The Rec Show Podcast
David “Gldnmnd” Hicks is a Beatmaker and Hip Hop culture participant/supporter based in the United States. On The Rec Show Podcast, Gldnmnd interviews Beatmakers/Music Producers/Composers from around the world, hearing stories of beat culture, musical journeys (past and present), musical exposures and music technology. Topics include music genesis, inspirations, music superheroes, Digital Audio Workstations vs. Analog gear, Discographies, Local Beat Scene/community views and more while listening to each guest’s instrumental music compositions. Tap In!
The Rec Show Podcast
#135 - Jazz & Beat Culture: A Symbiotic Relationship
The needle drops and the room changes—horns breathe, drums loosen, and a sampler starts talking back. We dive into the living thread between jazz and beat culture, from Congo Square and brass bands to dusty chops, off-grid drums, and the global scenes building tomorrow’s standards today. The journey moves through the roots—rebellion, soul, spiritual release—into the eras of big band glory, commercial decline, and the underground that kept the flame alive until hip-hop cracked open the vault and let the swing back out.
We explore how producers like DJ Premier, Pete Rock, J Dilla, Madlib, and Nujabes reintroduced jazz aesthetics to a new generation, turning horn riffs, Rhodes chords, and brushed cymbals into modern language. Along the way, we spotlight the cities and crews shaping the current wave: London’s Yussef Dayes, Kamaal Williams, and Shabaka Hutchings; LA’s Kamasi Washington and Terrace Martin; global innovators from Italy, Austria, Japan, and beyond. Labels and collectives like Jazz Is Dead bridge elders and explorers, proving the tradition evolves best when it’s shared.
Between records, we trade stories and facts that link technique to technology—Miles facing the band for deeper communication, Coltrane’s relentless practice, Raymond Scott’s early electronic machines, and how big band sessions birthed mic placement and room capture approaches that shaped modern studios and DAWs. Herbie Hancock reminds us that jazz is conversation: musicians, audience, and energy in constant exchange. Beat culture carries that forward—looping, bending, and improvising with machines as instruments. Ride with us, discover new artists and essential beat tapes, and feel the continuity: jazz never died; it reincarnated in the pads.
If you felt the groove, subscribe, rate, and share with a friend. Drop a comment with your favorite jazz-sampled track and hit our Linktree to buy a tee shirt or buy us a coffee. Let’s keep the lineage loud.
Edited, Mixed and Mastered by Gldnmnd
Podcast Website Link: The Rec Show Podcast
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Yo, what up? Peace and love, everybody. Y'all know who it is. It's your favorite podcast. Golden mine, what's good, yo? Hope everybody's counting blessings and not problems, man. Welcome back again. And if this is your first time, welcome. So listen, man. You know, today we're gonna be stepping into a different groove. We're gonna take you to the heartbeat of America's original art form. What's that? Jazz. Jazz. Jazz. But we're doing a directional way, you feel me? So you already know we're gonna do it through B tapes, dusty sample chops, live instrumentation, loop culture, and the producers keeping this energy alive today. So sit back, relax, smoke them if you got them. You know what I mean? Put this on while you're driving, on the plane, the train, in your automobile, on your bike, skateboard, all of that stuff, man. It's gonna be segments, man. So yeah. Hope y'all enjoy, man. We'll be right back. So shout out to Toji Kai and Pumlani Metiti. The name of this joint is called Sarah's Gate. Yeah, man. I told y'all, you know, we were gonna get into jazz, man. So let's get into segment one real quick. You know, jazz roots in the and the Genesis, real quick. Um, y'all know they originated in New Orleans, late 1800s, before any of us were born or thought of. You know what I'm saying? Early 1900s as well, you know, Congo Square, black brass bands, church hymns, blues, ragtide. But what is jazz? Jazz back then equaled and and still does. It equals rebellion plus soul, plus spiritual release, and improvisation was the superpower. What's improvisation? Just doing things unplanned, out the box, off the cuff, you know what I'm saying? And that's what jazz is. So why did it matter? Well, first, truly American art form was created by our natives. You know, I I I really don't want to say black, but our natives that were probably on this land already or came to this land, you know what I mean, and they expressed joy, pain, pride, complexity in the human experience. You know, it also just shaped everything from funk, soul, hip-hop, RB, rock, you know what I'm saying? But who were the easy the key players, the early key players? Some of these y'all gonna have to Google and look up. I had it, buddy Bolden, who's uh the mythical trumpet king. Uh y'all, I think y'all know who Louis Armstrong is. Big cheeks, big puffy cheeks. You know, changed, he changed uh melody, timing, phrasing forever. Then you got Jelly Roll Morton, you know, he came with that energy, you know. I invented jazz. But he documented the early forms of it, you know what I'm saying? So, hey, give him his credit, give him his flowers. Then we got the one and only Bessie Smith, the blues queen, influencing jazz, vocal phrasings. You know what I'm saying? Yeah, man. So, you know, just some of the key players, you know, why jazz mattered, the originals, the origins, you know, the genesis of jazz. We're gonna come back with segment two, all right? Enjoy this, man. Yeah. Ooh. Yeah, shout out to this beat cat jazz by M.I.P. All I really need. And before that it was Copy Barbara Cruz. I hope I'm saying that right, but it was by Poly Poly and Cap Kendricks. Hmm. Yeah, man. That's what we on today. We on this jazz field, yeah. So y'all in for a treat, man. Texas if you liking it so far. You know, I mean, hit us with the comments, hit us with the uh uh uh the text, text the show, let me know how I'm doing, how the show's doing, how you liking this one. We'll be right back. Yeah. So you know there's always a rise. You know, it's kicking off, it's popping, it's popping. You know, and almost came to a the fall near a near demise. What happened? Well, you know, jazz didn't stay golden forever in the eyes of you know popular opinion or whatever you want to call it, but it was still rocking, still doing this thing on the underground. Yeah, I mean, but the rock and roll era drowned it out commercially, you know, fusion and experiments removed and splintered the audiences. Uh you know, record labels stopped investing, pushing jazz to the margins, clubs closed, big bands died off, smaller scenes struggled, you know. So, you know, it almost was no more. But once again, like I said, the underground kept it alive, family-owned theaters, dive bars, college ensembles, you know, and later, of course, of course, the hip hop DJs and producers, you know what I mean, the beat makers. That's what you would call a rebirth. And I'm gonna leave y'all right there. We're gonna go to the next segment later. Alright. I'm gonna read these uh these texts off that sent me too, man. I asked y'all, you know, what what does jazz mean to be making culture? We're gonna we're gonna let y'all hear that in a little bit. Stay tuned. Yeah. You know, this last track was Mine Running from a life in bloom by a creature out of London, UK, man. That was a funky, bro. And then you got before that was the name of the joint was called Downtown from a past sense by Mr. Kaper. Out of Salzburg. Let me see, where we where are we at? Salzburg, Austria, I wanna say. Yeah, Austria, Austria, yeah, man. So shout out to them, man. Yeah, so you know, segment two, segment three, actually, we own um as we get into this uh goeie, this uh nuances showing it's called Timeless. Um fan mail. Let's read off this fan mail, man. I asked y'all the question. Ooh, yeah. So I asked y'all this question, you know, um, what does jazz mean to beat making culture? You know, like what would jazz, what would beat making culture be without jazz? And uh, you know, my my Los Angeles, California sent me and said the rugged air of experimental independence. Improvisation is a major key. You know, somebody, you know, one of my listeners, shout out to you from Atlanta, Georgia, said jazz is a purely American art form that could have only happened on this soil, much like hip-hop, jazz is foundational to the experiments. Although there are many good young players, it's become a niche endeavor, such that much of that energy has moved to other genres like hip-hop and RB. Now I can I can kind of agree with that. Nowadays, many jazz convert conservatory students are also making beats, and there's a handful of beat makers, slash producers, picking up instruments and learning chords, man. So shout out to my guy Sal to Slaughter, man. Slaughter, yeah. I like that man. We're gonna read some more after this though, but I want y'all to enjoy this uh disjoint, disjoint timeless. Yeah. So yeah, man. You know, we got the rebirth of through hip hop, you know. Um and this is where you really like start to connect the dots for the you know, for us as beat makers, you know. I mean, for you beat makers that are listening, music producers, composers, you know what I'm saying? So, you know, hip-hop just revived the jazz by sampling jazz, you know what I'm saying? You know, producers like DJ Premier with the horn rips and the roll chops and Pete Rock with the swing and the soul. You got Jake Dilla, you know, with the broken time pocket, and you got Mad Lib, you know, with Deep Crate Jazz, pilgrimages, and you know, new jibiz, um, with the mellow, jazz hop, fusion, you know. So, you know, and it's and it's many more uh many more contributors, producers, um, that help revive jazz by the sampling by through hip-hop, you know. So that's just some, that's just a a morsel of those that contributed, man. So if I left you out, hey, if you listen, let me know. Let me text the show, let me know. All right, but um, yeah, man, they reintroduced jazz aesthetics to an entire generation of kids like myself who never stepped foot in a jazz club, you know. And um man, it just meant something to oh uh Q-tip as well. Um man, it's so man, it's so many more artists, man, that um was doing their thing, man. Um so yeah, um, and then you know, we got B culture. B culture, it's just modern jazz. That's what you that's what I would say. Man, B culture is modern jazz, man. You know, loop culture, mirrors, uh, jazz improvisation, you know, the off-grid drumming, you know, the the post uh pop freedom, you got the uh the NPCs with the SP404s, it's you know, just equaling like new age instruments with the machines, you know, the native instruments, machines with the you know, the koala samplers and uh you know all these other the Akai NPC. Yeah, it's yeah, I mean, just new instruments, man. And then you know, beat makers, you know, are today's with a horn players, man. You know, so jazz never died, yo. I just want to make that super clear. Jazz never died. It's just reincarnated through hip-hop. And as you'll hear throughout this episode, the jazz players from around the world are still thriving, man. We at home in the United States, whether it be in Europe, whether it be in you know, Austria, whether you know, it's like a whole bunch of different places, man. Jazz is still thriving, man. So yeah. But yo, let me we'll be right back, man. Let me play this joint real quick. You feel me?
SPEAKER_09:When I was like 12 years old, I lived over a place called Arcady Theater. I lived upstairs, and they had uh a show band. There was a tenant player named Al Farish and a trumpet player named Buddy Bell. And I would I would sit right in front of the band and and watch and listen. And that was my first uh inspiration towards wanting to play the trumpet. And my dad said, Noah, you you you get an occupational bump on you that he didn't like it. I say, well, I'd I'll play saxophone then. So this is a wonderful part of existence, this life itself, you know. So this is a wonderful part of existence.
SPEAKER_06:Yeah, man. Shout out to Youssef Latif. The beat phonics crew out of Italy. Man, this was dope, yo. Um name of that joint was called Charlie. Surreal feeling. Man, man, that was dope, yeah. I had to include that. And then name this joint is called NPC Jazz from Jazz Meditation by Aileen Luke. Let me see. He's out of uh Italy as well, man. So enjoy it. Let's get into this next segment. That uh you know, we start talking about modern day evolution, you know, and we go on spotlight how jazz is thriving now. You know? Like, damn it, what is it? Better chill her out, bro. That was yo critical, yeah. Um but yo man, um so you know, just spotlighting some how Dress is thriving right now. We're gonna talk about you know how London scene, Youssef D's, Kamal Williams, uh, uh Shabaka Hutchins is killing it out in London scene. You got the LA and West Coast, uh Kamasi, Washington, you know, Terrence Martins, the the Mind Designs, um from New Jersey, by the way. Um, and then we got uh you know the global jazz hop creators, you know, flow fills, uh, alpha mist, the 3070 collective, the jazzy boys, you got man, there's so many. You got um you got uh jazz is dead that's still doing his thing, man. Still uplifting jazz, you know, um Adrian Young and uh uh Rashid Muhammad. I can't remember the verses, uh man. But that's gonna that's gonna bug me. But yeah, man, so jazz is still doing his thing, man. And then you know, you got uh you know more coming back when we're gonna feature some jazz beat tapes and albums, you know, in the main portion of the episode, you know what I mean? But we'll be back, man. Y'all listen to this joint by uh Ama Lama by Mocha Only Alcinos, and I want to say the name is uh um what's the name? Uh Parental out of Paris, France, man. And that last joint you heard was Intro and Cheese from the Harlem Barber swing by Jazz Enough out of New York, New York, man. So y'all enjoy, man. Yeah.
SPEAKER_07:You get everything you need.
SPEAKER_04:You'll get everything you want. You get everything you need. You'll get everything you want. You got everything you need. You'll get everything you want. You get everything you need. Look at everything you want. Promise you don't get that regardless. You see it, you create it, that's the artist. Moment that you reach it with your father. You dream it, you believe it, that's regardless. You see, I got the words, I got the flow, they inspiration.
unknown:What you need, you got the fish, you got the vibe, you got the things, you think of me. I got something left to me, but I am just a human being. Twenty-four hours today, this every new display for me. You got people in your corners, you got frightened on your team. Realistic demon love your left, what you need. We can break that every day.
SPEAKER_04:Go get everything you want. You got everything you need. Go get everything you want. You got everything you need. Go get everything you want. You got everything you need. Go get everything you want. Yeah, yo.
SPEAKER_06:I had to I just had to include this one, man. Just cause it felt jazzy and uh Yeah, I mean, yo, the name of that disjoint is called Everything You Need, produced by Paul Bloom. Um, this is from uh You Never, let me see, let me make sure I got this right, man. You never really know by Jay Swiss. Jay Swiss out of New York, New York, yo. Hey man. Yeah, that's yeah, I had to include that joint, man. Shout out to you. Dickie Cass is on that album too, man. Hey man.
SPEAKER_01:Hey, man.
SPEAKER_06:Hey man. Alright, so listen. Um let's talk about let's talk about you know the feature section, which is like, you know, the beat tapes and the albums and stuff like that. That you know. Um and I played a lot of them. You know, I'm gonna include a link to every single one that I uh that I played on the album, on the show. But um, and I might include a you know, I apple playlist or a YouTube playlist or something like that just to help y'all as well, so y'all can vibe as well. But yo man, you know, the the the producers, the the jazz influences, you know, for for me it's always been like the horns and the roads and the swing and the the brush drums, you know, like you know, um but yeah man, like all of the all of these artists fit a jazz lineage, man. So they all got at least roads, pianos, horns, drums, um, cymbals, the you know yeah, man. Um but yeah, man, go ahead go to uh you know like band campus where I mainly got all my source material. Um some on Apple Music, some on SoundCloud as well, man. So yeah, man, you just gotta do your research, man. And uh you know keep supporting us, keep supporting it, man. But yo, before that, before we get into this last segment, and uh we're gonna read some more fan mail as well. Let's listen to this joint from uh Rick Maul from Octaves The Jazz Jousters and Key with Herbie Hancock, a millennium jazz music production, you know what I mean, album. The name of this joint is called There's Only One. There's only one spirit about living things you have the opportunity to relate to them in the special way. Um I got somebody out of Oakland, California that said it's the basis for B culture, jazz. Jazz is the basis for bee culture, man. So shout out to whoever this is, they leave it who they were, but yeah, y'all can leave who y'all are when y'all text the show, man. You know what I mean? Um we got one more that I'm gonna read out of Sacramento, California, man. But y'all enjoy this joint. The name of this joint is called One More Time from Dusty Vibes by 360 out of touring Italy. Yo, we got our Italy, our Italy brothers and sisters out here in there. I told y'all we were why with it. I told y'all we were why the body is a lot of money. Yo, I heard that and I was like, I had to include this in the in this joint, man. That was from the Moses Yofie trio out of Berlin, Germany, from the album MYT. The name of that joint was called Till Tomorrow. Man, incredible, incredible, what just man yo man. Listen, you listening to uh Stacy's Loop from Interstellar Fantasy by Greg Foat and Ayo Salawoo out of London, UK, man. Hmm. Yo, here's some crazy facts for y'all real quick, man. So I bet y'all did not know that Miles Davis turned his back to the audience on purpose. But why did he do that? To let the band communicate deeper. John Coltrane practiced so intensely he wore grooves into his carpet. Did y'all know that? Man, yeah, man. Jazz, yo. Jazz. Gotta love it, man. I think that's why I'm so enamored with B culture as well, man. Why I love it so much, man. It's um it's just speaks about being free, man. It's about uh each artist being free, man, and and doing what they want to do with the music and making the the person that's listening feel something, you know. So creativity, freedom, you know, everything that has to do with your ass, y'all. So let's get into this um Makaiah McCraven out of Chicago, Illinois. The name of the show is called Holy Lands from Universal Beings I11 edition. Y'all gonna feel something on this one, my guy, guys and gals. But uh, yo, we'll be back, man. I'm gonna play a few more joints before I mean yeah, just listen.
SPEAKER_00:The criminal complaint says the accused shooter did not speak to the teen before allegedly shooting him through a glass door. The 16-year-old is now home after spending the weekend in a hospital. Roxana Saberri has the latest details.
SPEAKER_06:The name of that drum was called Trials and Tribulations, man. If you didn't feel something with that track, man, I'll I don't know, man. I gotta question your humanity, yeah. Wow. But yeah, man. Um we're gonna head to uh Stugard, Germany, man, and uh listen to this Jazz is a spirit from Groove Connection by Jacob Mann. Yeah. And uh Yo man, here's some more facts for y'all, yo. Oh jazz. You know, like the earliest forms of remix were from You guessed it. Jazz. Improvisation is the foundation of jazz, man. So, you know, like Louis Armstrong, Coleman Hawkins, Charlie Parker. Known for radically altering standard melodies during solos. You know? Um. Let me see. Early electronic instruments originated from jazz pioneers like Raymond Stout, who was a like a jazz band leader and composer, but he helped build some of the earliest electronic music machines. So he created the clavy box in the 1950s and created the electronium in the 1960s, one of the earliest self-composing machines. Then his work directly influenced early Moog synthesizers and later electronic music. Moog himself credited Scott for inspiring him. Wow. The more you know, the more you grow. Man.
SPEAKER_08:Jazz. Can you hear it? Jazz. Jazz is a spirit. Perpetual moments of pure creativity. Jazz is abandonment within boundaries. Logical undoing of what you think it's supposed to be. Jazz is collective storytelling. Expressing the history and experience of a people. Jazz means no category, allowing for continuous progression. Jazz is a spirit. Can you hear it?
SPEAKER_06:Sacramento, California, man, who said beat culture is jazz music. Facts. That's all it is, man. Come on, man. Yo, y'all listen to this uh Takumi Morona Moria Black Nation out of Japan. Name of this joint is called Merry Go Around. Fire. Incredible what they did with this. Yeah, we'll be back, man. Shout out to everybody that uh contributed and sent in the text, man. The fan mail, man. I appreciate y'all. What did I tell y'all? Yo, Takumi Moria. Black Nation, man. Japan. Wow. Incredible, man. Yo, we getting into this uh this catalyst with a K. Adrian Young and Ali Ali Shaheed Mohammed. You know, Jazz is dead, volume number 13. The name of this joint is called Daybreak.
SPEAKER_07:Hmm.
SPEAKER_06:It's an incredible joint too, man. Hey, did y'all know that jazz was used as the official US cultural diplomacy? You know, in the 1950s to this night in in between to the 1970s, the US State Department created the Jazz Ambassadors Program. And if I'm not mistaken, there is a hip-hop ambassadors program right now going on that the homie out of um uh California is oh man, let me man Philip Drummond. There you go. Today's future sounds, man. He's involved in it, him and his team are involved in that as well, man. So evolution. Evolution, wow, wow. Musicians like Lois Armstrong, Daisy Gillespie, Duke Ellington, toured Africa, the Middle East, Europe, and Asia has official American representatives. Then you have the Smithsonian Library of Congress and State Department Archives document this program thoroughly, too. Man, man. Incredible, man. Jazz. Welcome to episode 135. If you stayed this long, you know I appreciate you, man. Shit. Hey, look at you. Hey, look at you. I'm look, I'm talking to you. Hey, I appreciate you, man. Thank you. I don't know where you are in the world, but if you're still listening. Thank you. Yo, we're listening to this Unity from the Resonance DP. By Black and Soft. Oh my god there. California, man. I love Supreme California. Put this joint together. I had to include a couple joints in this joint, man. That's I couldn't I could not include this. We all enjoy this, man.
SPEAKER_05:I'll give them that.
unknown:The ribbon hit the back with a right hook. Looking on all the time and all the ones I look. I mean, what does it mean for you as an MC? Now that you you know you represent and you won, and you coming from the from the from the spot. You know what I'm saying? What does it mean to y'all?
SPEAKER_05:Listen to what we got to say, you know what I'm saying? Cause I got something to tell people. When I say overall, I want to play all the game over the room. You know what I'm saying? The beginning was when we first met in the high school. Rapper like the game club. We're hitting on the yellow standard. Stay in the limelight, stay in the eye.
SPEAKER_01:That's right. That's it. That's it. That's the truth. Right here on Rap City, baby. That's right, baby. Keep it in the fish right here on Rap City. Y'all stay tuned, we'll be right back. Alright.
SPEAKER_06:Yeah, man. Had to include this joint spirit, breathe, spree of breath, featuring splashes from the resonance CP. Yeah, man. Shout out to Black and Soft. Oh, we get a number two. You know, shout out to Black Eyed Nine. Shout out to you know the homie T Dot. Yo, man. I love Supreme California. If y'all know who they are, man, smack yourself. Tap into what they're doing on YouTube, their albums and everything, man. Come on, man. Yo, I I could not do this episode about jazz and include Bap Notes. Alright. That's a jazz group out of Sacramento, Calipona. The name of this choice is called Carnival of Fools. From the record store. I think this one was uh this was the album uh dollar bin. Yeah, yeah, yeah, yeah. Dollar bin joints, man. Yeah. Shout out to Bap Notes, man. The whole team over at Bap Notes Man. And then we gonna right after that, we're gonna get into this third eye by Mono Massive. And then uh We're gonna round it out, man. Alright. Almost. But I hope y'all got something out of this episode. I know I did doing the research for it and um planning for it and everything like that, man. So thank you. And uh go ahead and share this. If you're listening to this on YouTube, go please like this, subscribe to the YouTube channel. I'm trying to grow this thing. And you know, if you're listening to it on Apple Music or you know, any other of the uh podcast distribution platforms, please like it, leave a comment. Um it actually helps us get seen a lot, a lot more, so you know thank you. This third eye eye mono massive is incredible too. So last fact real quick, but did y'all know that big bands helped shape modern recording techniques? Engineers like you know, Rudy Van Gelder, Alan Lomax, and early radio studio teams developed mic placement techniques specifically for large jazz ensembles. Ribbon microphones, RCA 44, RCA 77s became standard because they captured whole sections more naturally. Early multi-mic arrangements for big bands became templates for contemporary studio layouts, and then that you all, as we all know, turned into what your dolls do, where it allows you to you know record from different things, and you can have a different track for each part of the instrument, stuff like that. Come on, man. Evolution, man. Evolution, man. They influence modern mixing, room room mics, dynamics, sectional isolation, all of that, man. But yo, you listening to this uh overturn from the beats to skate to by culture and moose dawa. This joint is fire too. Yeah, when I come back, we're gonna round it out, man. Yeah, you're about to get into this uh Y2K lounging from Samaia by Lesky and Waywell. And then after that, we're gonna get into this incredible joint. Yeah, round it out, yeah. Come on now. Sway, sway, sway. Yeah, man. So listen, we go into the African space program, man, and tap in with the homie Raj Stream, man, who I think is a uh you know, one of the great examples of improvisation, improvisation, um you know, just doing his own thing, uh, the the funk, the off-beat kilter, out of the box grid. Um, you know, just doing whatever you wanted to do with the music, man. So shout out to um Raji, who's still with us through music. You know what I mean? Yeah, I had to let that rock, yo. So right now you're listening to Kareem's Balloreal from the Yahweh is love by Jahari Masamba Unit featuring Kareem Riggins and Madler. If y'all don't know who this Jahari Masaba unit is, man, you've been missing out, bro ski. I'm just telling you. So y'all listen to this joint. And then um nah we feel gonna round it out. We feel gonna round it out with this last one. Who is another example of improbization when it comes to this beat culture, man? This musicianship, this jazz, this you know, everything, man. So y'all, y'all vibe to this, and I'll be right back, man. Alright. Don't forget to like go to um the supporters, go to that website, and you know, buy a t-shirt, buy us a coffee, something like that. You know what I mean? Help the help the channel out, like, subscribe, all of that, share it, follow us on all social media platforms, YouTube. Hey, those little simple things help out tremendously if y'all didn't know, man. Yeah, man. Told y'all. So listen, we are going to get into this slash joint, which I think is incredible. Happy belated birthday to the homie E Rosilla. E Row equals three, aka E Rosilla. Yeah, man. All roles leave me here. This album is incredible, available streaming everywhere, band camp, all of that stuff. You know what I mean? Support the homie. Professor E Rosilla. Let me get that right, yo. Yo, yo, go back to the to the last um episode I did with E-Rozilla, man. We updated Joe on what he's doing, man. So, man, he's Professor E Ro now, man. Stop playing with his name, man. Put some respect on his name. Let's go, man. But yo, man. Yeah, the way he switches everything in and out, man. Like, you know, offbeat, uh uh improvisation, switch ups, this, this, this skibbity bop, you know what I mean? All of that stuff. He do all of that, man. With his with his musicianship. He don't even gotta use words, man. So yeah, man. I think we got a word from um Mr. Herbie Hancock, the illustrious Herbie Hancock as well, man. Let me play that for y'all.
SPEAKER_02:As a matter of fact, jazz is a communication, it is a conversation between the musicians. But it's it's not just between the musicians, it's a conversation that we have with the audience. They're part of the creative process because their feelings come across onto the stage. Their feelings affect the musicians that are playing. So all of that life energy that's there is being dealt with on the spot in the present moment. The musicians are sharing their feelings with each other. They're trusting each other, they're exploring together like astronauts, they're challenging each other too. You get a chance to really express your feelings, you you get a chance to explore your guts, you know, ex explore your difficult difficulties.
SPEAKER_06:Jazz is expression without apology. Every beatmaker pulling samples, bending drums, or pushing a groove off the grid is carrying that same torch. So tonight, we honor the ancestors and the future. All through these incredible jazz beat tapes and singles that you hear. So listen, if you like what you heard today, before we leave, hit go to the link tree, man. Go to the retro podcast link tree, grab you a t-shirt. You know, it's about to be Christmas season, grab you a t-shirt, buy the show a coffee, share the episode, text into the show, you know what I mean? And yeah, man. I hope everybody's counting blessings and not problems. And I'm gonna see y'all on another episode of the Rec Show Podcast. Alright? Happy holidays to everybody. Yeah, man. Little one, you wanna say something? Sure. Go ahead, talk to the people, yeah. Hey people, talk to the internets, tell them, tell them, yo, count blessings, not problems, yo. Count blessings, not problems. And happy holidays. Yeah. You heard her, yo. Peace and love, yo.
