Hey Peter, where is the bibliotheca? See? The I'm Adam Manus, and I'm Peter Martin.

And you're listening to the You'll Hear It podcast.

Very good jazz.

El Camo at you.

Now, why are we listening to Miles Davis?

Why are you speaking Spanish?

Well, just a little Spanish, and poorly, I might add, flamenco sketches. Oh, that's where the Spanish comes in. Nice. So you know how some podcasts might celebrate like their 20th episode? Should we celebrate the 20th episode that we've talked about kind of blue. Yeah, but we probably passed that 20 episodes ago. We probably did. This might be the 40th or 50th.

You know what? It's a darn good record, so I don't got a problem with that. It's a classic. Yes. And I don't think we've talked much about flamenco sketches. We usually talk about Freddie Freeloader or Blue and Green or something. Yeah. Well, this is solo analysis Wednesday. It is solo analysis Wednesday. And you were asking me what recording, or what solo we had last week was that great Brad Meldow solo. And I don't know why that made me think of John Coltrane on Fulmeco sketches. There's nothing to do with each other. Nothing to do with another great solo. Yeah, yeah. But yeah, I mean, this has been kind of all my mind, this solo.

I love this solo, and I don't know about analyzing it. John Coltrade does not need me to analyze it, but it'd be fun if we listen to it. Yeah, let's see what. Cold Train was thinking when you play this. Come on. Yeah. I'll skip the head too far.

That's okay. That's okay.

So, oh, there we go.

So this is, what is it, Miles Davis?

Miles Davis, gentleman out of East St. Louis, Illinois.

So while Miles is finishing his solo, the form of Flamenco sketches is loose.

It's loose.

I think it's just, you know, five

courts. Basically eight bars each, although some of them play 16 bars sometime. And there's no melody.

That's the big even stop it.

But, you know, talk about analysis.

So for the harmony geeks out in there and stuff, you know, we're always thinking about culture and what he can do with, you know, advanced harmony, upper structure, Sliminsky, Sleninsky and all this amazing stuff he does. But to me, it's just as impressive when he comes in, like, he knows how to fit the vibe of the tune. Yes. So, you know, when you listen coming up to this point and what Miles plays, like, he comes in. And he's going to go somewhere, obviously. He's going to go somewhere. But he comes in with that, that it's really a G triad kind of a thing he's playing around with over the C major. It's just a C major seven is all it is. And it's super exposed. and he just comes in with that beautiful melody, very little vibrato, you know, just a little bit at the time.

It's like just... it is. And it's super exposed. And he just comes in with that beautiful melody, very little vibrato,

you know, just a little bit at the time. It's like just intonation, perfect, but not in a, in a,

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