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

Welcome to the You'll Hear it podcast.

Today we're going to talk about whether you should worry about the jazz police.

Adam, should you worry about the jazz police?

You should not. You should not worry about it. Now, ask me the same question. Peter, should you worry about the jazz police? You should not. You should not worry about this. Now, ask me the same question. Peter, should you worry about the jazz police? No. And do we think that anyone should worry about the jazz police? No. Okay. So we could end it there, but let's just unpack, as they like to say, this concept a little bit. First of all, the Jazz Police, as I know it, can appear at any time.

They're like the FBI and the CIA and the KGB all wrapped into one.

They're always undercover.

They're always undercover.

But once they rear their ugly heads, you'll be able to identify that.

Yeah.

But, I mean, basically, the Jazz Police are people that say jazz is this, jazz has to

be played in this in X way, and this isn't jazz if it sounds like why. And I think, you know,

for me, it really just goes against the creative and boundless and fenceless nature of the music to even be thinking in those ways.

I totally agree. If you are always worried about what, you know, some kind of nameless, faceless entity that decides what is, isn't anything, you're never going to make good music.

What you want to do is take in as much knowledge and opinions and you want to listen to what people are saying about the music and what they have said about the music.

And then you want to do what's right for you.

This is a personal music.

And if you're trying to appease in a way that's not natural for you, the audience is going to smell it out way before the jazz police will.

So just do what feels right to you, and that will always connect with the audience. Absolutely. And I mean, this is the thing. When we say, don't worry about the jazz police, we don't mean just string together a bunch of random notes and play whatever you want without any attention to the detail of the actual rules of music. That's very different.

Right. So that's all based around, you know, playing things that sound good, however you're going to

do it. And there's many ways to do that. And that's what we're putting our energy and attention

into how the music sounds as an ensemble and how we fit into that. Well, and you can actually string together random groups of notes if that's your concept

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