Okay, let's get to some questions. We've got some good ones here. Dan says, he was, he kind of mentions our play like a great series, which we started a little bit with Oscar Peterson, Bill Evans.

Just towards the top here, I want to get this up here.

Towards the top.

He says, does Kenny Kirkland have any cliche melodic devices, rhythms, chord voicings, etc.

Et cetera.

Yeah, I mean, one thing that just jumps out, I mean, Kenny Kirkland for a rhythmic device

is the, what do we, what do they call it?

Is it five rhythm?

You know, it's like one, two, three, four.

Oh, bunt, go, boom, bunt, where you're playing one, two, three, four, bong, bong, bong, it's called five rhythm, I think, because it's one, two, three, four, bomp, bong, p, p, p, can't.

It's called five rhythm, I think, because it's one, two, three, four, five. So bompon, bon, funk, can, can, pang. It goes into a cycle of five, even though you're playing in four-four, although actually you can do it in any meter, but you can learn it in four-four, so it's a cycle of five so So, like, if you were to go 20 beats, you'd be five bars of four or four cycles of the five of them.

Because they do, pop, bat, got, what is that called the helio or something?

Called Elio Alves.

Alves.

So that's something that he liked to do.

You could hear him in the comping, especially, you know, kind of, well, I mean, his, all the time

when he played it.

He brought it to just kind of everything that he did.

Then there's also the seven rhythms, which is like still bass in four, one, two, three, four,

one, two, three, four.

And these, like, actually were. four one two three four uh one two three four one two three four and these like actually work better when they're not in the actual meter like of five or seven they're kind of corny when they're in seven

so if you're like one two deep four five six seven one two three five six seven then it just becomes a clave

...