Hey Peter. What's up? Did you bring your umbrella?

Oh, no.

What do you do when it rains?

... I'm I'm I'm

I'm

the I'm Adam Anus.

And I'm Peter Martin.

And you're listening to this American.

I mean, you're listening to the You'll Hear It podcast.

Coming to you from Sheboygan, Wisconsin. You're hearing this, this lovely intro. I thought how he'd grow a beard.

Come on, like before the end of the episode. You're listening to this lovely intro music by

the one of the only Brad Meldow. NPR. This is from his, this from his album Largo. Come on, it's my day.org. Brad Meldow. NPR. This is from his... PBS. This is from his album Largo. Come on, dude. It's my day. Barack Obama. I mean, it's all things I think about when I hear this. Sorry. This is from Brad Meldow's record, Largo, 2002. This is from the opening track called When It Rains, and this is solo analysis Wednesday.

Yeah, buddy. Also known as Lawsuit Wednesday for extended play.

Yeah, hold on. I got to cut this for a minute. We've got to take about 10 seconds before

Atlantic Records or whoever was on this. None of it. I think. Solo analysis Wednesday leads to Wednesday leads to lawsuit Thursday Have you ever checked out Largo at all? Have you ever checked out the record? Yeah, I haven't checked out in a while And I actually forgot about that whole intro there You know, the beauty of how it's recorded But I don't know it like you do That's why this is your day This is my day. So I love this this is like uh i think this is one of his uh brad meldo is one of his like more this was kind of like when he he got a little more mature he was doing some really flashy stuff there in the late 90s and all those great like epic intros to all the things you all that stuff you know yeah and this was like a really this whole record actually was a very like, yeah, you know, I'm going to make some like pretty music. And that's what it's going to be. This one's kind of for people who aren't just like, woo heads. Exactly. You know? Like, this is for people that actually will pay for gigs and attend. And I remember hearing him around this period too and really when this record came

out my feeling that or hearing in in this music and what he was starting to get to confidence

yeah confidence in himself not to say that what he was doing before that and he's done different

things since then which has really gotten even more interesting and confident but it it was like, let me just, like, just as a pianist, be confident, yeah, I can do the bebop stuff. I can do the Keith Jared, and he was getting a lot of flack for just, like, copying a lot of Keith Jared Trial stuff or whatever, but he really started to find his own sound and just sort of double down on the things that he really does great as a jazz pianist. Yeah, so, I mean, the statement out of the gate here with that, you know, sort of chamber, that small chamber ensemble that kicks off the record, that tells you all you need to know about what's going to happen next, you know. And then the choice here of personnel, he's got Larry Grenadier on bass.

Hack, total hack.

Conman.

Absolute monster of the bass.

And then... And I mean, how great for this type of vibe.

...