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 talk about how to save a solo that heads south.

Like when your solo takes off to Miami?

Yes, well maybe even further south.

Like Bogota?

Yeah, all the way down, Antarctica.

Oh, boy.

Right. Wait, is that north or south?

I was forget.

It depends on which way you had.

That's true.

That's right.

How do we know where we've been if we don't know where we're going? That's right. Yeah. Okay. So, no, so this is the, the, the, the, the, this, you're playing and things are going good and then at a certain point, you know, depending on how cutthroat the club is, like people are clapping, but then they're reaching for the tomatoes and they're about to throw them at you. The solo's gone down. You lost them. Maybe you lost your concentration. Maybe, God forbid, you pull out your phone while you were soloing and started to send a text to your girlfriend or boyfriend. What are you doing after they get? Hey, don't judge. Don't judge. Yeah, you lost your concentration somehow. Or, you know what, you just started screwing up. Or maybe we could blame the drummer or the singer. We love to do that. But something happened, your soul is going south. What do you do? Well, the first thing you could do, and this, I love the way you described this, Peter, is to play some bluesy stuff.

No, but actually, this is really great advice, because you can never go wrong with the blues.

That's right.

When you're playing jazz, the blues will always save you. It is the most definitive thing you can do to relay emotion in this music is to play the blues and understand how to use it.

And I feel you on this because when I think I'm losing an audience, I start playing the blues and all of a sudden I see people are with me.

And that just goes to show you the power of the blues.

Right, right. And I think it's, you know, it's a little bit of a, a crutch. It can be, but it works and it's good. It sounds good. We enjoy it. We enjoy listening to it. Absolutely. You know, it's like, you know, a chef that you make a dish and it's really good or you think it's going to be good and you get to the

end and you're like, ah, it doesn't quite have that, let's throw a stick of butter in there, no matter what it is, and whisk that in there. We're going to Pauline this thing until it's good. So, I mean, hey, nothing wrong with that. I mean, Paula Dean, something wrong with her. The technique, nothing wrong with that.

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