So, man, the next up we have Porgy and Bess, another Miles record, a way different Miles

record than Kind of Blue or anything else we'll listen to. Yeah, and I wanted to do this because this is one of those records that we always associate with, from a drumming standpoint, I think, of that great Philly Joe's solo on Go or go-go-go-go, whatever that is. Bab-dap, bop-bap, bap, da-tah, that iconic solo. But half of the record or a third of it or something is Jimmy Cabba and on this this is it ain't necessarily so right that's right I mean I love like the texture that he'd like I mean to me and going back to listen to this record I was like you know kind of blue like these Miles records they are so well Obviously, you know, this music and these arrangements and the sound of it.

But I mean, what Jimmy Cobb did.

I mean, it's like he's like the producer and the engineer, like the amount that he's just doing to the sound.

Of course, the beat and the groove and playing the tunes great.

Yeah.

But what he does to contribute to just the sound of this record, like he should have got a Grammy for being producer of it.

Agreed, man.

Drummers can affect everything

and good or bad.

Exactly. They can build or

they can be builders or destroyers.

And so just listen to how this drummer,

Jimmy Cobb, affects this classic

track from Miles Davis.

It's from Porgy and Best.

It ain't necessarily so.

It's like a sound scape. He's, putting in there. Wow. I'm I'm I'm

I'm

I'm

I'm

I'm

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