I'm Adam Manus, and I'm Peter Martin, and you're listening to the You'll Here at Podcast.

Today we're going to give you part two of our massive Mount Rushmore rechisling.

My shoulder hurts from all the chisling we did yesterday.

Are we sure we're ready to do this again?

Don't we want to do some kind of like list of seven crazy altered dominant cords? We can give these folks. Well, you remember the big problem yesterday. It wasn't even so much the chisling with your shoulder. It was when we traveled to the wrong Dakota because we didn't know if it was North or South Dakota that the darn thing was located in. Sorry folks. We're in practice rooms like all the time. That's right. Shit, bro. Okay, so yeah, due to our bad time management in yesterday's episode, we only, no, we were having fun with the seven jazz pianists, so we decided to split things off. We called it an audible because you'll hear it. And we're going to go with our Mount Rushmore of seven jazz artists.

So let's listen again because it was such a fun question from Dan.

Hey, Peter.

This is Dan.

I wondered if you could answer the question, you and Adam, what is your Mount Rushmore of Jazz?

So the four people you put on Mount Rushmore. And I'd like you to do it for jazz piano. So one for jazz and one for jazz piano. And you'll hear it. Thanks. Cool, yeah. I mean, this four thing has gotta go, Dan. You should, as a regular listener, you ought to know by now. It's seven or nothing, buddy.

Yeah, this is like the Chinese New Year with two is the lucky number, right? Yeah. Yeah. Okay. So let's start things off with, okay, I mean, when we talk about, I mean, this is going to be ridiculous, just like with the jazz panace, the errors of remission already are there. But it's fun to pick seven that we just got to make sure we got to get seven good ones.

And it's such a, you know, already are there. But it's, you know, it's fun to pick seven that we just got to make sure we got to get seven good ones. And it's such a, you know, so many great options. That's not hard to do. But I'm going to go first with Billy Holiday. Good call. Billy Holiday, I mean, you know, what can I say beyond? She kind of typifies the spirit of jazz and she's one of our greatest vocalist,

stylists. I mean, this doesn't even important to say one of the greatest. I mean, she's just one of the greats. Yeah. And, you know, as an, as just a pure vocalist, as an interpreter of wonderful

songs, as a composer, yeah, of just incredible songs, you know, an interpreter, her interaction, her improvisation.

I mean, it's just stellar.

And her influence on her peers at the time is something that's not necessarily super well

documented.

I mean, I think it is in one of her biographies, but musicians know it well.

You know, her influence on Lester Young and just phrasing and stuff.

Yeah, if you like the way Lester Young and Ben Webster, you know, phrase songs, that's thanks

partly to Billy Holliday and her influence on them as a musician.

I mean, really unparalleled as far as that, her ability to tell a story through phrasing

...