So Mitch Miller is playing O-ball on these first six tracks from the, from the 1940-9 sessions, and he's on the album cover, which is strange. It is weird that he's on the album cover. There's

“a controversial figure in not just the album, but I think, uh, after this as well, he was the”

head of ANR for Mercury, the album that this label was on. Yeah. And then ends up playing O-ball and I'm not sure how that happened, but it is, you don't hear about that every day, that kind of

circumstance. Yeah. And I always, I don't know, even going by the way to be right after this,

the head of ANR Columbia, which is a huge, huge career. And made amazing records, but it was quite an outro like that. Yeah. And Tony Bennett, but it also was controversial there. So natur, I don't think there's some quotes about him, not really liking the material that, that they didn't, you know, they bought it heads. That he wanted to go more slucky kind of tunes. And, you know, so natur was like, well, though, he did it. He did at least some of it. And felt like

that was part of his fall off during the Columbia period. He attributes that to Mitch Miller. The only great, I don't know. I mean, the biggest grace that I give Mitch Miller on here is that

“I believe that Bird did have a vision for this. Yeah. And so if this is what Bird won it on this,”

I'm happy that it happened and that he got his vision fulfilled. And if Mitch Miller was part, he must have been part of making that happen, doing it. Yeah. So I mean, obviously Norman Grant, I mean, Norman Grant just had great tastes. No, everything I've seen. That's not understood.

and percentages. There's some things I've heard, but I mean, all I can go on in terms of seeing

“what it did. But I do want to just shout out because you're right, working with amazing artists.”

It's whole career. Yeah. I mean, I know Elef is, I mean, she, he worked with Elef is Gerald Managing, booking her, doing her whole financial thing. Everything for her entire life. Yeah. And, um, but I just wanted to mention, because you said about Norman Grant's with life, the Jazz of the Philharmonic and that great series and everything. And, you know, 1948, there was the Benny Goodman at Carnegie Hall. It was like a watershed moment as far as like jazz, you know, getting starting to get

it to do. I mean, this was a very controversial period. This like at post-World War II period, even in New York City, one of the most progressive places in the United States, pre-civilal rights movement. I mean, beginnings of civil rights movement for sure. But, you know, a lot of African-American

“GIs coming back that fought for a country that that were marginalized, not just in the deep,”

I mean, the deep South of Jim Crow and just horrible things still happening, but even like New York and stuff. So, with jazz, like jazz, and then bebop in particular seems to have occupied the space late 40s, early 50s, up to the mid-50s, and then you get into the Miles Davis, super-started period in Sunday. Ronald's in all this, but of like almost, because of different things that happen, television appearances, and stuff, integrated bands, which still wasn't happening a lot of the

part of the country, bebop and stuff was a real breakthrough in that. And so, a lot has always

attributed to the Benny Goodman with his great band, an integrated band going into Carnegie Hall in 1948, as it's met like jazzers arrived, and it's a civil rights moment. Only it could happen in New York City, and the USA is turning the corner on this and everything. But, 1947, in the Carnegie Hall, gentlemen by the name of Leather, Leonard Feather, the great world. What a name. Yeah, Leonard Feather, great name. He feathered up his pen. He had a feather bow

up, put around him. Your Leather is feather, and he'll go with Leonard for the first name. The baby, Leonard Feather. It's a fun name to say, Leonard Feather, especially if you Leonard Feather. You lent a feather to Leonard Feather. So he presented, just go last week, Charlie Parker, Disneyland, his orchestra, Ella Fitzgerald, in 1947, a full year before, and a concert. There's some great pictures, maybe we'll put up some of those, they're a little bit hard to find, but it's

a very interesting period though. So Charlie Parker was like, on some of these big stages, these so-called classical, you know, kind of classical, snap-up, approval thing. And then what's

“the thing about, do we want to get into the Stravinsky thing now, or do we want to save that?”

Get into it. Okay. Ninety-fifty one, Leonard Legend, goes Parker was playing at Birdland with a club famously named after him, that he got banned from for morale. When he learned Stravinsky was in the audience. Of course, a great composer, Stravinsky, Parker calls for the man to play the ridiculously fast aforementioned Coco. Yeah. It's you've shared with us Charlie goes into a solo and casually inserts the beginning of Stravinsky's firewood's Bird Suite, which is not that,

and it's not hard, it's not easy to throw anything to the beginning of Coco. Yeah, the quoting firebirds hit that in Coco's is damn impressive. Yes, Stravinsky hearing this starts pounding

the table so hard he knocks his glass open. Amazing. Wow. Amazing. Well, let's move on maybe to another,

speaking of Stravinsky, who was a 20th century classical composer. Yeah. There is a song that next song on the album, in fact, that was written by one of Stravinsky's contemporaries, contemporaries, or competitors. Well, you'll be ready. Amazing. So that's the heart. They give it a little. They give it a little. He's very similar to the reason. Oh, uh. George Gershman's summertime, of course.

We don't play that part of the album. So good, man. .

What are my favorite parts about this album is how much melody there is? Yeah, as much for as much

amazing improvisation and the B-bop lines that we're getting from Charlie Parker, which I don't know if

this is controversial, Peter. Is this his best playing? I mean, is that hot day? It is worst. This

“might be his overall. I think for his, it's the most easily lovable I can say of his playing. It's”

like, it's like a big piece of apple pie or something. It's just so good. Yeah. But it's not like a sugary apple pie where you get sick afterwards. Like you can keep eating it and it's very nourishing. So it's, I mean, I wouldn't argue with it at all. I mean, and I think because of the width strings, even though like, you know, it does have different iterations and it jumps years with the different sessions in personnel. I think that frames it in a way that feels like

an album for Charlie Parker in a way that none of his other stuff. The early stuff is great, but it's all like put together singles and we've heard him in a lot of like, I used to have cassettes. The first Charlie Parker I had was that. Remember the thing that was like, Walkman cassette or something with that weird series? What was it called? I can't remember.

“Anyway, not something. I'm not that old. What did you know about the bad cassette?”

Let's say, don't you still have that in your car, man? No, but it's like, wherever we first, how we first consume these songs and in the order, you think, all this is the album because we come up in the time of albums, right? But none of that stuff. Those were all tracks that were that were recorded. And then, as you said, put together separately and then paste around and sold. And now it's just a hotspot. But this does have the feel because you have that unifying

factor of the strings and the rhythm section. Shoutout to these first six tracks here on the first sessions. It is, they are arranged and conducted by Jimmy Carroll. Okay. I just want to give

Jimmy a shoutout because these arrangements are incredible. And that's summertime arrangement is so good.

Just like little details you can hear. He's really, he's really bringing it up. And so this speaks to like the time that I came up and a little bit of the time that you came up as being a wonderful time. But also, you remember when like disinformation used to just like fester for months and years, because we didn't have a little device to check anything. It was kind of an exciting time, though. Like so I had it in my mind because when I first heard this, when I was getting to Charlie

Park and I remember getting that because, no, that wasn't the cassette. I got this on the album, actually. Okay. But it was a repackaging thing. And I remember my dad was like, "Wait, who is that?" And he's looking at the right. He's like, "Oh, Mitch Miller." He's like, "Ha, that's funny." He's like, "He doesn't sound good on this." And I said, "Well, and then turns out my dad had worked with Mitch Miller a little bit as Mitch was conducting."

Yeah, that bill was built and St. Louis Symphony didn't work with. And that's not why he was saying

“he didn't sound great. I think it was more of a comparison to his improvisation as we heard right”

after Charlie Parker. It's hard to sound good after that. But I always had it in my mind that like,

"Oh, he's was the arranger and the conductor of this, so at least he has all these, you know, that connection, but I'm glad to know Jimmy Carroll now." Jimmy Carroll. Yeah. And just crushing this. But there were these two sessions. So like I said, this one did really well. And with Norman Grant's, if something does well, he's going to do it again. And again and again. And he did. They did like to return to the well of greatness. That was his love to go into the well.

I mean, hey, we're no stranger to it here at the other broadcasts. Let's be honest. How many Stevie Wonder episodes are we going to do? I hope for filling this for us for now, like coming soon. I hope dozens. I hope dozens. But they made it. They made another album or not. Even, I mean, this is an album. It's eight songs. In 1950 the very next year. It's a different sessions. I couldn't actually find out who is the conductor arranger on this session. But it's

the same rhythm section of Ray Brown and Buddy Rich on the bass and drums respectively. But the different piano player is Bernie Layton on piano. This is from that session. This is out of nowhere. Do you have the difference already? Yeah, yeah. I have a recording. Not a niche melody. Yes. I couldn't find the interface on the arranger for this session, but it doesn't sound much easier.

Already a little more seropied. They're my got more strings here. And it's a housewriter. It's such a sound. Oh, so good. I made easy even the loser on this.

So, man, it's like Charlie Park is right up on the mic. Of course, beautifully. Everyone else is like

“in the corner of the room or something. There are some more about the piano on both of these.”

Bird one at Bud. Bird one at Bud Powell. Bud Powell was, nobody could find him around this time, because he had gotten a fight with some law enforcement officers who were getting a fight with Lonious monk. This is like who knows if how true this all is. But this is the lore and he wasn't available for this session. He would have been a good call. He would have been a great call. Not that

you know, no shade to stand or to Bernie Layton there. But it's a tough call. Yeah. Like,

you know, going toe to toe with Charlie Parker. Yeah. We've been interesting if Bud Powell would have been on these sessions. Sure. Hey Peter. Hey. Hey Adam. We keep seeing in the comments. When are you guys going to release an album? We have two. We do have two. We have sparks. And we have groove adjacent. They're both available. That's not the names. It's I sparks. And I I groove adjacent. Those are Roman numerals. Oh, sorry. Yeah. Okay. One sparks. Two groove

adjacent. Got it. They're on Apple Music. They're on Spotify. They're on YouTube. We also have a tracks YouTube channel where you can list all of these. You can check out the links in the show notes. And you know, by the way, we do have our own version of Just Friends at the end of this episode. You can check out. Yeah. Oh, Pistutium Music. Back to the show. Okay. Peter, what do you want to hear? We got Laura. We got East of the Sun. Let's hear East of the Sun. Laura or Laura. Laura. Laura. I mean,

from South San Luis of Laura. Laura. Laura. Laura. Laura. Jeremy. Jeremy and Laura. It sounds like my uncle Frank. Oh, man. Eminently, imminently, lyrical birch play. You can hear everywhere. Oh, my. Yeah. And you're

“everywhere. I mean, I think I knew the words to this, but now I remember them.”

Oh, French. Over sees action there. A little chip down on here. No, not French or French crush. What a melodic. A bird on the alto. Such a vocal lyrical kind of French horny cello. Yeah. His sound here is even warmer than before today. His intonation fam. Where we in Istanbul now for a couple of, couple of ours. What's going on? Marques. Kutomail.

That's like this groovyness.

“Yeah. I mean, I really think birds like, um, you know, he was known for being such a great”

double time player, having so much facility, stevative. And by double time, it's like, here's the groove, right? And so he was boo, boo, yeah, that's the regular bit. Stevative and divative, that's the double time. But like, I think as good as that was, it was his ability to slide it in an out of it

with cool stuff kind of in between there. It was never like, but it would never, like a machine,

you know, it was always like, boo, boo, boo, boo, boo, boo, boo, boo. Like, man, such innovative ways of getting in and out of it. These relaxation and lyrical, like you said above all. And there's, he's never that far away from the melody or the blues. Now, it's all right there at the surface. I think when he was doing these sessions, I think he sent, sent, sent an intention for his

Same more. To kill it. Oh, that was killer. Yeah, it was just a common killer. You know, I'm saying less. Like, you can just say medium amount. No, I mean, he's just like, he's got that intention. Like, there's the spontaneity, but like, I don't buy this like, oh, he's a crazy savage genius. He just put a hornet as mouth and he can play it. That's bullshit. It was like, but it's also, like, he, he knew how to take the intellectual command. Like, if you know music, you know how hard

to stuff and how revolutionary it was at that time. Even, even today, if you come out and play like this,

people can be like, you know, but then like he had the beauty and the soul and the sound with that as well. It's a very sophisticated thing. And you could be like, well, he was super talented. He was. But then, but you could also be like, he's super like practice the whole bunch. So that can come out sounding a certain way. So it's like he's a taste maker of his own playing and stuff. So he's able to put this together, respond to the situations play. I mean, this, this stuff

is hard to navigate while those really thick arrangements. There's only like two or four bars on most of these arrangements where it's just the rhythm section in him. He has no problem with that.

But he also has no problem getting in between the other stuff. Like, he was the ultimate like

listening, as much as he's playing, like, he's listening and seeing how his thing could fit. I mean, you've played a bunch with strings. You know how it is when you get in a live room with an orchestra like this, he has a smaller orchestra. It's intoxicating. It is. It is, like, you really are feeling the vibes. And I don't mean that in some esoteric way. I mean,

“literally you're feeling the sound vibrations all around you. It's intense. I remember the first time”

I was on stage with the St. Louis Symphony Orchestra. I thought I was going to have a panic attack because it was show. I was right in the middle for a pop show, right in the middle of the violence. Right. And it was so intense, just like the feeling of being surrounded by all these musicians in the sounds that they came in. It's like running and like you're by yourself right into a gang. Right. There's like eight of them or ten of them. They've all got violence. Oh my god.

There's another, that's just the violence one, right? The violas are who you got to really watch out for. Right. Man, on your wallet. One shout out on this whole album, too, is they picked bang or after bangers. So here's the track list of between both these sessions. So just friends.

Obviously. Yeah. Glovers no more. Everything happens to me and incredible song by Matt Dennis.

Actually, it's, it's a crazy good song. The lyrics of it are, are wonderful. April and Paris, summertime. I didn't know what time it was, which is amazing song. If I should lose you, dancing in the dark, out of nowhere, Laura, Laura, Laura, east of the sun and west of the moon. They can't take that away from me. Easy to love. I'm in the mood for love and then it ends with.

“I'll remember April. It's a, that's a great, which I think was actually the first,”

was the, the last of the first one I remember. I was so sorry. I was so sorry. , I think it's, start to the album. I think it's, start to the album. Yeah. I think it's a very period-specific thing. You don't hear even in, in the context of instrumental recordings. The obo used as much, as much as even like the clarinet or the flute you would today. Right. Obo is, I don't, I won't say it's, it's a lot's favorite, but it was definitely

more popular, yeah, as a melodic device. Like, if you listen, when you listen, soundtracks, these old movies, almost every, I know. Was there a certain, wasn't there a certain, I was joking around with hearing, like that was kind of what you were putting into, put to my oysing, put to my oysing, that sort of sound there maybe. Maybe there's, there is some of that, of like the sort of like, yeah, exoticism of sound. Yeah. Yeah, here, you know, the thing that strikes me about it here

is, as an interesting choice, is it's close to the elthosized folk in both range, right, and in the tomber. I mean, obviously like not in terms of number of reads. That would be a double read screen. But isn't it like, like, what would this sound like if they would have chose the cello as the, the, the, the, the counter, counter,

“or the velgorn, or the, or clarinet or some other read. Yeah. I think, or even a bassoon, which would have been”

in a different range. Right. What do I mean? Right. I do think that's interesting that they chose on most of these songs, the counter instrument is in a similar range. Yeah. And it's a little bit more

interesting and you're speaking lovingly, somewhat lovingly of it. I will note when they're, yeah, but when we get to quibble bits, it's possible that this instrument may show up in both of our assessments. But I digress. Um, I'm pretty. Well, let's get to our categories speaking of them. Desert Island tracks off of this. What do you got? I mean, just friends. Yeah. You can't. Which is the last track on the

original. And I think was the first track on here. And I just think that, yeah, I, it's going to,

it's going to come up again in the apex moment. So I'll wait to tell the rest of my story. My Desert Island track is summertime. I love the arrangement. I also love the tune summertime. I know it's overplayed at this point. Everybody from it. Maybe the strongest, like, composition and track and so, and everything, certainly the bluesiness on it. I'm still a sucker for it. It's so great. I love it. I love it. I mean, it's probably a little bit stronger of a song than just

friends. I read though that Charlie Parker apparently loved just friends. I was like his favorite

“standard. Well, you can hear it in the way. Yeah. So maybe that's what pushes it over the edge for me.”

I think it's a flawless solo, too, which is very rare that you hear so many notes. Well, I think this is going to lead into our apex moments. What is your apex moment? Well, at one 21 on just friend, kind of the second of his whatever three or four solos went. You know, when it, when it, after the Mitch solo, so, but when it transposes up a little bit. Let's hear it. So, I'm going to jam a channel there. Yeah.

It's crazy. This. Oh, man. It's so weird. Oh, my god. That's great. And then back to life. Don't wait little things. Pull back. Pull back. Every phrase perfect. Every phrase is perfect. And crazy. Like, very. Yeah. So, I mean, I realize that's like

a lot of apex moments. But he kind of, he jumps back in there. I mean, the earlier solos better, the later stuff. But like, that whole period there, it's just like bang or after. And it can kind of be like, ah, that's too much. Somehow he pulls it off. He pulls it off. He pulls it off. My favorite part of this

“whole album. My apex moment. The moment that I think about when I think about the album is the”

intro to April and Paris, and then when bird enters. So, this is like the most epic one or two times. It's like everything I love. Say, you know, I write for strings. I fan some of myself with the nice, nice pops, orchestra writer. I like to write pop stuff for the orchestra. Lock it up every now and then. But he don't tempt me with a good time. Because I will block the hell out of that arrangement. That's a good slot. But I love that stuff. Man, there's old Hollywood strings. Like, we were,

we were having lunch with our friend Sean Miley, who plays at the St. Louis Symphony. And they were doing, you know, they do these orchestras now. They do these programs where they'll do a film. And the orchestra will play the music to the film. And they were playing the music to Wizard of Oz. Yeah. That stuff is written so well. Those string parts are written so beautifully. And this is among my favorites of that era. You know, I totally agree. And I think it's like,

you know, when we talk, we were lovingly talking about Slack. We don't even actually know the name of the word. It's a sounds fun. But it's, it's this idea of like, when you write something so Hollywood so typical. But then you just own it the way the string plays every one of them. And this is a small string. Like, you can hear the individual player. Yeah. But they're just like, they're just like digging in. And then when bird comes in, it's not more than two people apart.

Probably. Yeah. It's amazing. Yeah. It's like, it's got, it makes you think of the Hollywood

fountain coming out of the swimming pool. But it's like, when he comes in, he does something very interesting. He doesn't like, the obvious thing would be like, where did it? But he comes in in time. Back at a good time. Yeah. It's like the pickup. It's like, step at the path at the so sophisticated. It falls into the party. Hey, how do you do it? But it's so charming. It's very,

“very unique. The great call. Great call. Thank you. The spoke playlist title. What do you got?”

Rugged individualism. Isn't that a colon from the 80s? That's right. By Dracard Noire. No, I mean, I might even pull back on the, I mean, my thinking on this was like Charlie Parker really like, I mean, it's, this has been really good for me to listen to this. Because I used to

listen to this so much. I always felt like Charlie Parker just like carried this whole album.

I mean, obviously he does. Like you take away Charlie Parker from this. And you give everyone those solos to Mitch Miller. It's not going to be the same thing, right? Um, I mean, this is a feature for Charlie Parker. Yeah, it's a showcase for his teammates. Right. But like you find these different moments where like the orchestra is just killing it. And the ranging none of it's like groundbreaking necessarily the way the Charlie Parker, but that's more like it's supposed to be.

Yeah. But I, but I do think I'm, and the rhythm section playing is so strong. But anyway, rugged individualism. I have music snob, cafe jazz. You know, this crazy stupid AI jazz playlist that

want like we're starting a cafe, but we're all, but it's in, it's in like Queens. And it's, it's occupied by nothing, but like 19 year old hipsters. This is their Catholic jazz. I like this might actually. And it's Japanese jazz only. Right. There's nothing recorded in the United States. Okay. Here we go. Quibble bit. Okay. Quibble bits. Um, the Obo, the English horn, and the back to the Obo again. I feel like this is an Obo. It's just, it's so distracting. I mean, look,

some of the Mitch Miller's solos, which we didn't harp on here, because we, you know, when they go, when they, when he plays high, we go low. When he plays low, we play high. Well, not usually we do that. No, but that, but the idea is like, yes, there's the element of, well, how, I have everyone's, no one's going to sound good playing after Charlie Parker. I would say, see above, uh, Stan Freeman. Stan Freeman? Uh, is that, yes, Stan Freeman on piano, who, who held his own.

So I just, yeah. I mean, those, but I'm, I, my, my, my punching down to, to, to, to well-tread territory to say that these are not great Obo solos on here. Obviously, Mitch Miller from what I'm

“here was an amazing Obo player in the classical field. I'm both Obo's, I think sound, sound great.”

It's just, like we said, like, yeah. It, it is a little, it is a little distracting, because it's so close to the alto. I, I just slaughtered you. I know, it might be. But, um, you know, my biggest equivalent, honestly, I know I have here. No, but, no, it's, I want you to, I wrote it here, just because I know Peter's feelings on the Obo. I put it in my covalent, not in the Obo.

I love Obo, first of all, let me just say that. I love the Obo. It's a beautiful statement. No,

I put it not enough Obo, which is, that was just for you, but more cowbell. But, as I'm listening to it, you know, I realize, especially the first session, the first six tracks with these kinds of arrangements that Jimmy Carroll did, right? These big, beautiful arrangements with all of these like diminished things that are happening inside the chords. If this would have been instead of what I'm assuming was like a 12 piece orchestra of strings,

or maybe 10. Yeah. If this would have been 25 people, you want to up the budget, my friend.

“I think Norman. Yeah. Let's up the budget. Or maybe Mitch. Mitch was the A&R guy from”

Mercury. Up the budget on this. We know what he's able to come through. Maybe, let's get some string players in here. Let's get a real session of a real string orchestra to do these lusher arrangements. And you can hear it on the second session, it's not as much as even I would let's say that. But it's better. It makes the arrangement sound better. That's a great take. And I mean, it really would have been different. And I think, you know, sometimes we have been

nostalgia and the connection with like, oh, everything's perfect. This is not a perfect record. I know we throw that term around. I said that I thought like, and I stand by that, that at least on, actually there may be other tunes, too. But I think that there's not a note that is not perfect at Charlie Parker plays on just friends on any of the solos on that. It's on any of these solos on that. Yeah. It's not that there's not different choices that you could make. But I mean,

it's just like, like, each one is chef's, chef's, chef's, chef's. Whereas the arrangements, the, some of the, you know, these other things. Like, there's enough other stuff in this record

where you're like, as a whole. And it's always a group effort. Right. This is, it's never just Charlie

Parker playing alone. But he elevates this to the point where some of these other, these whatever quibble bits are that we aren't talking about kind of fall by the wayside just by his, his, the massive artistry that he brings. They are just bits. Yeah. Yeah. It's a mobiter. What do you got? Well, okay, I'm going to say what both of ours are. Yeah. Because I have a quibble bit with you. I have a five. Okay. And you have a four. Right. Tell me the difference. And now you famously, I feel like you're

going for, because I, when I go high, you go low is what you're doing. I mean, it's one degree. Thanks. That was not one degree. It's just, they ever see that this one goes to eleven. And it's like, well, you just make ten eleven. Oh, you afraid to go five. Because clearly, I'm not afraid to go five on a thermometer. Slightly afraid to go five just because I know you're going to go five. And so just to be a little contrarian, I want to go. Okay. There, you admitted it.

So, like, by the way, I've, like, do you actually, I sell this? Oh, gee, I'm less sourced. But do you think that this is a less, but you know, what did you think I was going to put on this? This is a classic five. Is it? Is it is? What's, well, what the, forget it. Okay. Okay. Um, so you think you think this is the bottom. It's been broken this whole time. Yeah. It doesn't work. And we still do it. And I love it. Well, talk about things that are broken better than kind of blue. Oh,

I love your answer. Yeah, it depends on what you like. But then, could that just leave,

you know what? Here's what I mean. Let me put that every week. Then, because that's always

going to be depends on what you like. If everything is subject, there's nothing is subjective. Here's where I'm conflicted. I think overall, Charlie Parker's playing on this album is better than any of the playing on kind of. So you think this record is better than kind of blue. I don't know.

“Because that's what the question is. It's a hard, this is a tough one. Is that a hard question?”

It is hard for me to answer. Let me help you. Yes or no. It's like we're in Congress, you know? Yes or no. Is this album better than kind of blue? As an, okay, can't do it. No. Although, no, it's as an album as a work of like complete art, it is more inconsistent than kind of blue is. Well, depends on what you like. That's what I'm saying.

this might be for you. Yeah, this, I mean, I would agree. By the way, they're both for you. They're like, no, it's a stupid category to begin with Peter. I blame you for it, by the way,

“because we shouldn't be comparing art like this. No, no. I think it's just too awesome. Is it better?”

You know, and I think what, look, when we talk about kind of blue, that immediately puts it into that category of like, inner vision. Yeah, yeah, yeah. So these records where you could be like,

is this, that everything about it, the production, everybody's playing it. No fantasy. You always put

maybe on this by the way. But I understand it on this one. It's hard to listen to just friends and then be like, anything's better than this. Right. What do you mean? Like, and you could say like, just friends, minus like 15 seconds, if you took it away, did that make it work for them? No, no, no, I'm just saying, like, like, you really, whereas kind of blue is sort of, is it kind of blue's famous as being like, there's nothing you need to take away or add to it? That is a perfect element. Yeah. Now,

so people might be like, I don't like multiple jazz. I don't like it's boring, whatever. You know what? But if you like that kind of thing, it's very hard to find fault with it. It's a well-balanced record. This record is out of balance, but that's part of the beauty of it, and part of the artistry of Charlie Parker. Like, he's going to push almost anything out of balance. It's also, you know, it's weird about it about Charlie Parker strings, that one of the strange

things I find about it is like, like I said, it is his best playing. Yeah. These incredible

beautiful melodies that he's playing, like, like, just pouring out of him. These unbelievable bebop lines. But it's like we said anything. I agree. It is his best mind. It's not really a bebop album. No, we're not just listening to Coco. Right. This is bebop. To put your beret on, get your marriage and want it. You're very good. Okay, that's just straight up, stare it. When we say that like this is best, that doesn't mean other things. This might equal it.

I can totally make an argument for that. So, like, the best can be, like, there's the best Charlie Parker. That's a bunch of tries. Not everything you recorded. He had some, some dips. Yeah. But it's like, once you're in that top Charlie Parker category, and he just somehow sort of stays in that on this record. He does. Which is really exciting. Yeah, he's so pretty amazing. For better than K.O.B. Not the belabor of the point. I have, we'll ask me the question.

So I can answer it. Is it better than kind of blue? It's highs are. Yes or no. Damn. Well, that was a pretty good idea. The best, like, the, the heights of this are, but the lows kind of pull it down. I don't know. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm not the lows, but a kouture moths. I mean, I have seven because, I mean, this is a little, I would have said lower, but first of all, it's very hard to say, like, what's the original

“one, but this is the closest, I think the red, I think the back is great. I think the front is so,”

super well balanced. I like the colors. So I don't understand the, I mean, I understand he's the ANR guy. This takes off some points to have Mitch Miller so prominently. I mean, Charlie Parker's bigger, but it's a weird, his horn in between his legs. I'm not totally sure. I don't think this is the 1949 original one. Okay. The original one is gorgeous. It's just got birds. This is a six. Yeah. That's just the six. Yeah. I don't know. I thought I thought it was summer time. Maybe it's the

second one. This is what I'm saying. Yeah. But that one, not this one. This one is a six for me. Okay. It's okay, but the pictures are, like you said, the illustrations are weird. You got double M on there. But look at that picture of Buddy Rich and Weber. That's very cool. That's very cool. Very, very, very cool. I mean, that is really good. That picture of Mitch Miller on the back. That's killing. But the other one, with just the hand drawn birds, I think it's really good.

Yeah. Oh, that one. Yeah, I'm going to show you something. What do you got up next? Um, I'm next. You know what, I'm going to go a little, a little, a little. Oh, my gosh. Yeah, I'm

“going to go a little bit. Well, once you do yours first, I think mine's more of a departure.”

I agree with Clifford Brown with strings. Obviously, it's, it's, it's obviously a great. It's straight down the middle. Yeah. I mean, that would be an inspiring, like, that's actually one of the only things where there wouldn't be a dip. Now, whether you're not, you could say Charlie Parker, but you know, I'm saying like, that is an inspired record. As I'm saying, and it's kind of a boring call, but it's a great album. Yeah. I don't know. You just great. So I got Hot House Flowers

by Went Marseilles. That is interesting. Yeah. Because it's different, like, I feel like Clifford Brown with strings is kind of close enough to this that you won this category. That's a great, I would say, I would say, I say all these, but those three, oddly enough, I think Hot House Flowers is one of my favorite Went Marseilles records there. I said it. And I, look, I want to just say, that bestermanist is favorite. Oh, I'm just like this out here. I don't hear people talking

about that record. I know we can do this. I know this is good taste. You don't hear them before this. I knew that. But I mean, Kenny Kirkland's playing, oh, my gosh. Killing that, Went and playing, like, and, and I think that because, like, you know, I was, I said some stuff. I didn't think was that controversial, but a couple of people picked up on the Grammy video. I just did. Where I said, think of, I was comparing 1980, four to 2026 Grammys, and Went and One for Think

of One that year. And I kind of said, like, this is not his greatest album. It hasn't really stood the test of time. I think Went and's playing and his bands and his records during that period. Like, the next year, Black goes from the underground. And then, I guess, one year later with Hot House

Flowers, incredible stuff. That was my only thing. But of those three, that's not your favorite.

I mean, either Black holds or Hot House Flowers. Yeah. But I'm thinking string, you know, like, for a string of things, I think you can go from this, which is saying a lot to that incredible arrangement of Went and's playing, Kenny Kirkland. If you love this album, go check out Hot House

oh, this is 80s. This Went and Was a Real No. It's, it's cool. Real Deal. It's cool.

“Awesome. Man, this was cool. It's really fun. Do you read or do you just listen?”

Uh, I try not to. Oh, okay. Well, if you did, you want to check out something called

you'll read it. That's a letter letter. Yeah. Yeah. You don't worry. It's not written by us.

It's written by professionals. Yeah. By producer Liz. Yeah. And yeah, go check that out.

“You can go to youillheard.com to sign up for that. And then we're going to spam you.”

No, we're not. Peter. I'm sorry. We're going to say you helpful things.

There you go. Until next time, you'll hear it. You'll read it. [Music] [Music] [Music] [Music]

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