What makes this song great?

This is the glasses.

True.

I'm Adam Manus. And I'm Peter Mark.

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

Jazz. Splained.

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Peter, today we're talking about our good friend, Mr. Levins, Mr. Bill Levins.

No, Bill Evans, of course, the great Bill Evans.

I felt like I was levitating on that beautiful intro.

It's a gorgeous tune.

Of course, this is Waltz for Debbie.

So we started an Open Studio Pro over on the Repetoir Club, which we have Mondays and Wednesdays.

We do the Repertory Club.

We're learning Waltz for Debbie, Bill Evans' iconic composition. People say I've been using iconic too much in the comments. People have been saying I've been using bespoke. I would say this is a bespoke iconic. Oh my God. Let me check with my attorneys. I think our next episode is going to be the most bespoke iconic albums of all time. Now, this is a classic tune. Obviously, it's a

losing my adjectives for something as iconic. It's iconic. It's iconic. I start saying iconic and you start

using bespoke. And you call up our attorneys. It truly is a bespoke composition. Well, it's for Debbie,

but it goes to four. Are you kidding me? No, we've been learning this over at the Repertory Club, and we did a little bit of a listening session on this tune, just listening to a bunch of different versions. And I was struck how many versions came out pretty much right after Bill Evans released the first couple of versions. He recorded it with his own trio. He recorded it with Cannonball Adelaide. That's a great one. It's a really great version. And we have, it's all good. It's such a great tune. And I thought, like, well, what makes this so great? What makes this song? And what makes a standard a standard? How does it catch on? We've had some recent standards.

I'm thinking about, you know, Strasbourg, Sandini, the Roy Hargrove tune, which you can hear pretty much at any jam session across the country here, maybe across the world, I'm sure. But how does that happen? And why does that happen? And what is it about Waltz for Debbie that made that happen? All right. let's have. No, I think the first,

you kind of already hit on it,

the first one,

...