I'm Peter Martin, and I'm Adam Manus.

You're listening to the You'll Hear at podcast.

Daily jazz advice coming at you. Today we're going to give you our favorite left hands. What the hell does that mean? Man, I'm reading the, we're trying to get organized and have this. Not a script, but we got titles at least that's what it says yeah what

do we talk about left hands on on piano on pianos okay no this is good this is good okay cool um

first of all my favorite left hand is mine because i use it every day actually you do have a really

good left hand well i didn't want to are we starting there yeah no we'll get we'll get to number one

listen to Peter Martin.

Oh, wait.

Okay, so I'll kick it off then, I guess. Good. We'll go with Art Tatum. Can we call Art Tatum the Great Art Tatum? Well, for sure. Let's just call him Grart Tatum. Grart Tatum. His great should just be part of his name. Yeah, I mean, his left hand was I. I mean, if you think his right hand's eye, then his left hand, it's basically the same.

No, I mean, his left hand was I. I mean, if you think his right hand's eye, then his left hand, it's basically the same. No, I mean, this is like one of the greatest left hands, you know, ever, really. There was no difference between his right hand. I just said that. Oh, yeah, yeah. No, really, like there's, but I'm reinforcing. Oh, it's like you're the right on the left. It's like there's no difference, we're the same.

Yeah, I mean, obviously, from Stride to, I mean, he could play so fast and clean with his left hand.

Lines that sound better than most people's right hand.

And then just huge 10th chords, massive 10th chords that felt clean. And I just never heard him here. You never

hear him play anything that feels bad or that clunks or anything. Right. I don't know how we did it.

And I think some of those those tents in the left hand, he would go in and out of having, you know,

like four note and even I think five notes. Five notes, you know, within that, but go in and out of it. Like, his arranging skills for that solo piano stuff, I think, are a big part of it. Like, it's almost like he had this huge, he knew he had this much bigger palette, technical palette to work with for the arrangement, and really took advantage of it, I think, in a very musical way. Because even like

when we talk about the left hand, it's not like, I mean, he could do the two-handed lines and

he would sometimes go into that, but it was mostly like independent things going on. Oh yeah, he would

be doing a line. He would be doing the melody of a song with his right hand. And then he's

doing these like super fast descending arpeggios.

Yeah.

Blu-l-l-l-l-l-l-l-l-l-l-l-l-l-l.

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