I'm Adam Manus, and I'm Peter Martin, and you're listening to the You'll Hear It podcast. Today we're going to give you

seven great standards. You don't know. Now, you don't know me. How do you know I don't know these?

For the audience. Oh, for the audience. Well, we don't know you so if you know these sorry

we're both so accusatory and apologetic at the same time we're cocky on this podcast that's right

okay so these are well if you do know them good for you but if you don't know them shame on you

no i think the idea is these are less

jam session-y standards. These are more like, I mean, good jazz musicians probably know all of these

and have played them at least. So these are definitely some of like the next level standards

that you may want to get in your repertoire. Yeah. And actually, now that I'm looking, there's at least

one on here. Not only do I not know, I've never heard of, so.

Really?

Yeah, I think so.

Let's start out with I cover the waterfront.

It's a great tune.

Great tune going way back.

You know, a lot of times where, I mean, definitely a standard,

I always think about when I first heard Lewis Armstrong and got into some kind of older stuff, I was lucky because this trumpet player in New Orleans kind of hit me to a bunch of, like, I'd heard Louis Arns, I was like, oh, he's corny. You know, what a wonderful world or whatever. I was young and dumb. And he's like, you need to check these, you need to go back further and check these. I was like, go back further. Oh, hell's now. Yeah, yeah, yeah. But he, like, gave me a bunch of tracks like Dinah and I cover the waterfront. I got a right to sing the blues. And, you know, like, I really just, it just drew me into Lewis Armstrong. And then I started thinking about, man, this is like 1932, 1928, you know, the hot fives, the hot sevens, that stuff, and like really listening to the soloing and the phrasing of what he was doing.

Now, everything around him was pretty corny sometimes or dated. I shouldn't say corny. Yeah, yeah. But I mean, you know, how that's when I really heard how ahead of his time was and just got into his voice and his phrasing and started to really understand, you know, how much he laid out everything that we did in terms of jazz, you know, taking standard tunes and making them jazzy, quote unquote. I feel like I've heard this tune recently. Now, where would I have heard this? Well, it was on my mind because I played, yeah, I did it. It's funny, I just did a gig, and I hadn't played it in like 25 years or something. I recorded it years ago. It's a cool arrangement you have, though, with the trio. Yeah, and it was kind of, you know, Oscar Peterson, Oscar Peterson. Yeah, yeah. Oscar Peterson, you know, inspired arrangement and stuff. So that's a fun one. That's cool. Yep. So my first one, this is number two. This is the great Sam Rivers tune, Beatrice.

Oh, wonderful. Super fun tune. It's a short form. It's, but the changes are really, really fun to play on. And it's definitely become a standard in the circles that I run with. Yep. But I find that sometimes a lot of young players don't know this one, but check out.

No, and that's one of those tunes, I think, we could even have a list sometimes with, like, tunes

that make you sound better than you are. It's true. Yeah. If you just play the tune and kind of honor the tune and then, you know, meander around the melody and stuff, you're going to sound above your pay grade, which is nice.

It's a well-written tune for sure. Sam Rivers.

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