Hey Pete.

Hey, Adam.

If you could step on the toes of any guitarist in the history of jazz, who would it be? All of them. All the toes? Yeah. Thank you. I'm Adamanus

And you're listening to the You'll Hear It podcast for some reason

Bad daily jazz advice

No, no that was I didn't even mean that I was just trying I got caught up in the witty banter part of it

That's so funny, man

Hey so we made a promise Yes on's podcast. And we've broken many promises, so why stop now? We made a promise that there would be a bonus ultimate tip if they tuned in tomorrow for set lists. I mean, that was all the way yesterday. How do I remember? I still got the same clothes on, but I don't remember that. You still got the same spritzer. I mean, it was literally two minutes ago in our world here.

So what was the ultimate?

Okay, well, we were talking about, you know, I thought we broke it down pretty good, but so we had to go next level. We had to wait overnight on this one, but talking about how to put together a set list and some different modeling ideas, some different techniques. And the ultimate, ultimate tip for this that I got for y'all, y'all hear it, is, hey man, I'm flexible with my accent. I'm international. Is to listen to great albums and think about them as a set list. That's true. Okay. Of course, the classic kind of blue.

We've never mentioned that on this, but you might want to check.

If you can find it.

Yeah, yeah, yeah. No, but I mean, a great album is a great set, actually. And so the same things we were talking about learning in terms of flow of the set, the openers and stuff. now especially when you go back in time to a time when people were listening to albums sequentially, and, you know, I still do that. I don't know if anybody still do that. You know my favorite is probably of this? Saxophone Colossus. I think that's a really well-programmed that's a great set. And then, of course, albums that are live recorded, that's a no-brainer. Because they actually are sets. But I mean, there's so much we can learn there, so much great modeling from that.

So today we got a bit of a two-part question on SpeakPipe. You can go to you'll heara.com to leave us your voice message.

Yes. And this is from Kyle. Let's check it out.

Hey, guys. Kyle here. I have a question for you about decision making during my improvisation in a way that

doesn't clash with what other musicians are bringing to the table, you know? And I'm thinking more

about like harmonic information. So let's say I'm comping as me as a piano player, I'm comping for like a horn

player that's taking a solo. How do I go about making good decisions, you know, in a way

that I respect what he's providing me with, harmonically speaking, but also in a way that I can still be bold and creative,

you know, trying to spice things up a little bit with my own harmonic ideas.

How do I make the best out of those, you know, different harmonic ideas, mine and his?

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